1, and the prominent political features of China's contemporary poetry in 1950s and 1970s.
2. China's contemporary poetry began an all-round artistic regression, and really entered a historical "new period" in the sense of literary history.
3. In 1990s, there were some intriguing "fractures" and turns in China's contemporary avant-garde poetry creation.
Knowledge link:
1. With regard to the staging of China literature in the 20th century, the traditional classification method is generally based on the concept of history, that is, 19 17 dates back to the Opium War and is called "modern literature"; 19 17- 1949 is called "modern literature"; 1949 has been called "contemporary literature" since its founding.
2. From 1950s to 1970s, a prominent feature of China's contemporary poetry was politicization. Specifically, during the recent 30 years from 1949 to 1976, the collectivization writing tendency of China's contemporary poetry is very distinct. Under the strong specification of the creative principle of expressing the spirit of the times, the poet has consciously and uniformly adjusted and dealt with his own poetry creation at almost all levels, such as theme, theme, language form and aesthetic style. For example: First, the "political lyrics" represented by poets such as Guo Xiaochuan and He Jingzhi; The second is "Lyrics of Life" represented by poets such as Wen Jie, Li Ji, Zhang Zhimin, Qiu Fu and Yan Zhen. The third is "Military Poetry" represented by Li Ying, Gong Liu, Gu Gong, Han Xiao and Zhang Yongmei. These three writing dimensions prevailed, which constructed the order of contemporary poetry in this period and became the mainstream of poetry at that time.
3. Enter a "new cycle" (starting from 1978). The poetic circles in the new period initially reflect the diversified characteristics of poetry, but what really brought great impact and revolutionary changes to the poetic circles in the 1980s were the "misty poetry" and "the third generation poetry" identified by contemporary poetry critics, which were characterized by exploration, experimentation and vanguard.
First, Ai Qing, Han Niu, Huang Yongyu and other "returning poets" effectively restored the sincere quality of poetry and poets, and got rid of the bad poetic style of "false, big and empty" which was popular in the past.
Second, "realistic poets" such as Lei, Luo Gengye, Ye and Zhang expressed their "intervention" in real life and "call" for the future, which reflected their strong poetic demands for the modernization process in social, political, economic and cultural fields.
Thirdly, Ye Yanbin, Mei Shaojing, Liuli, Liu Yishan and other young poets show their memories and reflections on the past life from the perspective of educated youth, and try to show their familiar local life, trying to reveal the historical changes in the trend of social change in China in the aesthetic local complex.
Fourthly, young and middle-aged poets of ethnic minorities, such as Gidemaga, Chagan and Xiaoxue, devote themselves to showing and expressing their history, present situation, cultural psychology and emotions, and portray their spiritual situation in the process of transforming tradition into modernity.
4. In 1990s, there were some intriguing "fractures" and turns in China's contemporary avant-garde poetry creation. With the formation of China's multi-cultural pattern and increasingly relaxed environment, poetry creation presents richness and complexity rarely seen since the new period in terms of language style, expression techniques, theme orientation and aesthetic form.
First, from the perspective of language. Written language writing, oral language writing and written language combined with oral language writing go hand in hand, and a large number of poets with various language writing orientations are impressive.
Second, from the content of poetry. "Humanized writing" reflects the tendency of humanized writing, generally enhances the depth and breadth of human experience in poetry content, and shows concern for people's daily life situation and life itself. In addition to the representative poets of "folk writing" and "intellectual writing", a large number of poets who are independent of the "two major poetry camps" have created "humanized writing" texts.
Third, from the perspective of the structure of poetry. Since the new century, many poets have invested a lot of energy and painstaking efforts in the creation of long poems, intending to realize their grand artistic pursuit by creating large-scale and difficult-structured poetry texts.
4. From the perspective of the display platform space of poetry. Due to the emergence of the Internet, the platform for poetry display is more diversified, personalized and liberalized. The fierce debate in poetry circles and the rise of online poetry stirred up the poetry circles at the end of the century. However, the face and future of poetry are becoming more and more chaotic.