On "Qiyue Poets School" War Poem

Based on the core concept---war poetry, this thesis focuses on the classic text-"July”,"hope” and tries to discuss the historical significance and value of war poetryin “Qiyue poets School " from the content of war poetry, cultural values and itstypical imagery, war poetry performance influenced by literary theory of Hu Feng andits comparison with other contemporary war poems.The introduction part summarizes the creation of war poetry of “Qiyue PoetsSchool” and provides us with the literature review of war poetry. The research designand research method are also displayed in this part.The first chapter analyzes and explores the trajectories of war poems of the“Qiyue Poets School based on the text reading poetry and making the Wannanincident as the boundary. Wannan Incident was a turning point of “Qiyue poetsSchool” before and after its development. War poems reflect the national resistance inits primary period, although the later war poems also reflect the contents of the war,they aim at the nation’s internal contradictions.The second chapter centers on the theory of imagery, combining with the socialbackground of in the1940s and May Fourth literary tradition. It discussed the typicalwar imagery of war poetry of “Qiyue Poets School ". it mainly analyzes the “land"imagery carrying poets’ ethnic war suffering and resurrection ideal, the "country "imagery full of desire to liberate the people who have the "spiritual trauma of slavery" and the complex cultural war mentality which promote to awake these people,"Sun,dawn" imagery which ignites poets’ war ideal that “we reserve ‘tomorrow’s mosttrusted audio’”, and the "blood " and "Fire " imagery expressing their desires todevote their life.The third chapter focuses on Hu Feng’s literary theory and analyzes the impact ofHu Feng’s literary theory on the aesthetic performance and the aestheticcharacteristics “Qiyue poets School” has objectively presented.there are mainly twoaspects: one is the aesthetic experience of war " those who speak for him "guided bypoetic realism " subjective and objective allelopathy "; the second is the war sublimeaesthetics which is the formation of the "heart "and" force "under the guidance of"subjective fighting spirit ". Meanwhile, Hu Feng, as an art literary theorist whorespects for the laws, respects the poet’s personality in the creation. In the last sectionof this chapter, the characteristics of the war poems created by the various poets in the Qiyue School are briefly discussed.In the fourth chapter, the author makes horizontal comparison between “Qiyuepoets School” war poems and contemporary poems:“Chinese parnassus pie” and "Nine-leaf Poetic School” war poems to examine the gains and losses of “Qiyue poetsschool” in historical context. There is a similarity between “war poems of Qiyue poetsSchool " and " Chinese parnassus pie ", that is they all use collective war propaganda,but " Qiyue poets School " pays more attention to the laws of art of poetry;"reflectinga broader social aspects of life under a state of war is shared by both the “Qiyue poetsSchool " and " Nine-leaf Poetic School ".“Nine leaves School ’ reflected lifewhich has a more sense of history comparing with “Qiyue Poets School”.In the conclusion part we reflect on the paradox relationship between the timesof literature and the art of literature from the academic literature. And affirmed thehistorical significance and value of “Qiyue poets School” achieving the greatestdegree of balance in poetry aesthetics in the cracks of the times of literature and theart of literature.