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A Brief Introduction to kuya Poetry School
The nine poets are Cao Xinzhi (Hang Youhe), Xin Di (Wang Xindi), Chen, Tang Qi, Tang Shu, Du, Mu Dan and Yuan Kejia.
They published "Nine Leaves Collection" at 198 1, so they are called nine leaves poets.
Kuya Poetry School (1938 ——1948)
The Formation of Poetry Groups: The Period of National Southwest United University (1938- 1946)
On July 29th 1937, Beiping fell,
1937-8-28, the Ministry of Education appointed Peking University, Tsinghua University and Nankai University to set up the Preparatory Committee of Changsha Temporary University.
1937-9- 10 The Ministry of Education announced the establishment of the National Changsha Temporary University in Peking University, Tsinghua, Nankai and Academia Sinica.
1938- 1- 19. The National Government approved Changsha Temporary University to move to Kunming.
1938-4-2, the Ministry of Education changed Changsha Temporary University into National Southwest Associated University.
Poets among teachers in United University
Chinese Department: Wen Yiduo, Li Guangtian and Zhu Ziqing.
Foreign Languages Department: Bian and Feng Zhi
Wen Yiduo began to change his literary concept at the conference, from aestheticism to emphasizing the social significance of poetry. In Poetry and the Times, he said, "I should pay attention to the social value of poetry ... poetry is breathing with the times." He edits notes on modern poetry.
Feng Zhi writes sonnets (published by Guilin Tomorrow Society in May, 1942). Influenced by Rilke, a master of symbolism and a pioneer of existentialism, Feng Zhi pursued the "invisible things", questioned death, rejected and protested modern civilization, and yearned for the ideal realm of simplicity and tranquility.
Bian, 1942, Ten Years of Poetry published in May, published by Guilin Tomorrow Society.
Li Guangtian, The Art of Poetry,1944,65438+February, Ming Kai Bookstore.
Yan Busun, a modern British poet and new critical theorist, was invited to offer the course "Contemporary English Poetry". 1937 came to China as a professor of western languages in Peking University, and then moved to Kunming with Peking University. 1940 returned to China.
College students' poetry activities
General Assembly Literature Society:
1940- 194 1, "Holly Literature and Art Society", Du, Wang Zengqi, Lin Lunyuan, etc.
Wenjushe
A student poet at the conference
The "three stars" of the conference: Mu Dan (Department of Foreign Languages), (Department of Philosophy) and Du (Department of Foreign Languages)
Tang Qi from the History Department.
Yuan Kejia, Department of Foreign Languages
Poetry creation period (1947, 7- 1948, 10)
Poetry was founded by young poets Hang Youhe and Lin Hong. Published in July 1947, Shanghai Xingqun Publishing House. It was captured by the Kuomintang government in 1948 10 and published in 16.
In the first stage, the aim of inclusive editing was adopted, and the poet lineup was huge. 170 authors were scattered all over the country, which had a great influence. The inaugural issue, compilation notes: "Today, in this countercurrent day, it is urgent for everyone to struggle for peace and democracy. Therefore, we believe that as long as the big goals in poetry creation are the same, no matter what,
1948 in the first half of the year, there were differences between the founders on the purpose and principle of running the magazine, and Hang Youhe decided to quit and set up China New Poetry. The editorial board of Poetry was established by Lin Hong, Kangding, Shen Ming and Fang Ping. Both Lin Hong and Cang Kejia believe that more works with strong fighting atmosphere are closely related to people's lives, and they oppose western modernist works that are divorced from reality and obscure. Hang Jiahe advocates paying attention to artistic conception and tone, doing more poetic exploration and opposing vague works with slogans.
In the second stage (1July, 948-10/June, 0), the editorial board said in "New Starting Point": "The previous selections are miscellaneous", "Starting from this series, we should publish works that strongly reflect the reality in the largest space, and breathe with the people's sufferings and joys. Our requirements for art are: bright, simple and simple. We don't need sentimental and decadent works that only belong to individuals, nor do we need mysterious things. We advocate simple terms and forms acceptable to ordinary readers. It should be improved on the basis of popularization and popularized under the guidance of improvement. "
China's New Poetry Period (1948, 6- 1948, 10)
China's new poetry was founded in June 1948.
It was published by Xingqun Publishing House, and only five issues were sealed up with the publishing house.
Hang Yuehe, Xin Di, Fang Jing, Chen, Tang Qi and Tang are members of the editorial board.
