The Research Of Crossing Stylistic Forms In Chinese Modern Poetry From The Perspective Of Culture

The phenomenons of crossing stylistic forms have existed during the whole Chinese modern poetry history. In this paper, I try to analyse the crossing stylistic forms appeared in the development of Chinese modern poetry.This paper argues that, the crossing stylistic forms is not just for the artistic innovation, they have profounding cultural meanings. Modern formal theorists generally believe that the forms are closely related with human spirits, mind and even culture. It is not external to the spirit, but contains a lot of mental and emotional information. The wide range of crossing stylistic forms has appeared after the Enlightenment. It grows during the creation process of modern culture. The artists used the forms to against disadvantages of modern culture. It was born inside the modern culture, at the same time, it can also react to the culture. Chinese poetry appeared in a different culture circle. Similar forms are bearing different cultural ideal. Overall, prose, fiction, drama and other genres acrossing into poetry, has always saturated with the dreams of establishing a unified national country, and the dreams of eatablishing freedom, democracy. From this point of view, the past research has not notice yet.The cross has deeply changed poetry, including poetry discourse, text structure, aesthetics and so on. New express way and new aesthetic experience are important to Chinese poetry. Through careful analysis, we can be more clearly observed the new aesthetic feelings. In this premise, this paper discussed every unique stylistic element which fusing in poetry, and to trace out the basic forms of poetry genre. Poetry genre requires a basic sense of rhythm. The language of poetry is a multi-level structure. In addition to it’s literal meaning, the language of poetry use it’s sounds, images, pictures to cause some hint. It also uses cutting and combination of events, or scenes of the series, to breakthrough the limitation of surface meaning.New forms are dependent on the traditional forms. The form has the characteristics of the inheritance and continuity. Although crossing genres have occurred in western society, but the traditional form is still potentially affecting. Based on the examples of Fei Ming, Zhai-Yongming, and Zhang Zao, the paper try to interpretate the relationship of traditional forms and modern forms.Crossing genre is an important way for Chinese modern poetry to grow up, but it is not the only way. Any form creation should be based on turely living feelings and experience. Only in this way,the creation might be valuable. Any technology or thoughtlessly horizontal transplantation is not making the right direction of the poetry development. In this sense, there are two implications:on the one hand, the poet are required to have a profounding insight and understanding of cultural context which he lived and to eatablish a consciousness of cultural construction. On the other hand, he must learn how to use all kinds of art resources to create.