Study On The Space Writing Of Chinese Poems Extraterritorial From The 80s To The 90s Of 20th Century In China

"Space" is the place of human activity.In modern society,the existence of the consideration space has long ceased to be an ancients,and has become a collection of specific relations.The diversity of locations also means the diversity of the space itself.Away from homeland,not only means a geo-spatial isolation,but also means that cultural space,discourse space conversion,and may be related to identity crisis.This paper attempts to take a comprehensive vision of the BeiDao,Zhangzao and others into the overall consideration,from a specific perspective of space,with Lacan mirror theory,postcolonial theory to explore the poets in interlingual practice The aesthetics exploration in the practice of modern Chinese poetry and the contemporary symptom of such writing as the same as the mainstream of the domestic mainstream and the marginalization of Chinese poetry writing in the 1990 s.The first chapter,I attempt to point out BeiDao,Song Lin and others in the field of wandering,so that they rediscovered the "interior" space.The "interior" space not only distinguished them from the square-style writing of Chinese poetry in the 1980 s,but also interfered with the context of their existence.For the wanderer,the interior space in poetry is also a sealed capsule between the past and the future in the vast sea.The second chapter of this article intends to explore the time writing problem of poet's extraterritorial writing.As a kind of spatialization of time,dramatization is a spatialized approach to time.Although the poets such as Bei Dao and Duo Duo,and other third-generation poets such as Zhang Zao and Song Lin showed great differences in dramatic skills,Both in abundance and rebellion against the viewpoints of modernity in Christ time,constitute a rebellion against the concept of certain essence of time.The essence of this exploration of writing is the combination and synthesis of a poetic technique with a dual perspective.At the same time,the expression of spatial displacement needs to be cut and recombined with time.This experience itself is not only a subversion of the myth of time,but also a modern aesthetic practice of poetics.On the basis of the first two chapters,the third chapter discusses how the poets' individual writing constitutes a cut-off independent space and has a relationship with the history as a whole,exploring whether the experience of time and space in exile can constitute the overall social experience symbol of.Finally,I attempt to point out that writing in the marginalized situations of Bei Dao,Duoluo,Zhangzao and others has in some sense become a symptom of the marginalization of poetry in the 1990 s.Although extra-territorial poets have always emphasized their particularity,The collective talk of Chinese writing in the 1990 s was reunited with the opposite direction and the same way.