On the surface, the discovery of "beyond the mountain or beyond the mountain" is nothing more than the disillusionment of such naive illusions as "beyond the mountain is the sea". However, the "mountain" in poetry is a barrier that prevents the poet from reaching the "sea" he yearns for, and it is a realistic existence that prevents his dream from realizing. Therefore, this sense of frustration also indicates all the pains and failures in the poet's life, transcending the specific life experience and becoming a symbol of universal emotional experience.
Correspondingly, the "sea" symbolizes the tempting desire that always calls us to start: "On the other side of the mountain, it is the sea/the sea that embodies faith"; The snow-white tide comes every night/wets my dry heart again and again. The poet believes that "you will eventually reach the top of this mountain/and on the other side of this mountain is the sea"; This "sea", "is a brand-new world/brightens your eyes in an instant"! & lt/PGN0009A.TXT/PGN >
Generally speaking, the opposition between "mountain" and "sea" is often unbreakable. As another poet said in The Mountain Man, "He thinks that he can't walk out of here in his life. The mountain/sea is there, but it's far away/so he will die halfway/in the mountain, and he hasn't got there yet". However, in this poem by Wang Jiaxin, the opposition between "mountain" and "sea" and the isolation between "mountain" and "sea" were overcome, because a stubborn "child (me)" appeared, and he kept climbing mountains and mountains to pursue the sea. This "child" can be said to be an unyielding "belief" itself. The Dreamcatcher between mountains and seas embodies our inner "hidden desires" and the mental journey of a generation between the hardships of reality and the hard persistence of ideals.
In art, Beyond the Mountain seems to have simple lines, but it is full of waves and close to people's hearts. The poet is full of tenacious beliefs, but his tone is not always high. He didn't shy away from the truth of life. In the first part of the poem, he even wrote in a child's voice: "One day I finally climbed to the top of that mountain/but I almost came back crying/-on the other side of the mountain, or on the other side of that mountain, a cold face/gave my fantasy a zero." These frustrations from negative descriptions, in turn, enhance the authenticity of the opposition between "mountain" and "sea" from the senses and emotions, and make poetry fully complete the final reversal of "sea" to "mountain" in a powerful conflict. At the same time, this kind of emotional ups and downs also gives the whole poem an appropriate rhythm.
Respondent: 329848475 HZ-probation period level 1 9-3 19:50.
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Responder: Flying Pig-Apprentice Magician Level 2 9-3 20:32
From the experience of his childhood, the world of his childhood was a quiet campus after school, clear rivers in mountains and rivers, and silent mountains surrounding all this.
And he is a teenager who is addicted to fantasy and curious about the outside world. The first two sentences are a true portrayal of his childhood.
Responder: Judge-Trainee Magician Level 2 9-4 20:42
Jiaxin Wang
1. Wang Jiaxin. He used a pseudonym such as Beixin.
1957 was born in Danjiangkou, Hubei. 1972 entered Ogawa Middle School in danjiangkou city, Hubei. 1974 After graduating from high school, I went to the countryside to work in Ogawa Agrochemical Plant. 65438-0977 was admitted to the Chinese Department of Wuhan University, where he began to publish poems. 1982 After graduation, he was assigned to teach in Yunyang Normal College, Hubei Province. 1983 participated in the youth poetry meeting organized by poetry magazine. 1984 wrote a group of poems, Chinese Painting and Poems on the Yangtze River, which attracted wide attention. 1985 was seconded to Beijing Poetry Magazine to edit and publish a collection of poems "Farewell and Commemoration". Since 1986, the poetic style has changed and become more dignified, bidding farewell to youth writing. The representative works of this period include Touch, Landscape and Impression. Poetic theory of man's meeting with the world. 1992 went to Britain as a visiting scholar, 1994 returned to China and was transferred to the Chinese Department of Beijing Institute of Education as an associate professor.
