The Formation Of Modern Chinese "new Poetry

Based on the study of the concept of "new poetry",this paper attempts to analyze the external process from "vernacular poetry" to "vernacular new poetry" and then to the formation of "new poetry",focusing on the difference and connection between "new poetry" and "poem" in the formation process,and exploring "new poetry" from three aspects: style,syllable and cultural character,in order to correct the concept of "new poetry" and have a better understanding of "new poetry" as a style.In the introduction,the reasons and research status of this thesis are introduced and summarized,from four aspects: the origin of "new poetry",the study of "new poetry" concept,the relationship between "new poetry" and "poetry",and the exploration of "new poetry" ontological characteristics.On the basis of predecessors,my own views are further put forward for explanation.The first chapter mainly combs the process of concept layer transfer and transformation among "vernacular poetry","vernacular new poetry" and "new poetry",and explores the deep reasons behind the concept transformation and change,and then investigates the complexity of the formation of "new poetry".Since the emergence of modern "vernacular poetry",the most obvious change is that the vernacular language is introduced into poetry.The blending and collision between "vernacular language" and "poetry" has led to the controversy of vernacular poetry,behind the controversy is the concept of dislocation,and it leads to the deviation of understanding "poetry" and "vernacular poetry",thus leading to the rethinking of the standards of "poetry".Sorting out the external context of the formation of modern "new poetry",from "vernacular poetry" to "vernacular new poetry",is a progressive process from language to style,and it is also the embryonic stage of style "new poetry".From "vernacular new poetry" to "new poetry",it is the establishment stage of the naming of "new poetry".The "newness" of "new poetry" has many layers of rich meanings and different ways of understanding.At the same time,the concept of "vernacular new poetry",which was easily overlooked by the academic circles in the past,is re-explored,and it is endowed with the connotation and significance that it is not only different from "vernacular poetry" but also participates in the formation of "new poetry",and becomes an indispensable transitional stage in the formation of "new poetry".The chapter also contains a series of details that need to be analyzed,such as the passivity of "vernacular poetry" formation,the transformation from ancient "vernacular poetry" to modern "vernacular poetry",the connection and difference between "vernacular poetry" and "new poetry",and the mixed use of "new poetry" and "poetry".The second chapter mainly discusses the relationship and difference among the concepts of "poetry" and "new poetry".At present,we generally think that "new poetry" is "poetry",and the two can replace each other.However,in the formation and development of "new poetry",the closely related "new poetry" and "poetry" are same but different.In the 1930 s,with the development of "Chinese Poetry Society","poetry" was endowed with a new connotation of the times and participated in the development of "new poetry history" with a popular and political force.The character of "poetry" has gone through the changing trend of coming from the folk,being refined later,and returning to the folk again in the 20 th century.The characteristics of "poetry" are not only popular,but also singing.This is different from "new poetry" that lives in the spiritual world of poets and pursues visual expression in pure words."Poetry" has become a form of existence that can be read aloud,has sound and directly faces the real society.In the 1930 s,"poetry" became a hot word widely used by people,showing the trend of "new poetry" embracing "poetry",and even affecting the current use of "new poetry" and "poetry" in the same.Different from "poetry" in terms of music from of old until in now,the deviation of "new poetry" from "song" in the process of its formation is a new aesthetic style formed since the emergence of "new poetry",and the deeper one is the fission of "poetry" and "song".The introduction of the concept of "poetry" puts forward the relationship between "poetry" and "song" again,so as to reflect on the gains and losses of "new poetry" and enrich its connotation.The third chapter returns to the noumenon of "new poetry" and discusses the internal formation process of "new poetry" in response to the related problems in the above two chapters.The stylistic characteristics of "new poetry" in the formation process are presented from three aspects of style,syllable and cultural character,so as to show the internal development and changes in the formation process of "new poetry".In terms of style,from proposing the abolition of metrical rules and then implementing free style to Wen Yiduo’s beginning to build metrical rules,from the attempt of branches to the pursuit of architectural beauty,the metrical system of "new poetry" has experienced a process of continuous trial and development,and the deeper question behind the need for metrical system is how to make "new poetry" more poetic under the change of metrical system.In syllable construction,the poet’s use and consideration of syllables is presented by combing the changes from Hu Shi’s "natural syllables" to Guo Moruo’s "emotional syllables" and then to Wen Yiduo’s "musical beauty".Hu Shi’s attempt to make "natural syllables" in external form is also characterized by the "mixing" of new and old cultures,while Guo Moruo’s "emotional syllables" break the bondage of external writing form,pursue natural emotions in spiritual level and highlight the inner emotions of "new poetry".Wen Yiduo’s "musical beauty" made specific requirements for the unification of internal and external forms from the practical level,which is closely related to the old metrical poetrys and forms a unique aesthetic paradigm of "new poetry" on the basis of modern times.In terms of cultural character,two cultural tendencies,popularization and nobility,are constantly pulling between the spiritual retention of literati and the social function of enlightening the public.What causes us to think more deeply is the character choice of "new poetry" between art and the public.A dispute between popularization and nobility is an investigation of the spiritual characteristics of "new poetry",and it also reflects the development trend and aesthetic orientation of modern Chinese "new poetry".