How to understand the defamiliarization of poetic language

How to deal with the defamiliarization of poetic language?

Sichuan writer, poet and critic Yin Caigan summed up the methods of defamiliarization of poetic language (referred to as the "Three Mo Method") such as "abnormal collocation of words", "simultaneous development of heterogeneous words", and "confrontation between semantics (or contexts)") up and down" (referred to as "Sanmo Method"), which were written into the lecture notes of "Introduction to Poetry Creation" as innovative methods of poetry. As an innovative method of lyrics, it was written into the textbook "Introduction to Lyric Creation", and readers have set off a "wave of exploration of the defamiliarization of poetry (lyrics) language".

Excerpt from Yin Caigan's "Exploration of the Defamiliarization of Poetic Language".

How to deal with the defamiliarization of poetic language?

The defamiliarization of poetic language requires that poetic language must be innovative. However, innovation is not the same as scribbling. When I first learned to write poetry, I also had a biased understanding of "innovation in poetic language", thinking that no matter whether others could read it or not, as long as it was an innovative language, it was good.

Therefore, the language of the poems written is very stiff. Be careful, blunt language will hurt the reader's reading feelings, and blunt language will discourage people!

My poetry also suffers from this problem, sometimes, when I read my own work, I can't help but fall asleep, and I can't enter and resonate with the work, can it be a good work? The linguistic positions that others cannot enter are also dead linguistic groups. If you want to make the language alive and stimulate people's interest in reading, then complete defamiliarization may not be possible.

Poetry is first and foremost the art of language, language is for everyone to read, not written there as a grave to bury oneself, therefore, to make the language of poetry as warm and bright as flowers in the spring breeze, fragrant and moving.

In fact, a truly good poem is an innovative art that is very appropriately defamiliarized on the basis of everyday language. The language of poetry is like a tree, with green leaves, flowers, and fruits. Linguistic innovation is produced on the basis of linguistic inheritance, otherwise, it will create a stiff feeling.

An experienced poet, he writes poems, and the language is a bright spider silk.

As long as you look at it, it sticks to your eyeballs, mobilizes your life experience, thoughts and emotions, and makes you can't help but enter his preset trap, which is sunshine, flowers, and mazes, so that you can see what you want to see, and find things that you never expected. It is like a colored rope that draws out the poetry in your heart and completes a creative reading. In fact, the creativity of poetry is also the participation of the reader, not just one person who has finished speaking.

You're done, you're done, and there's no room for others to create.

Therefore, there is a shortcut to grasp the defamiliarization language, that is, through the imagination of personality, the hidden "common" things in the object can be expressed in the most concise and vivid language. From this, I found that the defamiliarization of poetic language is actually the result of the poet's bold imagination and bold thinking, that is to say, the defamiliarization of poetic language is actually the poet's individual, creative imagination and thoughts, rather than simply breaking the conventional arrangement of words.

If the defamiliarization of poetic language is attributed to the change in the arrangement of words, defamiliarization for the sake of defamiliarization, then the written poems will become the dregs of poetry (or linguistic dregs), not the gold mines of poetry.

The defamiliarization of poetic language is natural, not reluctant. Rather than doing it reluctantly, it is better to write honestly. It is necessary to innovate the language of poetry, but only in moderation and not to make it a game of words.

Flat and strange coexist in the same poem, and it is the flat that sets off the strange. Without Ping, where does the oddity come from? Just like the undulating earth, there is only flat land, no mountains, only flowing water, no forests, so what else is there to see?

How to deal with the defamiliarization of the language of poetry and prose?

Sichuan writer, poet and critic Yin Caigan summed up the methods of defamiliarization of poetic language (referred to as the "Three Mo Method") such as "abnormal collocation of words", "simultaneous development of heterogeneous words", and "confrontation between semantics (or contexts)") up and down" (referred to as "Sanmo Method"), which were written into the lecture notes of "Introduction to Poetry Creation" as innovative methods of poetry. As an innovative method of lyrics, it was written into the textbook of "Introduction to Lyric Creation", and as an innovative method of writing, it was compiled into courses such as "Poetry Writing Course" and "Creative Writing Course", and middle school teaching courseware.

Excerpt from Yin Caigan's "Exploration of the Defamiliarization of Poetic Language".

Sichuan writer, poet and critic Yin Caigan summed up the methods of defamiliarization of poetic language (referred to as the "Three Mo Method") such as "abnormal collocation of words", "simultaneous development of heterogeneous words", and "confrontation between semantics (or contexts)") up and down" (referred to as "Sanmo Method"), which were written into the lecture notes of "Introduction to Poetry Creation" as innovative methods of poetry. As an innovative method of lyrics, it was written into the textbook "Introduction to Lyric Creation", and readers have set off a "wave of exploration of the defamiliarization of poetry (lyrics) language".

1. What is defamiliarization?

1.Conception. Defamiliarization is to push into the new, and to express familiar things (familiar people, familiar things, familiar things, familiar feelings, familiar reason) as unfamiliar things (strangers, strange things, strange things, strange feelings, strange feelings, strange reasons), so as to create a double new sense of language presentation and word connotation experience.

The practice of defamiliarization has long existed in ancient and modern China and abroad, and classic examples abound. Appropriateness and accuracy are its principles, anti-grammatical, anti-logical, and anti-conventional are its manifestations, and deliberate and indiscriminate are the most taboo. If you deliberately pursue it, the whole article is unfamiliar, it will be far-fetched, confusing, obscure and absurd, making people foggy and unable to touch the stool, and the result will be counterproductive.