He is the author of poetry anthology Commemoration (Changjiang Literature and Art Publishing House, 1985), You Cliff (Hunan Literature and Art Publishing House, 1997), Poems of Wang Jiaxin (People's Literature Publishing House, 200 1) and Stairs (English translation, Wellsvip Publishing House, London, 60 1989), The Nightingale of My Time (Shanghai Oriental Publishing Center, 1997), Poems Without Heroes (China Social Sciences Press, 2002), Passion for Keeping Literary Essays Secret (Beiyue Literature and Art Publishing House, 1997), Sit low.
Editor-in-chief: Selected Contemporary Experimental Poems of China (Feng Chun Literature and Art Publishing House, 1987), Selected Contemporary Poems of Europe and America (Feng Chun Literature and Art Publishing House, 1988), On Important Foreign Poets in the Twentieth Century (Henan Literature and Art Publishing House, 1993) and Ye Zhi's Works (three volumes). Hebei Education Press, 2003), China's Poems: A Memorandum in the 1990s (People's Literature Publishing House, 2000), China's Contemporary Poetry Classics (Feng Chun Literature and Art Publishing House, 2003) and paul celan's Poems (Hebei Education Publishing House, 2002).
He once participated in the project "China Vision" hosted by Professor Yan Liqin of the National Institute of Educational Sciences, and served as the editor-in-chief of Senior One. He has won many domestic poetry awards and won the first prize of scientific research papers and works of the Institute of Education for many times. He is a director of the Chinese Writers Association "Chinese Poetry Society".
Poetry works and articles have been selected into a variety of important anthologies of poems and theoretical comments in China, and have been selected into a variety of textbooks of contemporary literature history in China by universities such as Peking University and Fudan University. The poem "Beyond the Mountain" was selected by People's Education Society as a Chinese textbook for senior one, and the poem "Pasternak" was selected as a Chinese reader for senior two by People's Education Society.
From Pasternak in 1990 to Lonely House by the Sea, Kafka and Awakening during his later trip to Europe, his influence in China's poetry circle gradually increased. The fate of these exiled or quasi-exiled poets is the main source of his writing. He tried to write a rare history of poetry writing through dialogue with many dead people. There are often alarming monologues in his works, which have painful meanings. After 1996, represented by "London Essays" and "Elegy", he began a new exploration of poetry. His published poems include The Sound of Palm and Swimming Cliff.
Wang Jiaxin seems to be such a sincere poet. In other words, his personal temperament is almost consistent with the aesthetic style presented in his poems: simple, firm and seemingly profound. I mean winter woodcutter, Kafka, or valentino. As for those things embedded in a large number of foreign poems, which are euphemistically called intertextual writing (it looks like a poor cement wall in China, covered with colorful foreign glass fragments, sparkling and dazzling), I think this has nothing to do with a poet's sincere work; In other words, they created another style of Wang Jiaxin.
In sincere Wang Jiaxin, we fully realized the true meaning of Rilke's famous saying: persistence means everything. Misty poetry became famous in the later period. After the third generation of poetry, today's personalized writing, the situation changes, ebb and flow. Many poets who emerged at the same time as Wang Jiaxin crossed the ocean, many turned to the sea, and many stood aside under the pressure of the momentum and talent of the rapidly rising latecomers such as surprisingly and Haizi. Wang Jiaxin, on the other hand, remained unmoved, enduring for a long time, and gradually became a leading figure in today's poetry circles, appearing on the same stage as Chen Dongdong and other backward literati. All these show that Wang Jiaxin has certain persistence and independence. This character not only contributed to his success in reality, but also contributed to the formation of some of his excellent works. There is no doubt that Wang Jiaxin is not a poetic juggler who plays with complicated skills and enjoys it. For a long time, he devoted himself to the creation and excavation of "depth image". The concentration and depth of thinking enabled him to finish this work better than others. Or on the other hand, it is the profundity and oneness of thinking that prompted him to consciously or unconsciously choose to build his own poetry kingdom from this angle. In a series of works such as Iron, Crow and Stairs, we can generally touch Wang's poetic characteristics: language cuts into the shell of a single image from multiple angles like a nail, trying to touch its core while exhausting the multiple connotations