War Period Poet Research

This dissertation is a study of modern Chinese poets lived in Beijing under Japanese military occupation during the war of resistance against Japan. They always have been forgotten and welcome in the history of Chinese new poetry, though there were a few of researchers'attention to them in the last few years. The dissertation's aim is to excavate, depict and interpret the outcast prospect of new poetry by re-entrying the historical scene.Firstly, the dissertation tries to present a detailed analysis of the literary context in Beijing under Japanese military occupation during the war of resistance against Japan. Though the invaders wanted to control Beijing's news blackout, imprimatur and literary organization, there still were some free discourse space for the writers who lived in Beijing as well as those lived in Shanghai at the war period. The semicolonial modernism of Beijing school still played an important part in the literary world of Beijing. However, the poets in Beijing didn't continue the resurgence of new poetry in 1930's. Not only the poets were on the edge of the literary world, but also their writing conditions began to deteriorate.Yanjing University and Fu Jen Catholic University's teachers and students were the principal part of Beijing's poetry field under the literary surroundings. Some of them tried to find the modern poetry's rhythm from Mandarin, some of them endeavored to beyond the romanticism style of new poetry under foreign symbolism, and some female poets worked hard to present feminine consciousness and nationalism. Wu Xinghua was both the most important member of this poetry circle and one of most important poets in modern China. His poems upgraded the status of this area's poems in the history of modern Chinese poetry. His forepart poems were an intertexture of romanticism, aestheticism and symbolism. These works contained both his imagination of modern city and nostalgia of rural life. He not only took over the mantle of Wen Yiduo in constructing mystic beauty of modern Chinese poetry, and also renovated the vans'writing techniques. An ontological meditation about the developmental way of new poetry was practised from new poetry's form, and texture and content. He showed clearly how modern Chinese poetry change its banality into profundity, and pointed out its shortage by a compare between rules and forms of classical poem and that of modern Chinese poem. We can find his historical sense to the tradition of classical Chinese poetry in the meditation. His successful and various exploration of modern Chinese poetry's metrics is a valuable legacy which need to be constantly reviewed and consulted by modern Chinese poets who have been in search of a certain rule for their works. In his after poems, Wu went beyond his anterior bewilderment by learning and accepting Rainer Maria Rilke's poetry. Among the poems, especially those texts presenting a reinterpretation of the classical legend, his alternative modernity at the aspect of their poetic art deepened and extended Chinese new poetry's modernism. We should treat his after poems as a pinnacle of modern Chinese poetry at all events.Chapter 6 is the last part of this dissertation. The researcher analyses Fei Ming circle's poetry concept and practice, for example, Nan Xing and Zhu Yingdan. Nan Xing was an inaugurator and founder of modern Chinese idyll. Zhu Yingdan brought a kind of aesthetic imagination which classical and modern poetics interacting and interrelating in his poetry thoughts and works. This part also depicts realism poetry style. Because the realism poets had to borrow modernist techniques, their writings which aimed to write realistically presented ironically modernist style.