Exploring the possibilities of poetic language and language in general
is one of the crucial points in contemporary Chinese poetry. According
to the differentiation of strategies for language comprehension and perception
in the works of the ‘third generation’ (authors of the late 1980s) it is possible
to single out two creative paradigms.
The first, ‘intellectual’, paradigm is linked to the construction of a complex
subject, due to which the independent nature of the language itself is exposed.
The second, ‘popular’ or ‘minjian’, is based on the idea of maximizing the similarities
between the language of poetry and colloquial speech. Both are based
on the ‘philologism’ of the poetic text in XX–XXI centuries, on the poets’ concentration
in their reflection on the word, grammatical form and the logic
of meaning formation. The representatives of the two paradigms share a general
perception of poetic language as a measure of language in general, complicated
by the ‘textocentrism’ of Chinese tradition and the late formalization of the literary
standard. This conceptualization of poetic language ignores the deviant nature of poetic expression, thus creating the paradox of perception of language
and text in contemporary Chinese poetry.
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