What are the schools of contemporary China poetry? Judging from 1949, the earliest schools should be July School and kuya School of Poetry. In fact, the name of kuya Poetry School was recognized later.
2. In the 1960s and 1970s, due to political factors, there was no so-called poetic genre in mainstream poetry circles in China. However, in the early 1970s, there appeared the phenomenon of "underground writing" of poetry, the most famous of which was Baiyangdian Poetry Group, which was the predecessor of misty poetry.
3. In the early 1980s, the most famous school was misty poetry; However, after several years of popularity, the third generation of poetry appeared in the misty poetry school. They shouted the slogan "Pass, North Island, Shuting" and turned a new page in poetry. The famous schools of poetry in the third generation of poetry include right and wrong, sea and coquetry.
4. However, the third generation of poetry group is broken but not established. With the gradual decline of literature since the end of 1980s, poetry has gradually withdrawn from people's field of vision. In the 1990s, although there was a debate on intellectual writing in the poetry circle, not many people paid attention to it. Moreover, there are very, very few poets who simply write poems now.
As for the bleak scene of poetry since the new century, it is obvious to all. In particular, the appearance of the Internet, drooling poetry (the Zhao Lihua incident is typical) and writing in the lower half all destroyed the purity of poetry, making the debate in the poetry world lively, but there was an embarrassing situation in which no one read poetry. However, when the Wenchuan earthquake occurred, the role of poetry made many critics and poets' confidence in poetry suddenly improved.
This is the evolution of poetry as I know it. Rough.
Obscure poetry is an outdated school of poetry, and its artistic techniques and expressive techniques have been abandoned by most poets, and few people have written it.
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There are two mistakes in the talented woman's answer. Let me explain:
1, crescent school should be modern, how is it contemporary?
2. Shu Ting basically gave up poetry writing in the 1990s and gradually turned to prose; Shu Ting has also made great achievements in prose creation, and won the Prose Award of China Media Literature Award.
In fact, Shu Ting gave up the writing technique of misty poetry as early as the mid-1980s, and her transformation work was Aria.
Kitajima is still writing poems and running Today magazine abroad. Nobel Prize in Literature was nominated in 2009, but didn't win the prize.
What is the school of poetry that advocates "poetry ends with language" in contemporary poetry circles? "Poetry ends with language" is Han Dong's wise saying, and he also has a famous philosophical saying that "writing poetry is writing poetry". Needless to say, Han Dong played an important role in the development of China's new poetry, and he had a unique and profound understanding of poetry. However, judging from the whole history of China's cultural development and the future development trend of new poetry, I feel even more pale and powerless about his two remarks. There are several university textbooks about China's contemporary literature, which give three big hats of "anti-culture", "anti-hero" and "anti-metaphor" when talking about Han Dong's poetry creation as a whole. Be careful. It's really true.
Han Dong's great contribution to the development of contemporary poetry in China lies in breaking the rigidity of the so-called elite cultural intellectuals' writing. Most elite intellectuals stick to western written language, imposing too much difficulty and obscurity. They were once ridiculed as "foreign slaves" by "folk writers". Han Dong was the first to inject fresh and lively poetic style into new poetry, which is indeed indispensable. However, we should also see that from Han Dong, Sha Yi, Shen Haobo, and some recent drooling poems, the spoken language has been enlarged without limit, and the superficial and frivolous signs brought by imprudence have gradually appeared, and the unrestrained or unprocessed spoken language has also become drooling. There is only one word difference between "spoken language" and "drooling", but the realm is 108 thousand Li, and "drooling poetry" has seriously damaged the internal organs of new poetry. Who should be responsible for this medical accident? Obviously, it is irresponsible and irrational to put all the responsibility on Han Dong. It can be seen that "oral poetry" is also a double-edged sword, so we should be careful and never let it overflow (the poet's own artistic level also determines the quality of oral poetry). )。
China's classical poetry originated in The Book of Songs and ended in the late Qing Dynasty. European classical poetry originated from Homer's epic and ended in modernism in19th century. Classical poetry is full of heroism, and "metaphor" is everywhere in China's classical poetry and western modernist poetry, resulting in a mountain with two peaks standing side by side. To put it bluntly, Han Dong may think that China's new poetry should choose a brand-new road, which is completely different from the road of Shuangfeng. This road is full of great risks and hardships. I don't think so. Culture has a strong inheritance, so we should innovate in the process of inheritance. If China's new poetry does not inherit some skills and some essences of classical poetry, and wants to achieve another mountain, it can only be a castle in the air. China's classical poetry has a history of several thousand years, while China's new poetry started from Hu Shi less than one hundred years ago. If Han Dong only learns something from western post-modernism, he will not reach the peak of China's new poetry. He can only provide a diversified style, and at most provide a possibility for the development of new poetry. The problem of drawing nutrition from China's classical poems was noticed by many poets and theoretical experts as early as the May 4th Movement. For example, Xu Zhimo, Zhu Xiang, and Dai Wangshu, all of them have learned from and practiced in musicality, rhythm, artistic conception and imagery. I think this is just a superficial reference, just like Li Jinfa began to learn from western poetry. He just did what he did, but he didn't really do it. He only learned some artistic skills. The new poems written in this way are often four-unlike, with only the shell of new poems and the mode of traditional poems in their bones, which is not enough to give full play to the plasticity and great potential of modern Chinese. In the early days of the People's Republic of China, from 1949 to 1976, China's new poetry completely became an accessory of political tools, which meant the great stagnation of China's new poetry. It was not until 1976 that "misty poetry" appeared in China's poetry circles, which really meant the arrival of the spring of China's contemporary poetry (in the preface of Poetry of the Times edited by Han Dong, Han Dong also took 1976 as the initial period of China's contemporary poetry). Through the joint efforts of several generations of poets, China's new poems really go deep into the texture. The author believes that heroism and metaphor are equally indispensable if the process of contemporary poetry is promoted. It is true that these two weapons have been used by some poets (in terms of "folk writing" poets, especially those "foreign slaves"), but we must not forget: Never throw dirty water and throw away the children together (I once said the same thing to Xu Jiang on the forum of poetic life, involving Sha Yi's poems. )。 Those "foreign slaves" who cover up the poverty and ischemia of content and feelings for fame and wealth or mystifying are a kind of "word game", but everyone knows that "poetry ends with language" or "writing poetry is writing poetry" is also another kind of "word game" ... > >
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