Language consciousness and poetic reconstruction: A re-examination of goddess as a modern Chinese poetry anthology
Abstract
Goddess, as the inchoation of Chinese New Poetry, has significant meaning and always attracts the attention of researchers. However, there is a lack of a practical understanding of the ontological characteristics of the goddess in modern Chinese poetry (MCP). Guo Moruo consciously uses the rich grammatical functions and means of modern Chinese to construct the textual space of poetry. The subjective, dramatic, and rich modality system of modern Chinese has created the intense lyricism and dramatic, poetic aesthetic style of goddess, which makes goddess the anthology that genuinely practices the writing of MCP. Re-examining the goddess from the perspectives of language consciousness and poetic reconstruction is of excellent enlightenment significance for understanding the linguistic properties of early new poetry.
References
Chaer A, Agustina L (2004). Sociolinguistics: Initial Introduction (Indonesian). Rineka Cipta. p. 73.
Choy HYF (2022). Introduction. Chinese Literature and Thought Today 53(3–4): 52. doi: 10.1080/27683524.2022.2131173
Fu H (2014). The evolution of modern poetry in Taiwan. In: Chang SY, Yeh M, Fan M (editors). The Columbia Sourcebook of Literary Taiwan. Columbia University Press. pp. 224–226. doi: 10.7312/chan16576-087
Goldblatt HC, Nienhauser WH, Wilhelm H, Li T (2023). Chinese literature. Available online: https://www.britannica.com/art/Chinese-literature (accessed on 5 December 2023).
Goodman E (2021). “In the Roar of the Machines”: Zheng Xiaoqiong’s poetry of witness and resistance. Chinese Literature Today 10(2): 77–87. doi: 10.1080/21514399.2021.1990699
Guo M (1982). Three Essays on Poems, Guo Moruo: On Creation (Chinese). Heilongjiang People’s Publishing House. p. 2.
Halliday MAK (1985). An Introduction to Functional Grammar. Edward Arnold.
Jiang T (2003). The refutation of the starting point: Attempts and goddess in the history of new poetry (Chinese). Literary Review 6: 139–146.
Jiang T (2020). Waking Up from a Hypnotic World (Chinese). East China Normal University Press. p. 279.
Lakoff G, Johnson M (1999). Philosophy in the Flesh: The Embodied Mind and its Challenge to Western Thought. Basic Books. 640p.
Meng X (2022). Transcultural memory in visions and realities. Chinese Literature and Thought Today 53(3–4): 88–96. doi: 10.1080/27683524.2022.2131178
Shen J (2001). The subjectivity and subjectivization of language (Chinese). Foreign Language Teaching and Research 4: 268–275. doi: 10.3969/j.issn.1000-0429.2001.04.006
Sun X, Yao B (translators) (2020). Dancing in the empty city. Chinese Literature Today 9(2): 60–61. doi: 10.1080/21514399.2020.1852019
Tao H (2008). Dramatized discourse: The mandarin Chinese Ba-construction (Chinese). Contemporary Linguistics 3: 267–272.
Wang G (2003). The Century-Old Evolution of Modern Chinese Poetry (Chinese). Hebei People’s Publishing House. pp. 658–665.
Wen Y (1923). Zeitgeist of the goddess (Chinese). Creation Weekly 4: 3.
Wen Y (1939). Songs and poems (Chinese). Zhongyang Ribao: Ping Ming 16: 5.
Whyke TH, Lopez-Mugica J, Chen ZT (2021). The rite of passage and digital mourning in Fang fang’s Wuhan diary. Global Media and China 6(4): 443–459. doi: 10.1177/20594364211041683
Wittgenstein L (2005). Philosophiscal Investigation (Chinese). In: Chen J (translator). Shanghai People’s Publishing House. p. 2.
Yendra O (2018). Recognizing the Science of Language (Linguistics). Deepublish Publisher.
Zhang B (2017). Isomorphism of the subjectivity of language and traditional art (Chinese). China Social Science Review 3: 89–99, 127.
Zhang B (2019). On Ba Construction (Chinese). Xuelin Press. pp. 209–210.
Zhang B (2021). On the verse innovation of Guo Moruo’s poetry anthology the goddess: For the centenary of publication of the goddess (Chinese). Literary Review 6: 78–86.
Zhu Y (2005). Lectures on New Poems (Chinese). Peking University Press. pp. 130–135.
Copyright (c) 2023 author(s)
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author(s) warrant that permission to publish the article has not been previously assigned elsewhere.
Author(s) shall retain the copyright of their work and grant the Journal/Publisher right for the first publication with the work simultaneously licensed under:
OA - Creative Commons Attribution License (CC BY 4.0). This license allows for the copying, distribution and transmission of the work, provided the correct attribution of the original creator is stated. Adaptation and remixing are also permitted.
This broad license intends to facilitate free access to, as well as the unrestricted reuse of, original works of all types.
_%E5%89%AF%E6%9C%AC1.png){kind=logo}
