The Study On The Reception Of Chinese New Poetry

The poetry is the most advanced form of art, which is called the art of art and the diamond on the artistic crown. China is an old poetic country.There was a tradition of collecting poems during the period of Spring and Autumn. In Han Dynasty, there was Yue Fu, and later there appeared different kinds of poetic forms, including the poetry of Tang Dynasty, the poetry of Song Dynasty and Yuan Songs.After a long period of development, the classical poetry formed a variety of poetic styles with several thousand years of prosperity.However, new poetry has been living in the theory of crisis since its birth. Compared with novels, prose, plays and other artistic forms, new poetry is thought to have the least achievement in new literature by many people. Now it's 21st century. It's a period when new poetry has been far from people. There are few magazines for new poetry and the sale is extremely small. Even quite a few teachers and college students from Chinese Department have no interest to read new poems, which forms a contrast to an old poetic country with 1.3 billion people. There is no doubt that new poetry lacks readers. Such a phenomenon is worth thinking over. Why do readers refuse and keep away from new poetry?Have new poetry really been dead? Is it unnecessary for poets to exist? New poetry has come to a critical situation. In such background, the reception of new poetry has become a very serious realistic problem as well as a historical problem worth earnest exploration. The exploration of the relationship between new poetry and receivers from this aspect can make a clearer judgment and understanding. It can also provide new inspiration and reference for new poetry which is in predicament.The relation between new poetry and receivers has seldom been studied for long and been neglected all the time. According to the view of reception aesthetics, the text of new poems can't give its play before it's received by readers. Only when readers read or appreciate the text can the poem realize its realistic value and become a real work, playing its role. The poems of different poets have their own implied readers. The appreciation or critics from readers will have a counter effect on poets, influencing the development of new poetry. Poetry has varieties of functions such as expressing thoughts and feelings through poems,appreciation and critics,Because new poetry has quite different carriers and channels for transformation from classical poetry, its functions have been greatly expanded and varied. First, poetry has functions of aesthetic judgment and enjoyment, that is the function of "poetry". Poetry, as the most advanced artistic style, should undertake the task of embodying national spirit, speak for people and build the base for times, showing its "noble" aspect. Besides the pursuit in art, the experience of life, universe spirit and philosophical thoughts can all be presented, greatly affecting people's spiritual world. Second, poetry still has political, social and cultural functions, meaning the function of "non-poetry". Poetry is both of the noble and the public. The birth of new poetry itself was the product of new cultural movement instead of the natural change of artistic style within culture. appearing with the task of reforming society, idea and culture, the relation between new poetry and readers break through the pure relation of appreciation. Whenever society has sharp changes, new poetry is always playing the role of pioneers. New poetry's value of non-aesthetic shouldn't be ignored, in fact, it's the task of "non-poetry" that made poetry spread wide. The benefits and disadvantages of the several poetic movements widened the influence of new poetry. the actual transforming effects depends greatly on the reception of the receivers, so the paper tries to explore the synchronic reflection in the same period, the level reception together with the diachronic changes in different period and vertical reception based on the effect study and the reception study, reconsidering the reception fate of new poetry in contemporary and providing new view and enlightenment for the creation and theoretical study of new poems. New poetry is transformed by means of newspapers, TV Stations, recitation meetings, wall papers, streets, textbooks and other media. Since its birth, new poetry emphasizes on facing to the public. It emphasizes on adapting to the public's cultural level and artistic level. As consumers, readers have a direct influence on the sale and survival of newspapers and magazines. in different context of times, receivers potentially lead the writing styles and transforming effects of new poetry, playing a critical role in the survival and development of new poetry as well as its prosperity and declines.Chapter I, Media revolution and Receiver revolution. The appearance of modern newspaper industry provides material carrier for new poetry. The implied reader of new poetry faces to the public. Whoever buys newspapers, books or magazines is the reader of new poetry. New poetry must consider the readers' reception levels and aesthetic interests in order to survive we can say it's the revolution of newspaper media that leads to the receivers' revolution. Readers have got much attention that they have never had and their status has been greatly increased. It's by means of the power of the newspapers and magazines with great influence that the poetic revolution in late Qing Dynasty could be transformed effectively and cause wide effects. The revolution became the opening of the new movement, founding a base for the smooth development of new poetry movement.Chapter II, the reading study of new poetry, which explores the formation of new poetry's reader groups and the reader's response in the early new poetry. In the triangle relation of author, work and readers, the reader does not only make a passive