Shu Ting, 1952, a native of shima town, Longhai City, Fujian Province. Her ancestral home is Quanzhou, Fujian, originally named Gong, later renamed Gong, a contemporary female poet and writer in China. He has served as vice chairman of Fujian Federation of Literary and Art Circles and vice chairman of Writers Association. Chairman of Xiamen Federation of Literary and Art Circles; The fourth director of the Chinese Writers Association, member of the fifth National Committee, and member of the sixth, seventh and eighth presidium; Deputies to the 12th National People's Congress; Member of the 11th China People's Political Consultative Conference; Member of the 6th, 7th and 8th sessions of Fujian Provincial Political Consultative Conference, and the 9th Standing Committee.
When Shu Ting was born, her grandfather named her "Gong" according to the word "Pei" in the family tree. Jade means jade, which means wearing jade. When Shu Ting went to kindergarten, her mother found the name incongruous, so she changed it to Gong. Poetry Magazine used "Shu Ting" when publishing her first poem "To Oak Tree", so Shu Ting became her pen name.
What are the characteristics of misty poetry school?
1, paying attention to the concept omission and theme suggestion of poetry, makes the theme of misty poetry works vague and ambiguous. The hazy poet adopts this kind of looming expression, and the artistic means such as symbol, image, synaesthesia, suggestion, metaphor and deformation are used, which makes the theme of his works reflect the ambiguity of "inseparable and elusive" and the ambiguity of "poetry is meaningless"
2. Pay attention to the artistic creation method centered on symbolism, rather than the traditional poetry creation method centered on metaphor. In meditation, the poet dismantled the observed object, delivered his life to the inanimate creature, endowed him with a still life and soul, and entered the realm of the same thing from two things.
3. Pay attention to the three-dimensional combination of image and image, and often adopt artistic synaesthesia (empathy) and artistic deformation.
4. Pay attention to the emotional rhythm of jumping and the internal structure and rhythm of liberalization, with the purpose of expressing emotions and venting the mind, thus ignoring the external structure.