Comparative Inquiry Of Two Formal Transformations In Chinese Poetry:Yongmingti And Modern Poetry

This thesis is an investigation into the formal changes that poetry underwent in two different time periods,namely,the Yongming period of the Southern Qi and Liang Dynasties and the late Qing/early Republican era.These two time periods become imminently comparable when one examines their respective construction of linguistic knowledge,specific changes to formal poetic characteristics,and careful attention to the sonic presence(or absence)of tonality.The introduction attempts to deconstruct a deep-seeded academic paradigm,that of a determinative split between Classical Poetry and Modern Poetry.Although this split is nearly an accepted fact in relevant fields,the recent discussion over "one hundred years of modern poetry"(e.g.the 1917-2017 conception),this vaguely weak delineation has acquired a definite need for reappraisal.The discussion then acquires a certain legitimacy of comparison across a time gap spanning more than one thousand years,with an element of the so-called "Classical poetry" and "Modern poetry" each being able to reflect interesting parts of each other.There is primarily a necessity to discuss the construction and arrangement of linguistic knowledge.Though the two periods underwent rapid linguistic change,their respective bodies of related research tend to emphasize uniqueness and thereby overlook their potential comparative value,even going so far as to create skewed versions of literary histories.By looking at the Shuowen Jiezi and related documentation,it can be seen that the regularization and tonal experimentations seen in Yongming poetry were due in part to the slow spreading of fanqiefa.This is worthy of comparative investigation,for Modern Poetry also occurred at a time of rapid change to the Chinese language whose formal characteristics further reflect the deep extent to which language change and poetic composition are related.Formal poetic changes are not the work of one or of a small group of poets,but rather that formal changes are in part a direct result of the evolution of language on a very practical and fundamental level.In terms of show this is displayed in specific poetic works,a comparison between the differing styles and poetics of the Han/Wei periods and the Yongming period can go to show how distinctly unique the latter is,yet at the same time how it remains an important facet of the period’s poetic development.In terms of Modern Poetry,the works of Feng Naichao,Wen Yiduo,and others can be examined to get an in-depth look at the successes and failures of poetic creation in both periods’ works as they exist under the twin matrix of linguistic and structural change.Further focusing on the ever-present tonality of the Chinese language,one must make an effort to understand its absence in the early stages of Modern poetry,but through thorough analysis of various texts,the author will point out a large contradiction therein,which is the substantial differential between modern poetic theory and practice in regards to tonality.This differential is a critical part of this thesis,and by running a comparison with Yongming poetry,current problems faced by modern poetic practice as well as possible new future directions become clear.This interdisciplinary study will prove a fundamental comparability between the pre-modern Yongming poetry and Modern poetry,thereby offering a perhaps more sober view of the modern poetic field.These three categories--construction of linguistic knowledge,leading styles of the day,and phonological elements--could stand in support of new directions for research in Modern Chinese poetry,while at the same time avoiding the mistake of completely severing those inseparable ties with tradition,ultimately making for a unique place in the field.This thesis ultimately strives to provide a practical methodology for researching the development of poetic structure,and thereby fill a certain gap between the theory and reality of Modern poetry.