"Innocence" And "Sentimental" Of Narrative Poetics In The 1990s

The social transformation at the turn of the 1990s was previewed in poetry in the form of an omen.At the end of the 1980s,the popular culture and consumerism carried by the economic system have appeared in poetry ambiguously.The elimination of elite culture by popular culture has had a profound impact on literature and the entire humanistic intellectual circle.In response to the impact of popular culture,the ideological resources of the humanistic knowledge circle have also undergone major changes.The cultural critique in the 1980s officially ended in the "Humanistic Spirit Discussion" in the early 1990s.The loss of cultural criticism and the rise of popular culture made the "third generation" poetry practice lose its ideological foundation.Political critique was replaced by a broader knowledge-power critique.In the sociological method of knowledge,the aesthetic structure is also included in the scope of reflection,and the poetry practice of the "third generation"has been declared invalid.The poems in the 1990s started from the reflection on the poems in the 1980s.The method of the sociology of knowledge incorporates the independent aesthetic world into the historical structure.Poetry cannot leave reality to gain a meaningful self-expression.The "third generation" finally fell into the nihility of meaning in the construction of an independent aesthetic subject.Poetry in the 1980s became invalid and "unclean" writing,which is fundamentally different from the poetry of the 1990s.At the same time,a sense of"fracture" permeated the poet’s prose and poetry criticism.Narrative poetics provides theoretical support for the "fractured" poetry history statement,and also provides a method for re-establishing the connection between reality.Its particularity lies in the fact that poetry criticism,poetry writing,and theoretical construction are carried out almost simultaneously.In the self-interpretation of poets and critics,narrative poetics has been regarded by mythology as a poetic theory with both personal standpoint and historical narrative.Although narrative poetics is motivated by self-reflection,this theoretical construction also shows the knowledge production process of narrative poetics.Then the poet’s self-expression is worthy of vigilance.On the other hand,narrative poetics has the ambition to synthesize the problems of the times,and its out-of-focus expression is full of ambiguities and contradictions.The analysis of narrative poetics lies not only in conceptual combing,judgment of goals and motives,but also in its obscuration and blindness to the poems of the 1980s.From an aesthetic point of view,narrative poetics is even more about the crisis of historical narrative brought about by the"revolutionary" discourse since the 1960s.This crisis has blurred sersibility and rationality,internal and external relations in the "implosion" of meaning.The boundary between exterior,subject and object.This article is composed of four parts:the dialectical relationship between "narrative"and "lyric",the occurrence of narrative poetics,the theoretical analysis of narrative poetics,and the poetic practice of narrative poetics."Narrative" and "lyric" were not opposed at the beginning of new poems.With the discussion of the essence of poetry,"narration" and"lyric" were gradually distinguished as the outside and inside of poetry,and then in the 1930s,they were expressed as the opposition of "Yan Zhi" and "Zai Dao".Whether it is Hu Shi’s integration of aesthetics into the system of "scientism" or Zhou Zuoren’s emphasis on"Yan Zhi",they all interact closely with reality due to the ideological resources of the New Culture Movement.The tension between "narrative" and "lyric" and reality is transformed into a driving force for telling history.This is something that narrative poetics does not possess.On the one hand,narrative poetics rejects meaning,history,and subject,and on the other hand,it has the illusion of intervention in reality.The "naive" historical subject and the "sentimental" aesthetic subject are integrated.In poetry,this kind of mixing is manifested as a constant migration from the historical subject to the aesthetic subject,and any historical narrative is classified into the wasteland of meaning.Such a subject has no ability to intervene in history.The self-expression of narrative poetics is contradictory.It confirms the existence of the subject by deconstructing the subject.The aesthetic subject not only did not disappear,but also deepened the illusion of assimilating the historical subject.In the late 1990s,some poets returned to the language of poetry,which is exactly the lag in the aesthetic ideals of narrative poetics.In the postmodern context,the crisis of narrative poetics is universal,and its crisis of historical expression also represents the fact that the aesthetic subject has lost.In historical narration,the aesthetic subject supplements the historical subject in perceptual form,thus forming a perceptual historical structure.With the disappearance of the external meaning,history and the subject have been declared shattered,and the aesthetic form as a representation has fallen into fragmentation and contradiction,and then can only be nostalgic for the subject with an impossible pursuit and a purposeless wandering.