Rewriting Of Old Works And Poetic Reconstruction

When studying Chang Yao's poems,the revision and the rewriting of his works is a phenomenon that cannot be ignored.Most of his poems,which we think were written between the 1950 s and 1970 s,are not necessarily what they were written at that time,but the result of rewriting from the late 1980 s to the 1990 s.Therefore,it can be concluded that most of the poems we see now belong to Chang Yao's “late style”.If we only start from the so-called "writing age" of the existing literature,we will have a misunderstanding of the essence of Chang Yao's poetry.Among the poems of Chang Yao that were not included in the poetry collection,there are not only early works published from 1953 to 1957,but also several published poems after 1979.By comparing the rewriting of Chang Yao's works,we can find the gradual maturity and innovation of his poetic skills.The thesis consists of four parts: introduction,text,conclusion and appendix.The preface mainly introduces the research status of Chang Yao's poetry and the research ideas and methods of this thesis.The first chapter summarizes the problems of Chang Yao' lost works and rewritten works.Through the textual research of Chang Yao's lost works,it can be found that although there are traces of the mainstream lyric mode in the early stage,there are few political words in his poems.He is more committed to presenting an idealistic color,thus showing some characteristics different from those of politicallyrics.The discovery of Chang Yao's late lost works restores a richer image of the poet.At the same time,Chang Yao's modification or rewriting of poetry not only shows the poet's change in life experience,emotional tone and aesthetic taste,but also marks the poet's pursuit of continuous sharpening in the form of poetry.The second chapter analyzes the transformation of the lyrical subject and object of Chang Yao's poetry from the perspective of its content.Because of his special life experience,Chang Yao's understanding of Qing Hai's natural environment often contains the projection of "Spiritual Father",accompanied by his pursuit of the power of national culture.In the late 1980 s,Chang Yao dispelled the symbolic implication of "Father" on the public cultural level in his poems due to the frustration of realistic ideals and the breakdown of values.At the same time,a large number of lyrical subjects "I" appeared in his poems.On the one hand,it is a subversion of collective lyrical and dominant ideological discourse.Chang Yao adopts a new way of expression of emotion and puts his eyes more on the individual images in ordinary life.On the other hand,the expressive content of the poem also changes from the appearance of the modern world to the reference of the inner self,leading to a more complex,private and diversified "self" experience.The third chapter will focus on the formal problems in the later poetic reconstruction of Chang Yao.Beginning in the 1990 s,in order to carry the complex emotional expression,his poetry frequently appeared in the form of non-line.In addition,Chang Yao explored the freedom of poetry form from the aspects of crossing lines,rhythm and punctuation.When high ideals and beliefs gradually failed,Chang Yao embodied the spiritual instability in the form of language.He broke through the stylistic norms in his creation,consciously mobilized the whole literary language to write.and realized the breakthrough of the spiritual dilemma with the experiment of non-line and the transformation of line poetry in rhythm,so as to construct a new poetic language based on his own position.He achieved the breakthrough of the spiritual dilemma through the experiment of line arrangement and the transformation of the poetry rhythm,thus constructing a new poetic language based on the personal standpoint.