response. On the contrary, he himself is a dynamic formation. It's unreasonable if the receivers don't take an active part in the history life of new poetry. Because only the passing process of readers can the work enter an experience view with continuous changes. Readers take part in the reception of new poetry and play and important role in accelerating or stopping the development of new poetry. The number of the new intellectual has greatly increased since the abolishment of the imperial examination system, changing the inborn structure of China and forming the premise of the happening of new cultural movement. The young students and intellectual were always the receivers of new poetry, but during the period of Anti-Japanese War, the new folk song movement and some other special periods, the number of the receivers of new poetry was greatly increased, which had many effects on new poetry.Chapter III, the reconstruction of the horizon of expectation in the new cultural movement. At the beginning of the birth of new poetry, it was regarded as "non-poetry" because it broke up the regulations on rhymes, languages, contents and some other aspects, completely beyond the horizon of expectations of classical poetry. New poetry aimed to breaking up the barrier of classical poetry. It gave up classical Chinese to use vernacular. It gave up rhymes to adopt free style. Breaking up traditional poetic flavor to express modern experience and trying to focus on the "newness" of new poetry, the initiators of new poetry had a fierce debate with the defenders of the old poetry, during which the readers' expectation view experienced the process of breaking-reconstruction. It's not until the readers accepted the aesthetic experience of new poetry that new poetry gradually built its legal status in the field of culture and was popular with the youth. There appeared a tide of reading poems.Chapter IV, the multi-pursuit and response during the period of the new poetry's development. after 1925, New poetry marched toward the way of multi development. The symbolic school, the modern school, the crescent school and the Chinese poetic association boomed up, taking on varied possibilities. These poetic schools had different attitudes toward readers, some drifting apart and some emphasizing. Some poets were devoted to the exploration of poetic art and some were devoted to the combination with the readers, leading to the division of pure poetry and revolutionary poetry. The number of the readers' of pure poetry was limited, which was limited to the intellectual who had relatively strong artistic appreciation ability. Although the revolutionary poetry tried to combine with the public, it in fact kept away from the real life of the public. It didn't really gain the supposed readersChapter V, the context of anti-war and the reception of new poetry. China was divided into three parts because of Anti-Japanese War, which were Liberation District, National Governing District and Occupied District. They were not only difference in geographic district, but also different political and cultural spaces. Poetry is a very active branch in artistic styles. Poetic styles are different. So does the situation of the reception of new poetry. The political ironic poems were very popular with people in National Governing District for they said what the people want to say. The poetic magazines in Occupied District survived hard , expressing the sadness of the people in colony who drifted apart from the homeland.The poems in Liberation District called on the combination with the public. The movement of street poetry and recitation poetry boomed up. Poetry played its strong role of propaganda. Meanwhile new poetry widened its influence. At that time, the poems of Tian Jian and Ke Zhongping had a strong effect. The poems of He Jingzhi's new folk songs'style became model.Chapter VI, the different reception in different periods. This chapter aims to combining the effect study with the reception study. It takes the reception of the poems by Guo Moruo, Xu Zhimo, Li Jinfa, Ai Qing and Mu Dan in different periods as examples, inspecting the poets and their poems' reception fate in different time context from the aspect of the diachronic reception.Chapter VII, the reception tide of contemporary new poetry. This chapter chooses several influential tides of readers' reception, including new folk song movement, obscure poetic tide and the phenomenon of Wang Guozhen, analyzing the main roles political behavior, aesthetic experience and readers' psychology have played in the tides. Besides, this chapter illustrates the reconsideration of the main negative critics since the birth of new poetry. The reception of new poetry is individual behavior as well as social behavior. Individuals live in society. Individuals' cultural reception influence each other, forming a times' cultural interest. The creation of poets is affected by poetic tides, so they have to consider readers' taste and interests as well as critics' praise and critics.The receivers play a very important role in affecting the creation of new poems, spreading appreciation interests and building the models of new poems. The reception of new poetry has connection with times' context. T times' expectation view lead to the popularity or the indifference to new poems. The building of the classical status of new poetry is closely connected with the receivers. The new poetry swinging between "purification" and " publication", between " nobelization" and " communization" brings the changes of readers' aesthetic experience. The creativity of text calls on the possibility of the diverse development of poetry's functions. Whether new poetry is for the exploration of art or speaks for the public decides the two tendencies of new poetry's development. Only when poets combine the artistic undertake with the social undertake can readers be not far from poetry.