Category: Culture/Art
Problem description:
Representative works and writers
Analysis:
College student poetry The school of poetry advocates the elimination of images, while their school of poetry cares about poetry itself, about poetry's "life form of beauty produced by language and the movement of language." The "beyond language" of the Fei Fei Poetry Group naturally refers to the commitment to transcend symbolism and semantics. Shang Zhongmin said more simply that "poetry begins with language" and "to oppose modernism, we must first oppose symbolism in poetry." ② The expressions of post-Misty poems by Yao, Huang, Weizi are intended to emphasize the self-sufficiency of language and the return of language; and use this concept as a cover to insist on the intransitiveness of words, and to represent authentic life and things in signifier-based language Find shelter. The most direct consequence of this return to the ontology of language is that the deep referents such as the cultural connotation and symbolic meaning behind the objects in the poem are eliminated, the expressive function of language is strengthened and the referential function is strengthened, and the poem returns to the surface of words and the language signifier itself. For example, Zhou Lunyou's "Fruit Core" and A Wu's "Chang'an Street" reflect the self-sufficiency of signifiers in symbols. "One is the King of Hearts/The other two/Fucked back on the desert/You can't see anything/The three cards are all new/So new that it's hard to understand/The distance between them is not too far/But there will always be a gap/Suddenly Seeing/seems to be very casual/thrown there/but careful observation/seems to be carefully arranged/one is closer/one is far/the other is certainly not far or near/the other is the King of Hearts/Sahara The desert/empty and soft/the sunlight is so piercing/so bright/the three playing cards in the sun/quietly reflect/several small circles/halos" (Yang Li's "Three Playing Cards in the Sahara Desert" ), poetry is an automatic presentation of the present state of things, quietly and without semantic reference. It exists for no reason, and has no illocutionary meaning or metaphysical interest. It is far away from emotion and imagination, and is just the continuous sliding of the flow of words. There is a clear and definite extension and opening of things below, truly achieving "poetry ends with language".
Yu Jian's "Distant Friend" "I read your letter/I thought about what you look like/The worst thing is that you look like so-and-so/I think that one day you will come to me/I can't help but feel a little worried/I'm afraid that we can't be together There's something to be said... Han Dong's "Have You Seen the Sea", A Wu's "Three Identical Cups", Li Yawei's "Murder in 1985", Meng Lang's "Winter" Li Yawei's "Chinese Department" Hai Bo "A Contemporary Poet" "Everyday Life" by Yu Jian's "Luo Jiasheng", Hu Dong's "I Want to Take a Slow Boat to Paris", "The Story of the Girl Lu Mei" (Sun Wenbo), "The Woman I Don't Know" (Han Dong) "Surgical Ward" (Wang Xiaolong)