Wang Jiaxin. He used to be a literature professor under the pseudonym Bei Xin and Pang Jia. 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. 65438-0978 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 series of poems, such as Chinese Painting and Poems on the Yangtze River, which attracted wide attention. 1985 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. On the Meeting between Man and the World in Poetry. 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. In 2006, he was hired as a professor by the College of Literature, Renmin University of China, and offered a comparative study course of Chinese and western modern poetry and a creative course. 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 in its own time (Shanghai Oriental Publishing Center, 1997), Poems without Heroes (China Social Sciences Publishing House, 2002), Literary Essays' Enthusiasm for Secrecy (Beiyue Literature and Art Publishing House, 1997), etc. 1987), Selected Contemporary European and American Poems (Feng Chun Literature and Art Publishing House, 198 Hebei Education Publishing House, 2003), China's Poems: A Memorandum in the 1990s (People's Literature Publishing House, 2000), China Contemporary Poetry Classics (Feng Chun Literature and Art Publishing House, 2003), paul celan's Poems. 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 many important collections of domestic poetry and theoretical criticism, and have been selected into many textbooks of China's contemporary literary history 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 Grade One and Hubei Education Edition. When writing this poem, he was a college student who had just entered the university campus from a remote mountainous area, and lived and worked with his parents in five or six places, so he wrote this poem because his childhood was full of fantasies. The poem "Pasternak" was selected as a second language reader in senior high school by PEP. 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 prose 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 the winter woodcutter, Kafka or valentino's narrative. 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 the 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. In the poem Pasternak, Wang Jiaxin described the poet's situation and spirit like this: "Your mouth is more silent, which is the secret of//fate. You can't say/just endure, endure, deepen the notch/give up in your pen in order to get/live, you ask yourself to die, completely die. " Almost all the images in the poem focus on the sufferings of the times: "those exiles, victims, witnesses, those souls who met in the tremor of mass/those souls who shone in death, and my own land!" Tears in the eyes of northern livestock/maple leaves burning in the wind/darkness and hunger in people's stomachs ... "In the face of suffering, the only choice is to bear it. Pasternak can only defend his Russia if he bears a crazier snowstorm, and the result he bears is no longer painful. " This is happiness, the highest rule that rises from the bottom of my heart. "Poetry itself has clearly expressed these intentions and said everything it can, which was very shocking in China in the early 1990s. So once this poem was published, it was circulated for a period of time. It recognized the suffering image of an era with personal wisdom and sadness, and then established a noble scale of existence that requires suffering and facing the soul directly. Perhaps the latter is the more fundamental motivation for Wang Jiaxin to write this poem. The scale of this existence is given by Pasternak: "This is you, you found me from one disaster after another/tested me, and made my life suddenly miserable"; It's not bitter, it's what you finally bear. /Still unstoppable. Come to us. //Explore us. It requires a symmetry and/or a requiem that is more exciting than the echo "; This is the sadness in your eyes, asking, questioning and oppressing my soul. Obviously, the individualization tendency in this poem does not emphasize the retreat to the times, nor does it evade the responsibility of the times and the absolute rebellion against tradition, but it shows the inevitable encounter between man and the world, and shows that individuals actively inherit the human spirit of the past and bear all the pressures of the times on human destiny and life by virtue of their own existence. In this sense, Pasternak is actually a spiritual symbol. He is the spiritual height that Wang Jiaxin represents for himself and his contemporaries, so as to reflect on himself and cleanse the fog in his heart. It is through this commitment that individuals can truly become individuals. This means bidding farewell to the craze and noise of fashion, penetrating frivolous words and behaviors, and adhering to a principle that truly belongs to the inner conscience and belongs to all mankind. The embodiment of this principle in poetry is that although you can't live according to your own heart, you should write according to your own heart. This means that this poem reveals another revelation of Pasternak, that is, insisting on inner writing: "From the mist, it reveals not only the inspiration of Russia, but also the poem itself is coming to me: it once again constitutes my trial ..." It should be said that this poem does provide a poetic scale, and writing is a concrete form of personal commitment to the times. To borrow Wang Jiaxin's own words written elsewhere, writing is ". As for the internalization of writing, it means "turning lifelong loneliness into labor", which is actually a portrayal of Pasternak in his poems. He has always been praised as a poet who writes according to his inner conscience. He rejected the worldly noise with his silent mouth and entered the loneliness and sadness of the spiritual world. The affectionate singing of this image in the poem is also the poet's confirmation and internal constraint on his own individual existence. The artistic achievement of Pasternak is mainly regarded as creating a "depth image". This means that it maintains a simple and direct expression from beginning to end, with few rhetoric that needs special interpretation and no decorative images floating on the surface of the language. All words are used to create an internalized image, that is, everything mentioned above. This is fundamentally a kind of arbitrary writing: the impulse to express all comes from the poet's purest and most internalized requirements.
