"Anti-traditional" phenomena emerge in endlessly in every historical period. Since the entry of new Chinese poetry in the 1980s, there has been a saying that “everyone takes the lead for two or three years.” There are two natures of "anti". One is opposition based on what Bloom calls creative "misreading". This can be regarded as inherited opposition, because although it is a "misreading" of tradition, it is still "misreading" the tradition. Read "Tradition." The other is a departure from tradition, although departure cannot be a complete and real departure. But no matter what kind of opposition it is, it will win the applause of a group of people. The root cause of this phenomenon, explained by Bloom's point of view, is the anxiety of realizing that tradition comes first, and that one can only be influenced and "fall behind". "Anti-tradition" is the attempt to recapture the past caused by this anxiety. Sexual behavior. This psychoanalytic explanation seems irrefutable. If it is irrefutable, we must admit it. A clear or unconscious awareness of the irresistibility of tradition is the root of why all "anti-traditional" people are "anti".
"Anti", in essence, is not anti. Even if it is "anti" that deviates from the tradition, it is just "dodge" (not in Bloom's sense, only used in the literal sense), that is Avoid tradition, get out of the way and try to find a "new way". Avoidance makes the traditional diachronicity stand out: diachrony is the linearity of extension. Since avoidance means leaving the diachronicity extending forward, trying to expand horizontally. Horizontal expansion is naturally also a kind of spatial expansion, but in any case, it stops in a straight line. In calligraphy, "new" tools such as keys and beards are used to write, and in poetry, the words are not formed into words, and the words are not formed into sentences, and other deliberate inversions of poetry are all evasive and horizontal expansion that stops on the diachronic line. Horizontal expansion is an extension on the chronological axis. It cancels the traditional temporality because of its horizontal expansion. For example, since there is no "key calligraphy" on the diachronic line of calligraphy tradition, "key calligraphy" has it. The property rights or antecedents brought by the first expression. This way of seizing (not recapturing) preemptiveness can be said to be the ultimate shortcut. Whether it can truly seize preemptiveness depends on whether it can truly innovate. Nonsense will always be forgotten and ignored by the tradition that continues to extend forward. But even if it is innovation, the influence of tradition will still be reflected in the echo of predecessors' works and methods. Once it is recognized, tradition will be added to it, becoming its current content and continuous diachrony. part of the sexual content.
In comparison, "anti-tradition" based on creative "misreading" is much more rational. It is an innovation based on acknowledging tradition but recognizing that tradition must be changed. Creative "misreading" and "dodge" both create a break in tradition, and objectively function as an attempt to metabolize tradition. However, the break created by creative "misreading" takes continuation, that is, forward extension, or development, as its starting point and Purpose. The rupture created by "dodge" is only for the sake of rebellion. It puts tradition aside. Judging from its performance in literature, "dodge" for the sake of rebellion always has no sense of history. Existence without a sense of history is just an "unconscious" existence, at least it is non-literary, non-poetic, and non-temporal. Therefore, even if it sometimes succeeds, it is just by chance.
In short, tradition is something that you cannot refuse and therefore cannot reject, but must question and oppose it. If your objection succeeds, the sign of success is that your objection has also been integrated into the tradition, and it has caused the latecomers to also That kind of stuff against you.