On Poetic Criticism Of Modern Chinese Literary History

In the history of modern Chinese literature and criticism, sociological criticism, cultural criticism and aesthetic art criticism are the three major criticism models. Unlike the first two focusing on external research, aesthetic art criticism pays more attention to the internal regularity of literature. Based on art feeling and aesthetic experience, it values intuition and poetic expression and shows the pure aesthetic art. In modern literary history, it is a recurring history that because of the absence of literary aesthetic standards, the literature is on the path of literary and leads to the relationship between criticism and creation becoming increasingly alienated. Aesthetic art criticism has established a criticism model more plentiful in content and more vigorous in life by self-guarding its criticizing aesthetic perspective and made it integrated into the modern paradigm of criticism building, leaving an indelible note in the history of modern literary criticism.The paper is tying to give the aesthetic art criticism with complex names a more clear and determined dissection by "poetic criticism". Through the definition of "Poetic criticism ", carding and the systems analysis of its aesthetic characteristics, on the basis of specific cases, the paper makes an in-depth analysis of causes of the formation of poetic criticism's own unique aesthetic temperament, and makes objective evaluation of the literature significance and value of poetic criticism, with a view to benefit the current literary criticism "breakthrough". This carding dissection not only has academic aspirations for a comprehensive reflection and testing success or failure of China's modern literary criticism in the 20th century and summarizing useful lessons for the future of literary criticism, but also has the value and significance of enriching and restoring the life structure of literary history.This paper treats poetic criticism as a systematic and organic integrity, places it in the historical process of the development of modern Chinese literature and the great pattern of the world literary criticism, reflects the evolution process, the main character and major achievements of this literary criticism from a macro perspective, and inspects the important critics and the text of criticism of this historical period. It combines the research on the history of the criticism and the view of critics, studies the critical activities of critics from the history perspective and the development of the history of literary criticism from the individual activities of critics. It analyzes the relationship between the development and evolution of modern Chinese literature and literary criticism to show the depth of literary criticism in the specific historical form. At the same time, it attaches importance to the study of poetry criticism's own formation, the inherent laws of development and finding the motive forces for development and cultural mechanisms, to explore the internal relations such as the interaction between literary criticism and literary creation, and to study the role and status of poetic criticism in the process of Chinese literature into modernization. The paper, from objective and comprehensive perspective, on the premise of taking into account the double-cross structure of time and space, makes efforts to consider various factors from literary creation to the synchronic research of literature criticism to expand the vision to the utmost.The paper is divided into six parts: introduction, poetic criticism and its aesthetic characteristics, the aesthetic resources of poetry criticism, the specific cases reading, the historical value of poetry criticism and the conclusion.Introduction, through combing and testing the significance of aesthetic arts criticism in that times and the history of modern literary criticism and its complex naming status, try to use the concept of "poetry criticism" to rename and re-organize the aesthetic arts criticism in the history of modern Chinese literature, focuses on the topic's significance, necessity, the status and research methods, and with the sociology of criticism and literary criticism contrast, from the position of criticism and the text entry point, defines poetic criticism in terms of critical style ,which is one of the important innovations this paper is trying to show.Chapterâ… outlines the historic reform of poetic criticism, based on this, it analyzes the aesthetic features of the poetic criticism from the self-consciousness of the criticism and literature. The self-consciousness of criticism is shown in the poetic way of thinking and the thinking and style from sentimental to rational, which is characterized by its casual style and poetic language. Between the social latitude and aesthetic latitude, poetic criticism has always been at the position of aesthetic criticism, pays attention to aesthetic sense, but also tolerates social consciousness in the aesthetic way.Chapter II discusses the aesthetic resources of poetry critics from the first vision of accepting tradition and the reference of the west basing on tradition. In the deep infiltration of traditional Chinese aesthetics, poetic critics has strong sense of the literati complex, and also pays attention to the lyric of criticism and sentiment-oriented criticism method, and gives full play to China's advantages of Chinese table. But faced with the influx of different cultures, they have taken a calm and objective attitude. On the basis of Chinese tradition, they absorb and transform the Western criticism results selectively, focusing on absorbing the Western-oriented logical way of thinking, symbolic, impression, and other theoretical results, as well as modern consciousness of questioning and metaphysical philosophy of life.Chapter III has selected Zhou Zuoren, Li Jianwu, Liang Zongdai, Shen Congwen, Tang Shi five critics for specific case study to outline a basic thread that poetic criticism started in Zhou Zuoren, continued to further improve and become mature by Shen Congwen, Liang Zongdai, Li Jianwu commitments, and spreading by the criticism of Tang Shi. They have the same beliefs and the pursuit of criticism and their own unique personality. Zhou Zuoren's aesthetic interest has a far-reaching impact on Shen Congwen, Li Jianwu, and his criticism stressing subjectivity lays the foundation for the poetic criticism on the basis of subjective aesthetic sense; Li Jianwu's emphasis on the respect of critics and criticism is also a kind of creativity promotes poetic criticism to mature, in particular it is worth mentioning that Li Jianwu's criticism of the column-style and amazing ability to control the text; Liang Zongdai's criticism of the poems makes prominent contributions to drawing on the Western aesthetic resources,and his criticism of walking inside has exemplary significance. Shen Congwen's inheriting and developing of harmonious and asymmetrical classical aesthetic latitude strengthens the national characteristics of the poetry criticism; Tang Shi, as the faithful believer of Li Jianwu, proposes lyric criticism and further developed poetic criticism.Chapter IV points out the historic value of poetry criticism, which is the core of the text. Poetry criticism, as an aesthetic criticism valuing intuition and subjective perception, it gradually absorbs and integrates the ways of Western and Chinese criticism and has formed its own ever-improving quality of criticism, showing a strong vitality. Poetry criticism, as an independent existence, has improved the ecological structure of China's modern literary criticism and has a far-reaching impact on the creation and acceptance of the same period and has continued to today. Poetry criticism respects the aesthetic qualities of literary criticism. The position and method of respecting the aesthetic feeling has a positive meaning to the contemporary critics, especially has a positive and guiding effect on the impetuous, hypocritical critic discourse in the contemporary critic field, at the same time, it has significance for the effective use of cultural resources in Western Literature.Conclusion points out that poetic criticism, as a critic discourse with an independent aesthetic pursuit, because of its excessive emphasis on subjective feelings, inevitably lacks fair and even in appearance while respecting for the true face of literature. All models have advantages and disadvantages, and the key is cross-reference and self-improvement, and to truly achieve the diversification of literary criticism.The innovations in this paper: I, In view of critics named disorderly aesthetic arts criticism, the paper clearly defined the concept of"poetry criticism", analyzes the connotation and aesthetic characteristics of poetic criticism. It can be more accurate to use their definition and combing to explain and analyze issues related to poetic criticism, and the formation of the theoretical results and specific academic opinion has the originality of Metadiscourse. II, Critics haven't made comprehensive and in-depth study on the development and evolution of aesthetic art criticism, this paper incorporates it into the theory horizon of poetry criticism, straightens out the dissection of the aesthetic resources of poetic criticism and its development process, accurately positioning the healthy development of Chinese critic literature. III, From the historical and aesthetic perspective, the paper makes a rather comprehensive and systematic argumentation and comment on the mutual contrastive and complementary historical status, which poetic criticism formed by the light of each other in modern literary criticism and history pattern, with the other kind of literary criticism, and its guiding function which it brought to the literature at that time, as well as the enlightenment significance and the historical value, which it affect on the post Contemporary Literature creation and Literary Criticism after the founding of New China, and that provides a new angle of view on observing and researching the History of Literature from the perspective of poetic criticism.