By Maghiel van Crevel
"Chinese Poetry in occasions of brain, Mayhem and cash" is a groundbreaking contribution to scholarship, well-suited to lecture room use in that it combines rigorous research with a full of life sort. masking the interval from Eighties to the current, it really is geared up round the notions of textual content, context and metatext, which means poetry, its socio-political and cultural atmosphere, and important discourse within the broadest experience. The authors and matters studied contain Han Dong, Haizi, Xi Chuan, Yu Jian, sunlight Wenbo, Yang Lian, Wang Jiaxin, Bei Dao, Yin Lichuan, Shen Haobo and Yan Jun, and every thing from the subtleties of poetic rhythm to exile-bashing in household media. This e-book has room for all that poetry is: cultural history, symbolic capital, highbrow pastime, social observation, emotional expression, tune and the materiality of language - artwork, in a observe.
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Extra info for Chinese Poetry in Times of Mind, Mayhem and Money
Moralizing and nationalist overtones of the crisis discourse are out of sync with the texts on which it professes to comment. The same is true for the mobilization of prescriptive notions such as poetry’s “alignment” (䍄), meaning the speaker’s preferred direction of poetry’s development, often coupled with multiple oughts and shoulds, and of “optimism” and “pessimism” as critical positions, implying dated judgmental perspectives that block out much of what is going on. But there is a larger issue here, that is common to modern poetries in various cultural traditions, not just in China.
20 chapter one with a public impact that could compare to that of journals like Today or Not-Not, or of Xu Jingya’s “Grand Exhibition,” but there are any number of successful individual poetic trajectories that run through these years and are equally if not more interesting from a literarycritical point of view. Diversification of styles didn’t mean one poet per style, of course—or, for that matter, one style per poet. Still, some labels applied to particular authors or groups of authors in more or less fixed terms, such as the famously unclassifiable Alternative Poetry ( ㉏䆫℠) of Che Qianzi and the Narrative Poetry (ভџ䆫) of Zhang Shuguang, Sun Wenbo and Xiao Kaiyu.
It is no longer obvious with what kind of authority critics such as the Poetry Monthly editorial board, Cai Yi, Wu Xinhua, Zhang Hong, Chen Chao, Wu Sijing and many others announce that there is a crisis and there are “problems” or “issues” (䯂乬) in contemporary poetry, often speaking in an unspecified first-person plural, like that used by Xie Mian in the above citation. Moralizing and nationalist overtones of the crisis discourse are out of sync with the texts on which it professes to comment.
Chinese Poetry in Times of Mind, Mayhem and Money by Maghiel van Crevel