of this image; The frequent use of monologues makes this intention sharper (for images) and clearer (for readers); In addition, an indescribable melancholy runs between the lines-this is the most direct expression of Wang Jiaxin's personal temperament in his poems, which strengthens the power of his works to impress people. These characteristics are vividly displayed in Pasternak, which won him a wide reputation. In his poems, Palmer is no longer the master who insists on writing in Russia, but an image walnut in his hand. Wang Jiaxin injected his main life feelings into it and poured out his hidden pains and experiences. In this sense, Pasternak is Wang Jiaxin. Therefore, the success of this poem is logical-there is no deeper and truer explanation than creating the image of "self", especially for Wang Jiaxin, who is good at it. Kafka's brilliance is also related to this. Wang Jiaxin and Kafka have similar temperament: a gray firmness and destiny takes a hand's melancholy. This enabled him to get close to the heart of Austrian genius to some extent and partly express his heart. Kafka called himself a cave animal, while Wang Jiaxin, in a sincere state, was like a cave animal, always digging in one direction. Perseverance finally made him achieve something, which also made him different from Ouyang. He was like a Chinese showing off his skills everywhere. Needless to say, the king is not as mature as Europe in terms of technology. But this just fulfilled Wang Jiaxin, so that he didn't work hard on the surface of words at all, but went deep into things. Therefore, some of his excellent works are clear in appearance and profound in connotation, and have the power to touch the soul. You know, in our time, poems directed at people's hearts are rare, such as the endangered wild swan. Therefore, sincere Wang Jiaxin is precious.
Unfortunately, this is not all about Wang Jiaxin, or, as I said, there is another style and character of Wang Jiaxin. Character is style, and poetry is like a person. This ancient proposition is particularly obvious in Wang Jiaxin (this is related to his lack of skills and willingness to "reform" like surprisingly). Although I like some of Wang's works and am inspired, I have to point out that he still shows some hypocrisy. I realized this when I was watching Swimming Cliff. In Pasternak, Wang has a touching confession: How can I talk about myself without the tears of northern livestock/the burning maple leaves in the wind/the darkness and hunger in people's stomachs? But after reading the complete works, I have to say that there is a feeling of being cheated, a feeling of crying, only to find that the other party is acting-Wang said that he has nothing. Wang regarded his melancholy and frustration as the only and highest pain in the world, and poured it out repeatedly in many poems for fear that others would not know. This reminds me of a narrow-minded, narrow-minded, narcissistic little man, sighing for some small disappointment and full of pain. I feel the same way after reading his prose collection "The Passion of Secrecy". In The Hungry Artist, he also reflected the poverty situation of several foreign artists and their independent personalities. However, what makes people feel that what really makes Wang miserable and angry is his work experience as a poet. However, in more articles, he pretends to be modest, revealing his impressive achievements in studying abroad and the layman's view that some listeners think his works are better than milosz's. As for "the tears of livestock in the north" and "the darkness in people's stomachs", there is not even a shadow-of course, the poet Wang Jiaxin is also a member of/kloc-300 million people, so expressing himself is probably speaking for the people. I really have nothing to say about it. Only in this way, those palace poets in history are more qualified than Wang Jiaxin to shout "How can I leave all this behind and talk about myself" in Zhuang language, because they also describe the crying of a group of people. Later, I was lucky enough to read Wang's long poem "Answer", the title of which is exactly the same as the birth of North Island. Unexpectedly, I realized that some angry words from my divorced wife were in it. This poem is overweight, however, compared with the sonorous 28 lines of North Island, it stands high and low in realm, vision and feelings. Of course, technology may also be refurbished. However, naked technology will only bring uncertain consequences if it is not driven by atmosphere, not to mention that technology is not the strength of kings. Poet Wang, who has rich experience, probably knows very well what will happen if he really cares about and expresses "maple leaves burning in the wind" and "darkness in people's stomachs", so he just makes lip service without actual implementation. This not only made him look