Only when it is suitable for the specific language environment and used accurately and appropriately will the language produce infinite tension and bring readers a fresh and peculiar aesthetic feeling.

Yin Caigan's "Language Defamiliarization, You Should Be Leisurely".

2.Perceive.

The autumn trees are full of songs.

Yin Caigan "Autumn Song".

The cover of spring is very colorful, and the notes are dancing on the branches.

The flowers bloom, the legend that gives birth to the dawn, the flowers fall, covering the confusion of the dusk.

Yin Caigan's "The Yearning for Leading the Desert Lonely Smoke".

2. What are the defamiliarization modes?

1. Abnormal collocation of words: It is to choose words to form sentences, not according to the convention, and unexpectedly match some words that do not conform to the habit of collocation together cleverly to achieve the effect of defamiliarization.

2. Heterogeneous and simultaneous use of words: according to the needs of expression and meaning, the ruler will lift (or replace) multiple words with different meanings in multiple sentences with the same format, color, or similar and relatively independent before and after the letter journey, so as to obtain the defamiliarization effect.

3. Semantic (or contextual) confrontation: that is, the upper and lower meanings of words or contexts are opposed to each other to generate a defamiliarization effect.

Yin Caigan "**Appreciation and Creation of Lyrics".

How to deal with the defamiliarization of poetic language?

Sichuan writer, poet and critic Yin Caigan summed up the methods of defamiliarization of poetic language (referred to as the "Three Mo Method") such as "abnormal collocation of words", "simultaneous development of heterogeneous words", and "confrontation between semantics (or contexts)") up and down" (referred to as "Sanmo Method"), which were written into the lecture notes of "Introduction to Poetry Creation" as innovative methods of poetry. As an innovative method of lyrics, it was written into the textbook "Introduction to Lyric Creation", and readers have set off a "wave of exploration of the defamiliarization of poetry (lyrics) language".

Excerpt from Yin Caigan's "Exploration of the Defamiliarization of Poetic Language".

A strange phenomenon has emerged in today's society, where more and more people have detached themselves from poetry and become alienated from poetry. Poetry is coldly shelved on the top of the tower that is unattainable in the palace of art, so that people have a certain rebellious mentality and even disdain poetry. But the problem is that people do not give up their spiritual pursuits at the same time, on the contrary, with the intensification of material activities, the blank space in the emotional and spiritual fields is getting bigger and bigger.

Among other reasons, I am afraid that there is a problem of understanding poetry here. Therefore, when I came across the "Guide to the Appreciation of Modern British and American Poetry" (according to the literal translation of the original name, it should be "A Modern Guide to Understanding and Appreciating Poetry", and the compiler may have ordered it to be a "Guide to Appreciation" in order to take care of the habits of domestic readers). I can't help but think that there is an important factor of indifference here:

Understand. Although we admit that philosophy has always been the most essential part of all the spiritual phenomena of mankind, poetry is undoubtedly more appealing and alive than its harsh abstraction, and it is easier for human beings to reflect their own soul and their own history in poetry. For as far as the poet's creation is concerned, although his primitive impulse is still a difficult mystery to solve, the act itself is really a common human instinct of different eras.

However, for poets and human beings, creation is, after all, a discovery, not a loss, the creation of a new life that has never been seen before. At the same time, the creation of this seemingly mysterious moment, whatever its origin—a character, a scene, an epiphany, an idea—is by no means a completely isolated existence. On the one hand, it undoubtedly contains a certain national and even human cultural origin, which is the natural accumulation of national traditions and archetypes, collective consciousness and collective unconscious; On the other hand, it represents a certain creation of the human spirit, which is always expanding and enriching appropriately.

A common saying when writing is the strangeness of asking. I always emphasize: don't repeat others, and don't repeat yourself.

But people who write often fall into a program of their own design. Because, the clichés, the familiar clichés, and the old clichés are easy to write, and they are familiar with the road. Writing, writing, before you know it, you are on the road.

How can this be avoided? Indeed, as Mr. He Youzhi said, it is not easy to survive. Or how to create. That day, I met Mr. Wang Wenwu in the photography industry, and he said that he would take advantage of the National Day to go to the Jinshan Great Wall to take some **.

I said, "It's a good thing to take pictures of scenery and feel strange when you go to other places." But filming is by no means a matter of chance, but of working hard beyond **.

In fact, the same is true for writing, and the kung fu is outside the poem. The stones of its mountains can be used to attack jade, so you might as well go to other art categories to find strangeness.

What are the aspects of pursuing strange induction?

First of all, you have to break the program you are familiar with and dare to reprogram.

Secondly, the change of angle. You can learn from the changes in angle from the Chinese painting "Riverside Scene at Qingming Festival", and you can absorb some film techniques. There is also the need to think backwards and use it contrary to its intentions.

Of course, the most important thing is the intention. That day, I heard Mr. Ma Shili say that he went to Mount Tai and wanted to write an article. First of all, we had to avoid Mount Tai that everyone had written, so I wrote a "Mid-Autumn Moon on Mount Tai".

In the past few years, I have paid attention to the night, for example, there are several articles in "Moonlight in the Ancient City" that start from the night, avoiding many vulgar ideas.

Secondly, write poems with heroic spirit and dare to be different! Timid, it is difficult to come up with something new.