Edit this paragraph II. Dean of Nanjing Audit University
Wang Jiaxin, male, professor of economics, was born in Shanghai, 1958. 1983 graduated from Anhui University of Finance and Trade. In the same year, he was assigned to teach at Nanjing Institute of Economics.
1993 so far, he has served as deputy director and director of the Department of Economics and Trade of Nanjing University 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. In June 2004, he served as member and president of the Party Committee of Nanjing Audit University. In June 2006, he served as deputy secretary and president of the Party Committee. 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. The "Theoretical Exploration and Practical Innovation of Auditing Higher Education" presided over by him won the special prize of Jiangsu higher education teaching achievement and the second prize of national excellent teaching achievement. 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 member of the Economic Teaching Steering Committee of the Ministry of Education, an expert in the evaluation of outstanding teaching achievement awards of the Ministry of Education, and an expert in the evaluation of "excellent courses" of the Ministry of Education. Western Education Development Consultant of Ministry of Education, Member of Expert Group of Provincial Tenth Five-Year Plan Consultant, Expert Member of Soft Science Expert Evaluation Committee of Provincial Science and Technology Commission, Evaluation Expert of Provincial Philosophy and Social Sciences, Vice President of China Auditing Society, Executive Director of China Market Society, Vice President of Provincial Market Economy Research Association, Vice President of Provincial Macroeconomics Society, Part-time Research Fellow of Research Institute of Provincial Planning Commission, Part-time Master Supervisor of Business School of Peking University and Nanjing University, Visiting Professor of Curtin University in Australia, and Doctoral Supervisor of Lombard University in England.
Edit the third paragraph. Director of Science, Education and Culture Department, Ministry of Finance
Wang Jiaxin: 1983 to 1985 studied in No.8 Middle School in Anshan, Liaoning, 1988+0989 graduated from the accounting department of Dongbei University of Finance and Economics 199 1, China Institute of Certified Public Accountants of the Ministry of Finance, 65438+. Mr. Jia Xin, 1967 was born in Anshan, Liaoning Province in March, and was the first member of China Book Association. Director of China Calligraphers Association, member of all-china youth federation, member of All-China Federation of Literary and Art Circles, member of Creative Committee, member of Academic Committee, and vice chairman of Beijing Calligraphers Association. His works have been selected into more than 100 exhibitions, including the National Calligraphy Exhibition, the National Calligraphy Exhibition for Young and Middle-aged People, the China-Japan Calligraphy Exchange Exhibition, the National Cursive Calligraphy Exhibition, the National Fan Calligraphy Exhibition, the Asian Calligraphy Invitational Exhibition, the Contemporary China Calligraphy Exhibition, the 20th Century Calligraphy Exhibition, and the Contemporary Calligraphy Nomination Exhibition of China Art Museum, and have been collected by Zhongnanhai, China Art Museum and the Palace Museum. He is also a member of the Chinese Poetry Society. He is the author of poetry anthology "North" and "Art Garden", and the editor-in-chief of "Chinese and Korean Calligraphy Collection" and "Complete Works of Deng Calligraphy". He is a young calligrapher with comprehensive cultivation and profound skill. 1990 During the 1 1 Asian Games, Wang Jiaxin became attached to sports through calligraphy. He just graduated from a university majoring in finance and economics and held the second solo calligraphy exhibition. After the book fair, he donated more than 80 works to the Beijing Asian Games Organizing Committee. ; A3 k 1 K, n# I K- b' t0 T 18 years later, the Beijing Olympic Games once again inspired the dedication enthusiasm of China people and the creative impulse of artists, and Wang Jiaxin was one of them. Calligraphy is a beating note in his heart. In the following Olympic days, he often turns this Olympic enthusiasm into a passionate melody in the dead of night. He is good at running script, but it seems that running script is not enough to express his passion, so he chose Weeds. In the process of creation, he deeply felt that the harder it was to write, the harder he worked, and it was precisely because he put pressure on himself. )D:c+a； Wang Jiaxin's studio is located in the third ring road in the southwest of Beijing, which was transformed from an abandoned warehouse. When reporters searched around and entered this huge art space, it was obvious that there was a feeling that the room was bustling and noisy, and the room was as quiet as water. Wang Jiaxin's dozens of new calligraphy works are impressive. These works are mostly eight screens and ten screens, with many words, large scale, great momentum and extraordinary style. The content of the work mainly includes four parts: ancient Greek Olympic hymns written with weeds and other sports-related poems and folk songs; The content involves the rise of the Chinese nation, such as 1300 words "China Millennium Monument Fu"; Contents related to the 5. 