The Study Of "Dramatization" About Modern Verse In Cross-cultural Practice

In the development of modern verse, dramatization is an important concept both in poetry and writing strategy, and in terms of different formulations and connotations, has been used in the poetics and textual practice of top poets during different periods. Yet up till now, there are no particular essays or books concerning integrated and systematic study of it. This dissertation, considering the complexity of dramatization of modern verse, attempts from a cross-lingual perspective, to grasp reference, reception and internalization in the process of sino-western poetic communication based on historical research, so as to seize the referential connotation and information value of various "dramatization" discourse in the history of the modern verse. On the basis of this, follows an interpretation, through close reading, of different levels and aesthetic elements of the "dramatization practice" The concrete arguments are as follows: similar to the mechanism of genre syncretization such as "fictional poetization" and "fictional dramatization", poetic dramatization is virtually "blend the aesthetic idea of drama with verse writing", that is, modern Chinese poets refer respectively to theatrical notions such as "character" and "mask" in diverse writings, blending dramatic spirit such as" contradiction "and "conflict" and the characteristic of "synthization",constructing intuitionistic dramatic scenes of "presence", thus in special approaches and thinking, achieving other levels of "poetry". The diachronic traces and the synchronicity presentation are included in the main content. The key parts of the essay include both diachronic and synchronic description.The part of introduction demarcates the concepts, investigating the poetic dramatization from the perspective of the genre integration on the basis of the combination of the poetics and the view on writing experience of different poets, and introduces the present situation, the innovalue and framework of this thesis briefly.The first chapter inspects sino-western cross-cultural practice process of poetic dramatization, wholely examining stage by stage literal translation, retailing, selection and information misreading in local poets' translation, introduction and reception about overseas poetry. It also proves the producing mechanism in respect of writing attitude, form development and problems of new verse.The second chapter describes the reasons and performance of dramatization in verse writing in three periods. In 1920, Crescent Poets learned the objectivity of drama from the principle of a form construction consciousness and reserved principle of arts. In 1940s, by focusing on context and verse modernity, Jiuye Poets of Academy actively integrated western modern verse and therefore named the definition of "dramatization" and used it in verse writing. In 1990, "dramatization" was internalised into the knowledge of native poets and their works displayed rich inclusiveness and complex techniques.The third chapter explains the dramatization of subject from the relationship between poet and words speaker.Due to the reserved aesthetics effect and non-individual pursuit, modern poets takes the forms of using actors and masks to organize the form but not by using self description. The new form can be mainly divided into express ways of "He is me" and "Me but not myself " .For the first time, this chapter has suggested the deep effects of William Blake's idea of "the separation of myself" on Mudan's dramatization writing.The fourth chapter maintains dramatic poetic thinking. In the process of new verses modernity development, some poets displayed and synthesized conflicting or opposite thinking experiences in poem writing but not only stopped in single or horizontal expression. Dramatic poetic thinking in new verses often has manifestations in hidden conflicts in false narrative situations, with speech irony and structure irony as booster representing moods of contradiction.The fifth chapter describes the expression form of dramatization. The poet, through constructing dramatization scenes of presence, pursues intuitionistic aesthetics effect of present tense and continuous tense, and values implication, temporal-spatial misplacement and flexible conversion. The rhythmization, contextualization and the transformation of semantic codes has become a means of balancing poeticity of verbal expression in dramatized speech during three phases. The conclusion part evaluates dramatization in modern verse and its existing problems. The essay not only proves the significance of poet's self expansion, rich poets meaning and colorful new verse forms, but also presents warnings on the superficial and insincere verses since the new century.