? When it comes to Mr. Shi Yun's research on the art of poetry writing, we can't help but talk about his comments on Shi Yun's poems, which made him famous. As far as we know, this is a special micro-journal specializing in online poetry writing and in the field of WeChat cultural communication. His historical significance is self-evident. I have been paying close attention to Mr. Shi Yun's research for a long time. His position is very subtle, although there are few professionals engaged in this research. However, there are few non-professionals involved in this very important topic on the internet, which makes people think deeply. My feeling and understanding is that, unlike classical poetry, from a macro perspective, there is no framework-based paradigm structure to follow in the writing of new poetry. From the microscopic point of view, the writing of new poetry does not have a standardized pattern of flattening and splitting. Judging from the theoretical achievements of new poetry, because new poetry was introduced into China from abroad, it has congenital grafting defects, and the domestic research on creative theory is inherently insufficient. Since the popularity of new poetry in China, there has been a lack of systematic creative theory, and even fewer people have done micro-research on writing skills, which has caused an embarrassing situation in the theoretical research of new poetry, every day. Even experts in the theory of new poetry disdain this creative technique and micro-research. Some theoretical monographs have a high vision at first, but his macro theory, once locked up, makes everyone confused, causing beginners to grope in chaos, just like a blind man touching an elephant, unable to move. As a result, the theoretical research of new poetry lags far behind the creative practice, and even affects the development prospect of new poetry. No wonder some people say that the new poem is a wild horse with no goal and direction, walking in the lost swamp.
? As we all know, to analyze a complex system, a basic model must be established to simplify the processing process. To solve a complex volume, we first need to solve the microstructure and gradually transition to global analysis. Calculus is to solve the problem of solving complex regions from this point. Facing the writing system of new poetry, Mr. Shi Yun took the lead in the decomposition research of micro-writing techniques, and was the first person to eat crabs, which not only played a pioneering role in theoretical research, but also paved the way for further systematic research. Judging from its current function, the development of this work has played a positive role in promoting the research and popularization of new poetry writing skills, and its historical and academic value cannot be underestimated.
? For a researcher, choice and direction are the efficiency of work. Recently, the research results of Mr. Shi Yun's writing skills are gratifying, because they are close to the needs of creators and are more practical and operable. Teacher Shi Yun's research is gradually close to actual combat, and its guidance and practicality are steadily improved, which also opens a door of hope for beginners to improve their creative efficiency on the right track. This is a good thing worthy of congratulations from colleagues in the field of poetry, and we are sincerely pleased with the effectiveness of his work.
? This is the purpose of the special issue of Four Seasons China. Before the interview, it is necessary to introduce Mr. Shi Yun's research field. Let's take a look at Shi Yun's research results and the characteristics of his published works.
Statement:
The latest and most practical modern poetry fighting technology. Choose an unforgettable poem and explain a poetic technique in one minute.
wilderness
Poetry/Breeze Xu Lai
Some people always leave first. take for example
Grandma feet. Unburned charcoal.
In those years, she planted a garden of Chinese rose flowers.
White, pink. Big flower, big flower
The way she threw it into the fire.
Open-chest clothes
Wave and wrap me in it.
The wind blew from many years ago.
I stood on the slope and watched it pass through my palm.
Leave without saying anything.
Technology:
Destroying the leap of poetry is an important feature that distinguishes prose. Many friends say that I know how to jump, but I don't know to what extent it is appropriate to jump, for fear of jumping over my head. Yes, how to ensure jumping instead of "jumping around" It's really a problem. People who learn are very confused, and those who speak are very headache. Today, let's talk about the simplest trick to keep you from jumping out of line.
Friends who watch the production have a feeling that the criminal suspects are getting more and more cunning now. After committing the crime, they will remove the footprints, fingerprints, hair and other evidence from the scene all the way to avoid legal sanctions.
Trace of destruction refers to writing "normally" in poetry creation, and then erasing traces that suggest the relationship between poetry and writing thinking (hereinafter referred to as "writing traces"). Through this technique, the leap of poetry can be enhanced.
Anatomical poem:
In those years, she planted a garden of Chinese rose flowers.
White, pink. Big flower, big flower
The way she threw it into the fire.
Open-chest clothes
Wave and wrap me in it.
Let's first think about how these two plates are related. I first read this poem more than half a year ago. How should I read it? Why do I feel that there are "problems" and "interesting points" here? It seems to be disconnected, disconnected, and the jump is just right. How did the poet do it? I will try to restore her first draft.
In those years, she planted a garden of Chinese rose flowers.
White, pink. Big flower, big flower
The way she rolled in the fire.
Open-chest clothes
Wave and wrap me in it.
