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Voices in RevolutionPoetry and the Auditory Imagination in Modern China$
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John A. Crespi

Print publication date: 2009

Print ISBN-13: 9780824833657

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824833657.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in HSO for personal use.date: 02 July 2022

Poetry Off the Page

Poetry Off the Page

Sound Aesthetics in Print

Chapter:
Chapter 2 (p.43) Poetry Off the Page
Source:
Voices in Revolution
Author(s):

John A. Crespi

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824833657.003.0003

Chapter 1 explored the intersection of art and politics in terms of a new poetry produced in tune with the vocal imperatives of local and global ideology. This chapter moves on to the effects that the vocal imagination exerted on new poetry through the 1920s and up through the beginning of the War of Resistance against Japan in 1937. It is divided into four parts. The first part returns to Hu Shi's 1919 essay “On New Poetry” to unravel a pair of conflicting aesthetic strands in his notion of “natural prosody” (ziran de yinjie)—one stressing new poetry's communication of interior content, and the other encouraging self-orientation of the poetic text. Parts two through four explore how these two strands played out from the 1920s into the 1930s as the idea of performing new poetry gathered a certain momentum.

Keywords:   Chinese poetry, new poetry, vocal imagination, Hu Shi, natural prosody, interior content, self-orientation

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