| To study contemporary landscape poetry,we need to first clarify the difference between the concept of modern "Shan-shui poems" and that of ancient "landscape poetry".That is also a missing link in the existing academic research.In the introduction,this paper discusses the differences between them and the reasons for the transition from "Shan-shui poems" to "landscape poetry".At the end of the 19th century and the beginning of the 20 th century,when the country was in danger,the concept of "Shan-shui" expressing leisure and reclusion seemed very inappropriate,and the concept of "landscape" which was not endowed with symbols and moral connotations began to emerge slowly. Since 1990,with the acceleration of industrial development and the rise of commodity economy and consumerism,industrial resources and commodities have naturally gradually degenerated.Under this circumstance,the ancient Shan-shui thought became more and more ineffective,and in the works of poets and artists,Shan-shui is replaced by the concept of "landscape" drawing from the modernity.Compared with Shan-shui poems which pursue artistic conception,contemporary landscape poetry highlights more the objectivity and complexity of nature,and the occasionality,instantaneity and externality of the encounter between subject and nature.The object that people described in their works is not limited to the pleasant and idealized nature,but contains various types of natural scenery,urban landscape,including the nature which is destroyed and polluted. In short,contemporary landscape poetry writing highlights the visual function of the subject,the detailed description of experience and the process of speculation(that is,the factors of "viewing" and "concept" emphasized in the title of this article).From the perspectives of art history,the history of literary influence,sociology,politics and psychology,this paper summarizes the poetic problems of Chinese landscape poems since 1990 into aesthetic perception,viewing style,local writing and cultural imagination,continuation and rebellion of traditional landscape thoughts,and discovery of urban landscape,etc.Chapter 1 and Chapter 2 mainly focus on the subjective aesthetic perception and viewing methods of the scenery.Referring to the development history of landscape culture and Kant’s philosophical thoughts,the author divides landscape into two main types: beautiful and sublime.In addition,according to the forms of landscape in poetry,this paper divides viewing perspective into broad landscape,micro-landscape and mobile landscape.These two chapters analyze the perception,emotional orientation,Lyric path and linguistic form of various types.The 3 and 4 chapters discuss the problems of local imagination and cultural imagination.Traditional cultural background,knowledge equipment,and the resistance to globalization and urbanization have affected the poet’s ideal landscape setting and imagination.The heterogeneous natural scenery and living scenes in the border areas,as well as the model mountains and rivers in line with the ancient landscape culture imagination,have become the ideal landscape types in contemporary society.These concepts further penetrate into the poet’s process of creating a new landscape art,and have a negative impact that can not be ignored.Landscape writing constructed by cultural imagination constitutes the cover,burial and forgetting of local experience and modernity experience.The writing of Chapters 5 and 6 can be regarded as the deflection and supplement of these chapters.The tradition of Chinese landscape poetry and pastoral poetry,as well as people’s general nostalgia,has caused many poets to show their rejection and disregard for negative natural experience and urban themes. Therefore,the poet’s discovery of "residual mountains and rivers" and urban landscape greatly expanded the traditional boundary of the word "landscape",and showed a more modern aesthetic consciousness and writing concept.In the chapter 5,poets develop an intersubjective perspective of empathy with nature,facing the traumatized scenery and countryside.Landscape forms the metaphor of the times and the mirror image of poets’ existence. Chapter 6 shows different urban landscape patterns by distinguishing the identity consciousness of poets,and describes an area that is rarely concerned by contemporary urban poetry and research: the unfamiliar others.It can be said that contemporary landscape poetry writing is involved in the image construction of locality,city,nation and country,and expresses the poet’s thinking,attitude and position on certain social issues.This paper tries to take landscape as a verb and a medium.On the basis of careful reading of the text,we can get a glimpse of the subject identity consciousness hidden by different sceneries,as well as the information of society,politics,power,economy,culture,education and so on. |