The original writing marks in brackets were finally destroyed by the poet, not only destroyed, but also created lines of spaces to forge the scene. In fact, she destroyed more than one poem (the whole poem is restored as follows). Some friends will ask, since it will be destroyed eventually, why write it out? Writing is to ensure that poetry is coherent on the basis, and with this coherent "foundation", it can jump safely.
open field
Poetry/Breeze Xu Lai
Some people always leave first. take for example
Grandma feet. (eventually burned) unburned charcoal.
In those years, she planted a garden of Chinese rose flowers.
White, pink. Big flower, big flower
The way she rolled in the fire.
Open-chest clothes
When you waved, you wrapped me in (memory) (unable to extricate yourself)
The wind blew from many years ago (blowing me back from memory to reality)
I stood on the slope and watched it pass through my palm.
(The wind is like the grandmother dying) Leaving without saying anything will be very coherent, like prose. Move away, jump again, it's poetry.
Make sentences:
1.
Step 1: Mark the writing marks on the first draft.
The Woods are gray and the dates (as red as red) are on fire.
(More like) bleeding heads.
Hang the sunset
This reminds people of the red-faced man who killed the devil here many years ago, but he was bleeding without tears.
Just get drunk for the mountains and rivers.
Step 2: Remove the writing marks.
The Woods are gray and the jujube trees are on fire.
Bloody heads.
Hang the sunset
The red-faced man bleeds without tears.
Just get drunk for the mountains and rivers.
2.
Step 1: Mark the writing marks on the first draft.
The basket of tender jade in the spring breeze.
Just arrived in May
A red agate mountain.
Flower-faced fruit grower
Then put (them) dolls (the same)
Catch them one by one.
Gold is in your palm.
Step 2: Remove the writing marks.
The basket of tender jade in the spring breeze.
Just arrived in May
Yishan red agate
Flower-faced fruit grower
Then put the doll
Catch them one by one.
With bright gold in his hand.
Key points:
1. In order to make the technique intuitive, two sentences destroyed all the writing traces that could be destroyed. However, please note that total extinction in actual combat is often unknown and goes too far. Therefore, it should be destroyed selectively according to the specific situation. How to choose?
(1) Focus on destroying the transition and connecting elements between levels.
(2) Focus on destroying the elements that lead to straightforwardness in sentences that are too straightforward.
2. If the damage effect is not obvious and easy to be seen through, you can create a line of spaces.
Tip:
This article is very important and must be mastered.
Feeling:
If you make it easier for readers to read, readers may not buy it, but they think you underestimate his IQ.
Technology is not a burden, but there are more ways to choose. -Ten Lucks
Editor:
Editor: "We can't change a poetic era, but we can change ourselves". This view has a sense of historical perspective, realistic speculation and broad vision. It is the embodiment of the optimistic spirit of cultural development, and it is a research-oriented positive attitude picture worthy of appreciation!
In the history of literary development, although a generation of arrogant figures started the school, some masters perfected the style of writing and developed it on the basis of their predecessors. This is the case in the field of poetry, and the field of poetry should also have such a development vein and law. This is where Chairman Mao wrote ancient poems, but he has always advocated us to learn new poems. New poetry is still in the process of continuous exploration, self-correction and self-improvement. Every creator of new poetry should engage in the creative practice of this new style with an attitude of exploration and research. Promoting new poetry has a direction that is more close to the people, more grounded and more literary and artistic.
"But we can change ourselves and improve the times." This is a broad-minded idea, and it is also a good and insightful idea. To tell the truth, it should be feasible to set things right. At the same time, I also think you are a capable and intelligent person. It is worthy of recognition and appreciation, and should also be supported by people who are interested in promoting the development and progress of new poetry. This is the first time I've heard you say that. I feel that your analysis is thorough, your thinking is clear, and the proposed method is feasible. More importantly, you started your own action. Whether we can achieve this goal requires the joint efforts of our fans. We don't have to ask everyone to agree completely, but as long as everyone has this creative enthusiasm, clear thinking and perseverance, a better situation will emerge. This is everyone's goal and wish. Let's continue to discuss the following questions:
Editor: The reason for the formation of the school is the sense of identity, which is very objective. There is no question of right or wrong. From the perspective of discussion and development, the genre of new poetry may still be a progressive factor. But if some schools hit people's audio-visual bottom line, there will be great problems. In recent years, we have witnessed some disgusting and wonderful styles and schools of writing, some of which are really flattering. Poetry is also an art category. If there is no aesthetic feeling, we can't see the truth and essence of the objective world, and we can't see the truth, goodness and beauty of the soul that reflects the humanistic spirit, the genre and innovation of poetry will have no value. No matter how grandiose the slogan is and how exotic the name is. It will only be a short-term countercurrent in the history of literary development. Genre is rooted in the inherent law of cultural development, and there is a clear internal relationship between innovation and inheritance. Maybe this is just my personal opinion, but we have to look at today's poetry schools from this perspective. It is for this reason that we discuss the next question:
