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The children had learned to recite the new verse Jack Be Nimbleand were now to see it in print for the first time
      
New verse or the same old chorus: looking holistically at distance education research
      
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Appraisal of the contemporary Chinese poetry is a fairly debatable issue. The present literary criticism directed towards the peoms written by the young-generation poets suffers from the limitation of time range 1979-82. On the contrary, this paper investigates the developing tendency of the contemporary poetry on the base of the post-1982 creative exploration of these influential poets after their one-time silence. The paper presents a prevailing triphase trend among the new-generation poets in the creation...

Appraisal of the contemporary Chinese poetry is a fairly debatable issue. The present literary criticism directed towards the peoms written by the young-generation poets suffers from the limitation of time range 1979-82. On the contrary, this paper investigates the developing tendency of the contemporary poetry on the base of the post-1982 creative exploration of these influential poets after their one-time silence. The paper presents a prevailing triphase trend among the new-generation poets in the creation of modern poems, namely, (1), emphasis on the combination of diachronic inheriting and synchronic reference; (2), general efforts for contemporary lyric epics; and (3), the pluralistic and diversified artistic presentations and artistic pursuits.

对中国当前新诗的评价,是一个颇有争议的课题。以前评论界对一代年轻诗人的评论,局限于1979—1982年的作品。本文则是从1982年后,这些有影响的年轻诗人一度沉默之后的创作探索中去研究现代诗的发展趋向。文章认为,1982年后,一代年轻诗人的现代诗创作的总趋势是三个方面:第一,重视现代诗创作中的纵向继承与横向借鉴的结合;第二,一代年轻诗人普遍着力于现代抒情史诗的创作;第三,多元、多样的艺术表现,艺术追求蔚大为势。

During the early period of the May 4th Movement of 1919, Guo Moruo put forward the idea that poetry is "the direct expression of the poet′s mood." Fundamentally different from primitive intuition, such a mood includes the distillation processes of"cognition analysis" and "consciousness synthesis." Owing to his principles of self expression and introspection, the ontological view expressed in Guo′s new poetry displays clear features of the time and the individual character of the poet. His emphasis on the unity...

During the early period of the May 4th Movement of 1919, Guo Moruo put forward the idea that poetry is "the direct expression of the poet′s mood." Fundamentally different from primitive intuition, such a mood includes the distillation processes of"cognition analysis" and "consciousness synthesis." Owing to his principles of self expression and introspection, the ontological view expressed in Guo′s new poetry displays clear features of the time and the individual character of the poet. His emphasis on the unity of emotion and reason while favouring emotion rather than reason is a crucial factor for the truthfulness and non-generalization of his poems, and at the same time accounts for the lack of philosophical depth in some. Guo′s interest in the overflow of "consciousness of pure beauty" is mainly reflected in his pursuit of perfect characters on the part of the poet. Such attention in turn urged him to think deep on poetry′s ontological ideal of "having both beauty and thought."

郭沫若在五四初期鲜明地提出了诗是诗人“情绪的直写”这一核心思想。这种情绪已经包含了“认识的分析”与“意志的综合”的升华过程,与原始性的直觉有根本的区别;坚持自我表现与回到内心的原则,使郭沫若的新诗本体观具有更强的时代特征与个性色彩;注重“心智”即情感与理智的结合,而又偏于情感,排斥理智介入,既为他的诗歌创造带来了真实性与反概念化的特征,也决定了他的一些诗作缺乏哲理思想的深度韵味;关注于“纯真的‘美的意识’的流泻”,主要体现为对诗人人格美的追求,同时也推动他对“体相兼备”的诗歌本体理想的深层思考。

In this paper, the course of new poetry development in Taiwan is divided, ac-

本文依据诗歌自身的演变发展规律,把台湾新诗的发展过程分为萌发期、发展期、成熟期三个阶段,同时揭示了现代诗质与传统的民族诗质这双轨在不同阶段中的运行轨迹。并进一步论述了构成台湾新诗发展这种双轨运行现象的原因:外在因素(即政治因素和经济因素等)的开放性与内在因素(即自身演变发展规律)的继承性。

 
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