The backbone of China's new poetry;
Three northern stars: Mu Dan, Du Fu and Yuan Kejia.
The core of poetry creation: Chen, Tang Qi, Xin Di.
Naming of "Nine Leaves"
1980 Yuan Kejia, Chen and Hang Yuehe edited Nine Leaves in Beijing.
Published by Jiangsu People's Publishing House 198 1
Mu Dan, a nine-leaf poet
Mu Dan (19 18— 1977), 19 18, was born in Tianjin on February 24th, 2008, and his ancestral home was in Haining, Zhejiang. His original name is Cha Liang Zheng. 1929, admitted to Nankai middle school and started literary creation. He was admitted to Tsinghua in 35 years. As a translator, he published his first book of poetry, Expedition, 45 years later. He went to the United States in 1948, studied British and American literature at the University of Chicago, and obtained a master's degree in May1year. In 1953, he returned to China and served as a professor of foreign languages at Nankai University. He translated and published poems such as Pushkin and Shelley. In 1958, he was forced to stop teaching because of unfair treatment and was sent to work in the library. He died in Tianjin on February 26th, 77. In 79, his unjust case was solved.
Published poems:
Expedition 45 years 65438+ 10 month, Kunming wenju society.
Mu Dan's poetry anthology, May, 47, Shenyang (self-printed)
Flag in February of' 48, Shanghai Cultural Life Publishing House.
Selected Poems of Mu Dan, People's Literature Publishing House,1August, 986.
Complete Poems of Mu Dan, China Literature Publishing House, 1996.
The temptation of snakes (poetry anthology)1April, 997, Zhuhai Publishing House.
Mu Dan's poems are full of emotional depth, sensitive breadth and expression, which is quite tasteful of Eliot's The Waste Land. The disadvantage is that some sentences are slightly tedious, and some are mixed with rich feelings.
The artistic style of kuya's poetry school
Ai Qing's evaluation can be summarized as follows: "He accepted the realistic tradition of new poetry and described the social phenomenon after the great turmoil of the war with the expression of European and American modernism."
Modernist expression skills
1 indirect expression: image/symbol/metonymy
The lyric style of objectivity: the perception of ideology
Strong concern for the fate of the country and people
-Mudan
Endless stories are endless disasters, silent.
It is love, it is an eagle soaring in the sky,
Its dry eyes look forward to tears,
When the motionless gray ranks crawl in the distant sky;
I have too many words, too long feelings,
I want to use desolate deserts, rugged roads, mule carts,
I want to take a trough boat, wild flowers in the mountains, rainy days,
I want to hug you with everything, you,
People I see everywhere,
People who live in shame, crooked people,
I want to hug you with bloody hands.
Because a nation has risen.
Strong concern for the fate of the country and people
Revelation -Hangyohe
We often get lost in our own little world,
Pick up a shell, catch a caterpillar,
There will be a cheer. seemingly
The world already belongs to oneself, but oneself.
Trapped in the mist,
-Turn it over, jump over, in the palm of your hand.
Today, we will not sigh easily-
The withering of a flower and the imperfection of the moon;
The fall of a star, the rupture of an eggshell,
Gave us a signal that was coming.
Some worries show us the way forward.
Because of the changes in their lives
How many rugged protrusions are filled,
Lead us to a new world.
-the world outside your own world
Thinking about the significance of life in times and history
Time-sensitive peony
We hope we can have hope.
Then humiliation, pain, struggle, death,
Because there is courage in our bright blood.
But at the center of courage: recklessness.
We hope that we can have hope,
It said: I am not beautiful, but I am no longer cheating.
Because we see too many dead people's eyes.
In our despair, there is a flame of tears.
_
When years of pain ended in silent death,
All we expect is a promise,
But just vanity,
All we know is that we're still just
Before the arrival of happiness,
_
Open up a new world in the nameless darkness,
But there is a backlog at this starting point.
Years of shame:
The cold stung the bones of the dead,
Will ruin our lives,
We just want a hope of revenge.
Raise life experience and experience to philosophical meditation.
Zheng Min in the tree.
I never really felt calm.
Like me, from the attitude of the tree
As deep as I feel.
No matter which idea you wake up from.
My eyes met him.
Stand in the same posture
The star moves between its arms.
Under its gaze, the stream ran away.
Birds come and go in its arms.
It always prays and meditates like this.
As if growing up in an eternal and quiet land.