short in front of the North Island, but also failed to compare with Sha Yi, whom he despised. Fortunately, Wang Jiaxin had a theoretical smoke bomb to cover his easy retreat. As early as in Answer to Forty-four Questions, he put forward a sentence: Only from literature can literature be produced, and from poetry can poetry be produced. This sentence is often ignored, but it is actually the theoretical basis of his "intertextuality writing" touted by some so-called critics. I just want to ask: Where did the original documents come from? Where did the original poem come from? Life can only be a ubiquitous life. Didn't Wang Jiaxin's best works benefit from the pain in his life? Once he not only consciously avoided people and the earth, but also lost his own pain, he could only shrink into the quotations of the masters and weave a seemingly gorgeous but poor and empty "text". I don't think it's wrong to quote foreigners' names and place names in poems-it's the era of globalization, and to some extent, "world literature" has gradually become possible, and traditional images in literature of all ethnic groups can be used universally-but when the most wonderful part of a poem is a famous sentence of a foreign uncle, and the transmission, development and artistic conception of the whole poem are based on it, I really don't see any positive significance for the development of literature. Based on the eloquent and sanctimonious attitude of the advocates and practitioners of this style (not just Wang), I can only call this kind of writing: hypocritical writing.
2. Wang Jiaxin, male, professor of economics, born in 1958, Shanghainese. 1983 graduated from Anhui University of Finance and Trade. In the same year, he was assigned to teach at Nanjing Institute of Economics. From 65438 to 0993, he served as deputy director and director of the Department of Economics and Trade of Nanjing Institute of Economics. Studied in China Renmin University and National Higher Education Administration College successively; 1996 10 served as the vice president of Nanjing Institute of Economics; In August 2002, he served as member and vice president of the Party Committee of Nanjing Audit University, and in February 2004, he served as member and president of the Party Committee of Nanjing Audit University.
Comrade Wang Jiaxin is an expert who enjoys the special allowance of the State Council, a "young and middle-aged expert with outstanding contributions" at the ministerial level, an "outstanding young backbone teacher" at colleges and universities in Jiangsu Province, and a winner of the "redwood tree" gardening award at colleges and universities in Jiangsu Province. He has won Jiangsu Science and Technology Progress Award and Jiangsu Excellent Achievement Award in Philosophy and Social Sciences for many times. He has been engaged in teaching, scientific research and education management for a long time, majoring in industrial economics. In recent years, we have conducted in-depth research on important macroeconomic issues such as the adjustment of economic structure and the expansion of domestic demand in China's local economic and social development during the period of system transition, and undertaken more than one scientific research project 10, such as the National Social Science Fund and Jiangsu Social Science Planning Project. He has published nearly 100 academic papers and more than 10 monographs and teaching materials in Guangming Daily, Economic Trends, Finance and Trade Economy, China Economic Issues and Xinhua Digest. At the same time, he is an expert in the evaluation of national philosophy and social science planning, a member of the evaluation expert group of undergraduate teaching level of the Ministry of Education, an expert in the evaluation of outstanding teaching achievement award of the Ministry of Education, an expert in the evaluation of "excellent courses" of the Ministry of Education, a consultant for the development of western education of the Ministry of Education, a member of the expert group of the Tenth Five-Year Plan of the province, an expert in the evaluation Committee of soft science experts of the Provincial Science and Technology Commission, an expert in the evaluation of philosophy and social science of the province, a vice president of the Chinese Audit Society, an executive director of the China Market Society,
3. Wang Jiaxin, 1957, was born in Xun County, Hubei Province (now danjiangkou city). 65438-0978 entered the Chinese Department of Wuhan University. 1982 graduated and assigned to teach at Yunyang Teachers College in Hubei Province. 1985 seconded to Beijing Poetry Magazine as an editor, 1990 left. 1992 went to England. 1994 returned to China to teach in the Chinese Department of Beijing Institute of Education. His published poetry collections include Commemoration (1985) and You Cliff (