5. What is the social and cultural function of new poetry? What kind of mentality should we use to engage in creation?
Editor: As for the third level, it is the most difficult, and it is also the most important and tangled place for many new poetry writers. An excellent poet needs a realistic and historical perspective to examine his creative activities and significance, and should be ambitious and have a clear sense of mission and responsibility. We should consciously change and pursue the style of writing into our own writing practice, but we should not be grandstanding, pursuing strangeness and pursuing innovative consciousness, and should not be too far away from the proposition of human reality and civilization. This is a difficult way to create. But this is the only way to conform to the law of literary development. Therefore, it is very objective to have a sound and benign creative mentality. The "three releases" you put forward is very necessary. Without this writing attitude, I'm afraid this goal can't be achieved. There are similarities and differences between poetry creation and other creations, because few people get huge economic benefits from this kind of writing itself. It requires both a detached creative attitude and a clear self-orientation and cognition. I think this is what makes the poet respectable and lovely. It's just a little high for ordinary practitioners. But it is precisely because of this that this artistic creation activity is sacred and respectable.
6. How to make beginners of new poetry lovers improve their learning efficiency? What advice do you have for them?
Editor: You put forward three very good suggestions, which I think are very insightful. This is a very practical method. If we can follow this point and stick to it, it should be helpful and rewarding to improve the writing level of new poetry. New poetry lovers who want to pay attention to this discussion topic can accept teacher Shi Yun's suggestion, and of course they can also provide their own other experiences. But I still appreciate this method, which is operable, but the execution is in your hands.
? Having said that, I want to ask a question that is both off topic and on topic. If there are fans who want to learn new poetry writing with Shi Yun as their teacher, I want to know your answer. Can you promise? This is just a hypothetical question, and Mr. Shi Yun certainly can't answer it.
7. Can you tell me something about your future research plan? What experience do you have in research work?
Editor: The society is constructing a poetry practice teaching system and a poetry system. I hope there can be an interactive teaching from the outside to the inside, which is different from the academic abstract book theory and mechanical tactical separation, so that students can not only pay attention to tactical skills, but also have a poetic overall design and construction. This is a new kind of actual combat teaching, which needs everyone to explore a way out and constantly improve the efficiency of teaching interaction. Explore a new path. I'm glad Mr. Shi Yun took the lead. I hope you can grasp the layout of the Four Seasons Songs, improve your thinking and wish you a happy cooperation.
Having said that, I would like to mention some hot issues with the characteristics of the times in the current cultural field.
8. How to treat the application of audio-visual artistic elements such as music and painting in poetry creation?
For example, what is the evaluation of the video tendency of literary works on Tik Tok, Aauto Quicker and other video platforms?
Editor: "don't pretend to be lofty in poetry, but follow the trend." However, we must be careful in the choice of content, otherwise it will make the public misunderstand poetry and deepen the gap. I think every moral poet should have the responsibility to put forward the best things and present them in the most exquisite way. With this classic consciousness with video, we can realize the real popularization of poetry from the media. " Well said, Four Seasons Song is exploring the possibility of establishing poetry teaching on Tik Tok and Aauto platforms more quickly. According to the characteristics of these platforms, we want to explore a feasible way. Our poetry can't pretend to be lofty, so we should follow the trend. However, we must be careful in the choice of content, and we must aim at good-looking, good-listening, loving, and eloquent, so that everyone can benefit. I believe our efforts will be effective. Finally, I'd like you to talk about our website and official WeChat account. Despite criticism.
9. What suggestions do you have for the official WeChat account to the editors of Literature and Art Times and Four Seasons China?
Editor: OK, that's a good idea. Let's implement it step by step and see the effect. Thank you for your suggestions on the cultural development of Four Seasons Songs.
? The above is the interview with Mr. Shi Yun in our editorial department. Due to the brevity of the interview topic, some of the discussions have not been edited. To tell the truth, this little interview can't cover all the issues we want to talk about, let alone the difficulties in the study of new poetry art and the issues that everyone cares about. There are also many interesting new achievements in Shi Yun's research field. I hope we will have time to continue the discussion on this topic in the future, and have the opportunity to introduce Mr. Shi Yun's new research results to poetry lovers, help them better understand and master the creative skills of new poetry, and promote the improvement and progress of our lovers' creative art of new poetry.
? At the end of the interview, on behalf of the editorial department of Four Seasons China, I would like to thank Mr. Shi Yun for accepting and completing our interview! I also wish Mr. Shi Yun more achievements in the research of new poetry creation art and make greater contributions to the development and progress of China's poetry!
? Thank you again, Miss Shi Yun. Thank you for your participation!
Interview: Li Chunting