The Poetry Of Modernists & The Western And Chinese Poetry Literature And Art Major

This dissertation consists of five chapters: the chapter of preface, the chapter of art, the chapter of form, the chapter of criticism, and the chapter of information.The preface chapter has one major section, which introduces this paper's topic, significance, contents, methods, and innovative points.The chapter of art studies the artistic methods and its corresponding poetical and aesthetic range of the modernist poetry, and modernists' major ways to understand poetry: its symboi, image, and intelligence. The chapter of form studies the form of poetry, the idea of the material shell. Namely, its form, pure poetry, music, rhyme and rhythm. The chapter of criticism studies the relationship and poetry criticism between the modernists and the western new criticism. The chapter of information studies some poetry magazines of modernists discovered by this dissertation.The discussion on symbolism studies the introduction and comments on the western symbolism in the 20s; studies some individuals work on the same topic of some great literature masters such as C. Baudelaire, S. Mallarme, A.Rimbaud, P. Vale'ry,, W. B. Yeats etc.; in addition, it studies the modernists' innovation and reform of the western and Chinese symbolism.Imagism studies that the theory of western imagism was introduced, rearranged and criticized in the poetry criticism of 20s. It talks about the introduction and research on the six theories of the western imagism, and on their studies on the poetry of American poets: Pond, Lowell, Fletcher, and British poet Aldington, Lawrence, F-S-Flint, their research on the theory of western imagism and the comparison between the west and China. Besides, it introduces Zhu Guangqian's introduction and study on the Chinese poetry image.The discussion on intelligence studies the historical development of the intelligence theories and the differences from S. T. Coleridge, Eliot to Richards. The intelligence helps separate the early days and later days in intelligent modernists. The introduction and study about intelligence influenced the Chinese new poetry and creation in the 40s. Modernists introduce the theories and creation of futurists, cubicalists, Dadaism and superrealism. Dai Wangshu turned the study direction from symbolism to superrealism, and Bian Zhilin also appeared to have two different directions of early and later stages. Therangicism thought that the aesthetics of modern poetry was the unity of classical and modern creative concepts. Modern poetry rang includes the morbid aesthetics and obscurity aesthetics. The morbid beauty is the range of value, sorrow and depression, loneliness and confusion, ugliness and alienation, these three types of combination. The obscure beauty has a variety of images, wide range of symbols and intelligence pursuit, these three types. Poet theory studies the origin, succeeding, and alienation of Chinese and western poetry and the poems from Dai Wangshu, Bian Zhilin, and He Qifang.The modernists' poetry aesthetics and, the ways of poetry and art creation, and the poetry theory are all identical. Poetry critics and poets are all knowledgeable and familiar with the west and China. They are the most excellent, complete school in the contemporary poetry history in China. The modern poetry theory proved that the contemporary poetry needs the innovation on poetry theory.The chapter of form is the rang of the discussion on tools, which includes the form theory, pure poetry theory, music theory and thyme and rhythm theory four discussions. The form theory is the definitive discussion on the poetry forms, at the same time it plays a leading role for the following three discussions of this chapter. The pure poetry theory is the key point of this chapter; music discussion extends and systematizes the music subject fn the pure poetry discussion. The rhyme and rhythm is the final theory ending of the form discussion.The form discussion studies Liang Zongdai and Ye Gongchao respectively introduced and spreaded the French imagism and British and American formali...