Golden Rice Bundle Zheng Min
The golden ear of rice stood
In the autumn fields.
I think of countless tired mothers.
On the way to dusk, I saw that beautiful wrinkled face.
The full moon on the harvest day is at
On the top of the towering tree
In the twilight, the mountains in the distance
Around our hearts
No sculpture can be quieter than this.
You have so much fatigue on your shoulders.
It extends all the way to the distance.
Akita bowed his head in thought.
Silence. Silence. History is just.
By a flowing river.
And you, standing there
Will become a concept of human beings. "
Yuan Kejia advocated "modernization of new poetry"
1947-3-30 Tianjin Ta Kung Pao Zhou Wenyi published "Modernization of New Poetry-Seeking New Tradition"
The concept of modern poetry—
Modern poetry shows a high degree of comprehensiveness: strong self-consciousness, equally strong social consciousness, the combination of realistic description and religious emotion, the infiltration of tradition and the present, the effective use of "big memory", the indifference of abstract thinking and keen feeling, and the factors of lightness and heaviness. In other words, modern poetry is a new comprehensive tradition of reality, symbolism and metaphysics.
The lyric way of modernization of new poetry
1, the implication or indirectness of language expression. (Ta Kung Pao, Zhou Wenyi, May 18, 47)
Replace direct explanation with concrete things equivalent to thoughts and feelings.
Special construction rules of image metaphor (I hate the emptiness and vagueness of romantic image metaphor, and think that only by finding images or metaphors of things that are extremely irrelevant on the surface but similar in essence can we express ourselves accurately, faithfully and effectively; According to this principle, the image is surprisingly strange, fresh, and surprisingly accurate and rich.
Arranging the structure of the whole poem through imaginative logic (the predecessors' multi-concept logic judged its development from the most obvious and simple prose meaning in the poem, and modern poets believe that only the logic of expressing the evolution of poetic sentiment through continuous images is the standard for criticizing the structure of the poem. Under the guidance of imaginative logic, various experiences with different surfaces and possible resultant forces are gathered to expand, deepen and increase the meaning of poetry. )
Elasticity and toughness gained by new words.
The lyric way of modernization of new poetry
2, drama poetry (June 48,' Poetry Creation' 12)
How to transform will and feelings into poetic experience, that is, to express them in drama as much as possible and avoid the bad tendency of preaching or sentimentality.
Try to avoid direct positive statements and entrust the author's will and emotion to quite a few external things: the first principle of dramatic effect is objectivity and indirectness of performance.
Dramatization has at least three different directions. First, with Rilke as the representative, the pursuit of one's own inner gains is integrated with the nature of external things (dynamic and static) to express poetry. At first glance, Rilke himself is definitely not in the poem, but in fact it shows the soul of the most complete poet. Second, represented by Auden, he wrote the objects of his poems on paper through psychological understanding, and used his wit, cleverness and special ability to use words to write them vividly.
No matter which direction you want to dramatize poetry, the superstition that poetry is only a passionate expression must be broken. No theory is more harmful to poetry than laissez-faire. No matter whether you explain your will or express your enthusiasm, no matter whether the object of your complaint is an individual or a group, you must integrate the elements of thought and transform your experience from the depths and essence of things, otherwise even if you keep a straight face and express your chest, it will be difficult to arouse the response of poetry.
Mu Dan advocates "new lyricism"
(Consolation Letters-Starting from Fish Collection, Ta Kung Pao (Hong Kong Edition), April 28th, 40)
In order to show that society or individuals are generally moving towards the bright side under certain historical development, and to make poetry and this era become an emotional harmony, we need a kind of' new lyricism'. This new lyric should be something that rationally inspires people to work hard for the bright side. I focus on the word "rationality", because in today's poetry, there are too many passionate lines, which have no basis in the depths of rationality and seem to be only.
"New Lyrics", speaking of which, I thought of the poet Ai Qing. Trumpeter is a good representative. In this poem, we can feel the harmonious combination of emotion and image.
Strong sense of rhythm, big rhythm and cheerful tone-so is the new China, so should the "new" lyrics.
The Contribution of kuya Poetry School
In 1930s, the poems of Crescent School and Modernist School were mostly confined to personal feelings. Inspirational political poems, represented by China Poetry Society and July Poetry School, do not fully understand the complex and concrete life feelings. Kuya's poems explore the combination of life with the reality of the times and art, and form a kind of synthesis or balance, that is, "don't let art escape from reality, don't let reality stifle art".
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