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Briefly describe the artistic achievements of the new poetry tide represented by obscure poetry in the 1980s?
1978 The publication of the third issue of Today magazine marked that the tide of modern poetry turned from underground to mass and entered the literary tide after the Cultural Revolution. This is the so-called "misty poetry" school, and its members include Beidao, Gucheng, Shuting,,, Munk, Duoduo and Liang. These young poets have created a number of poems with new aesthetic characteristics by using modern poetic artistic skills such as symbol, metaphor and synaesthesia. As soon as this group of poems appeared in the literary world, it attracted people's attention with its unique and novel aesthetic factors and triggered a series of controversies. 1In August, 980, Poetry magazine published Zhang Ming's The Forgotten, denying their significance and value on the grounds of "incomprehensible", hence the name "misty poetry". The representatives who hold this view are Fang Bing, Cang Kejia and Zhou Liangpei. On the contrary, Xie Mian, Sun Shaozhen and Xu Jingya successively wrote articles affirming this new poetry trend. First of all, Xie Mian, a poetry critic, affirmed the exploration spirit of these poets from the perspective of literary history. Sun Shaozhen thinks that the poems of these young poets represent a new aesthetic principle, and the difference between this principle and the traditional aesthetic principle is "the difference of human values". "In the eyes of young innovators, individuals should have a higher status in society. ..... When society, class and times are no longer the dominant forces of individuals, the so-called personal feelings, personal joys and sorrows and personal spiritual world in poetry will naturally improve their value of existence. The victory of society over barbarism and the return of human nature will naturally lead to the return of human nature in art, which further summarizes the three aesthetic principles of these "misty poems", namely, "disdaining to be the mouthpiece of the spirit of the times", "disdaining to express great achievements outside our emotional world" and "avoiding writing about the experiences of people we are used to, heroic struggles and selfless labor fields". As a member of the camp of the new poetry tide, Xu Jingya boldly summed up the essence of the new poetry tide with the words "modern tendency" and "modernist literature" in his paper. These three "rising" articles comprehensively expounded the historical significance, aesthetic principles, characteristics and connotation of "misty poetry tide". The simple summary is: from the truth of the object to the truth of the subject, from passive reflection to active creation. On the other hand, in the mature form of "misty poetry", the internal mechanism of the May 4th New Literature tradition obviously works, and montage, metaphor, irony and other techniques provide personalized and stylized focus for the collective experience of intellectuals. The refreshing image and the aesthetic tension of the image constitute the dramatic objectification of consciousness conflict, which is not only the aesthetic expression of individual experience, but also the aesthetic expression of collective experience. For example, the famous image 5, such as the "epitaph" of the North Island and the "monument" of the river, implies a collective image and reveals the * * * relationship between the poet and this generation. In this sense, they participated in the trend of thought of "scar literature" at the turn of 1970s and 1980s with a unique and relatively mature attitude. Shu Ting is one of the representative poets in this "misty poetry tide". Her poems are sad but not pessimistic, sincere and gloomy. They not only pursue their ideals in suffering, but also reflect on people's self-worth. Faith, ideal, social justice and strong spirit of individual rationality are all expressed through the lyrical image of "I".

Although "misty poetry" seems to be similar to western modernism in form, it is still the return of May 4th consciousness in experience. The former is related to foreign literary thoughts and works, but whether in the underground period or the open period of the new poetry tide, this similarity can't be understood as one-dimensional imitation learning, but the world factor that they recognized their own experience in foreign thoughts, because in fact, "it happened not in the prosperous period of cultural exchanges between China and foreign countries, but in the narrowest period of China's literary road, in the era of closed doors." The main force of the new trend-a group of young people, in cultural life and its poverty, even in the land of China, there are always several volumes of foreign poems, but they write similar poems sporadically. 6. Due to the restriction of social, political and cultural environment at that time, the debate on "misty poetry" ended with strong political significance, but with the passage of time, this new "misty poetry tide" has established a position that cannot be ignored in the history of literature. Their aesthetic pursuit has been recognized by literary history and readers, and heresy has become a tradition, which constitutes a very important aesthetic text in literature after the Cultural Revolution.