The quarrel between a poetry professor and a miscellaneous poet
A poetry writer named Feng Ruochu wrote a derogatory essay on Li Yawei's "Chinese Department". By the way, I made some complaints about "Poetry Professor" Wang Ke. The basic point is: Professor Wang Ke recommended "Chinese Department" as a model to students who have not yet developed independent appreciation ability, which is very harmful. Professor Wang was dissatisfied and left a few "warnings" on Feng Ruochu's private blog. The general meaning was two-fold: don't talk nonsense if you don't understand the history of poetry; young people should not get involved in the bad habits of poetry, learn to be a human being first, and then write. poetry. Professor Wang Ke's warning angered a bunch of miscellaneous poets who were worried about the world being in chaos. Young poetry writers such as Feng Ruochui and Chen Xiaodong joined forces to attack him. The above is the basic situation of a fight between a poetry professor and a group of ragtag poets.
With Fujian Normal University as the link, Professor Wang Ke and these miscellaneous poets formed a teacher-student relationship in a broad sense, and some were direct teacher-student relationships. In 2006, when parody has become the most popular narrative paradigm in online media, this was a trivial matter that could be ignored. But after reading related materials through links, I became interested in this poetry professor. This interest arises from the fact that the bravado of poetry professors contrasts sharply with the meager critical text they offer. To put it simply, poetry critics who have made no contributions in the field of poetry criticism still act as opinion leaders in the poetry world with the title of poetry professor. This is a vicious combination of the Chinese academic production system and the Chinese literary and art evaluation system.
Mr. Wang Ke, a professor at the School of Liberal Arts of Fujian Normal University, claims in his introduction that he is "mainly engaged in the study of modern poetry and literature." It is rumored that Professor Wang Ke is a master in producing papers. His academic papers have been reprinted by authoritative publications such as "Xinhua Digest" and are talked about by many of his proud students. I retrieved Professor Wang Ke's latest essay from the Internet, "Why Famous Female Poets Are Pranked", and the results were shocking. What a professor reveals in his words is not his basic independent academic character, but his show-off and show-off, making public his identity and his relationship with someone in the poetry world. The bureaucratic style of criticism makes people doubt whether his true identity is a scholar engaged in scientific research or an official engaged in ideological and political education. Let’s see how Wang Ke ends this essay:
I hope this incident of a famous poet being pranked can bring reflection to the poetry world. Poets will pay attention to their public image, and poetry critics will have some “industry self-discipline”. " Poetry critics will attach great importance to "professional ethics"... It can be summed up in one sentence: New poetry must pay attention to China's national conditions, and practitioners of new poetry must have self-respect, self-love, and self-improvement.
Through Professor Wang Ke’s words, I was surprised to find that literary criticism has strayed far away from its own mission and moved closer to “political rhetoric.”
The "two-sided life" of the "hermit in poetry"
Professor Wang Ke likes to describe himself as a "hermit in poetry". This flamboyant title appears many times in Wang Ke's self-expression: "In recent years, I have forced myself to 'enter the role', staying away from the poetry world, hiding in the academic world, concentrating on cultivating Taoism, immersing myself in learning, and advocating 'hide in the small building to become unified. "Don't worry about winter, summer, spring and autumn," and no longer care about the affairs of the poetry world. For ten years, he actually got the name of "the hermit in the poetry world." Of course, he will not pay attention to the "gossip" in the poetry world. The title seems to have brought Professor Wang Ke superiority in moral narrative. A bunch of motley poets, mainly his students, spread the news of such a "poetry hermit" everywhere. However, the paradox is that this "poetry hermit" will occasionally tell the truth about power when he gets carried away. "If you are not in the academy, you have no right to speak." The academy has become a hiding place for "poetry hermits" and a shortcut for "poetry professors". This is the "two-sided life" of the "hermit in poetry".
Bad theory and poor practice
Professor Wang Ke has published two monographs on poetry theory, "Introduction to Poetry Stylistics-The Principles of Poetry and the Creation of Poetry" and "A Hundred Years of Poetry" "Research on the Construction of New Poetry Style", the two monographs together amount to more than 800,000 words, and hundreds of papers have been published. The late Zhong Jingwen, a leading figure in Chinese folklore, only wrote a dozen papers in his lifetime. In comparison, Wang Ke is considered a major producer of papers. However, this kind of paper with flying terms, nonsense, and mental separation can neither solve the major problems of contemporary Chinese new poetry, nor make a useful contribution to the progress of Chinese liberal arts academics. It is only valuable in two dimensions. : The first is to seize Professor Wang Ke’s personal academic capital, and the second is to enrich the weight of “national academics”. The so-called "national academia" follows academic standards with Chinese characteristics. It rejects the general principle of "academics without borders" and abandons the universal value of "the essence of academia lies in its contribution to the growth of human knowledge."
The scary thing is that poor theory and poor practice form a chain of mutual causation. Poor theory guides poor practice, and poor practice supports poor theory. At a gathering, someone told me that there was a poetry professor at the National Normal University. I didn't know it was Wang Ke at the time, but I expressed disdain and contempt for the identity of "poetry professor." This sentiment stems from my deep doubts about the validity of the identity combination of "poetry" and "professor".
In "Xiamen Daily", I read a poem by Wang Ke:
I want to go to Gulangyu Island in the waves
Taste the waves on the Gulang Island
Embrace the morning sun on the top of Sunlight Rock
Appreciate the sound of the piano and the chirping of birds
The fragrance of the clothes and poems of dreams
Finally, the waves come and go on Gulangyu Island
p>Walking into the deep alleys of history
Reading the vicissitudes of time
What goes away is sadness
What comes back is hope
In a paradise of leisure
Wanderers no longer miss their hometown
Life is no longer a piece of paper
airtight
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If it were purely literary text criticism, such a poem should not have entered the critic's field of vision. Because a poem that has not even crossed the basic horizontal line has no reading value, and there is no need to analyze and criticize it. This poem by Wang Ke is at the level of a beginning practitioner of poetry writing; if you don’t read it as poetry, the expression ability reflected in these lines of text is at the level of a middle school student. Poetry has no meaning, but there is an absolute standard, that is, it cannot be copied. Wang Ke's poem is a typical "eight ancient prose poem" with mental separation. It is a sentence creation, not a poem. It’s not surprising that the professor can’t write poetry. But Wang Ke is a professor of poetry. If he can’t write poetry, he should be able to read poetry, right?
Western modern literature has formed an important tradition, that is, literature deviates from secular culture and thus acquires an independent idealistic temperament. The greatest tradition of Chinese literature is the integration of literature and culture under the integration of bureaucratic ideology. Until now, Chinese literature is still attached to secular culture. The formation of this tradition relies heavily on the integration of ancient imperial examinations and modern education. Incorporating literature as a subject into the academic knowledge production and dissemination system not only hinders the progress of modern Chinese literature on the road to independence, but also adds a heavy burden of environmental pollution to China's academic ecology. In fact, most of the second-level subjects under the first-level subjects of Chinese language and literature in colleges and universities are no longer necessary. It is urgent to compress this subject group as a whole and replace it with related subjects of cultural studies. .