12 Wenchuan earthquake, such as the poems Requiem 2008 and the Job Market with Few Words. Then there are self-created poems and calligraphy works. "If possible, I want to donate most or even all my works to the Olympic Organizing Committee, the disaster area and the society through donation and auction." Wang Jiaxin expects that for the purpose of this exhibition, Wang Jiaxin said frankly: "I am not a professional calligrapher, so my work level is very limited, but my heart is sincere. I want to bring out my best work and add a little color to the cultural activities during the Olympic Games. As a member of all-china youth federation and a state official, I want to do my best to make the Olympic Games a success, especially to realize the purpose of' People's Olympics'. " He said that the exhibition is by no means a simple display and promotion platform, but more importantly, a process of accepting criticism. "If you shine, of course, you expect to be affirmed in the good aspects, but the most important thing is to let the viewer point out the shortcomings. Through rounds of review and evaluation, the defects of the work can be exposed more clearly and intuitively, so as to be corrected more thoroughly. " In his mind, this "convenience" is a powerful constraint. He knows that the identity of government officials is a "double-edged sword", which can not only promote participation in cultural activities, but also have negative effects if it is not properly positioned. Therefore, he has been in a state of "escape" in the literary and art circles for several years, only seeing his words but not his people. Almost all the opening ceremonies and celebrations can't find him. He turned his love for art into diligent study and tempering in his spare time, as well as his silent dedication to cultural undertakings. Wang Jiaxin's job responsibilities require him to understand both economic laws and cultural and artistic laws. To this end, as a graduate of the University of Finance and Economics, he chose to start with his familiar calligraphy, and through intensive reading of one art, he explored other categories horizontally, just like others. And his knowledge and thorough understanding of calligraphy art, in turn, played a role and promoted his own works. Calligraphy cultivated his character and temperament, and influenced his mental state and life state. Cultural thinking, life thinking and macro thinking about calligraphy will help him to get through the relationship between various art forms and the big cultural pattern at a deep level. In his own words, "in the final analysis, it is to better serve the culture and people and deeply understand the true meaning of life." In Wang Jiaxin's view, the quantity and quality of materials and information possessed by contemporary calligraphers are far richer than those of the ancients, and the written materials are also complete and advanced, and the techniques are not inferior to those of the ancients, but what is lacking is culture. The outlet of contemporary calligraphy lies in the inheritance of classics, rational innovation and cultural supply. "We admire and miss Zhao Puchu, Qi Gong and others, mainly because they have profound cultural accomplishment and personality charm. I study in Shen Peng Calligraphy Elite Class of National Academy of Painting. Mr. Shen Peng's artistic concept and aesthetic perspective, especially his exposition of combining western aesthetics, China's philosophy with contemporary calligraphy practice, have a great influence on me. Wang Jiaxin said, "When I was young, I thought I could show myself through calligraphy. When I grow up, I will participate in various exhibitions, always making a fuss about paper color, mounting style, composition and calligraphy style. With the growth of my age, I gradually realized that if calligraphy only stays at the creative state and technical level, it is far from enough, or superficial. Calligraphy itself is a way of life and an attitude towards life. We should understand with our heart and explore the highest realm of calligraphy art with our whole life. This process should not be artificial, impatient and utilitarian, but should be a normal state of life, but this life is in harmony with art, it is joyful and peaceful, and it also hides a responsibility and mission. "