70后作家自1990年代末进入文坛，迄今已有近二十年的创作历程。作为第一代“改革开放的孩子”，70后成年之际已经能够充分享受剧烈变革所带来的消费和娱乐的自由，后革命的历史语境、日渐斑驳陆离的现代化生活、众声喧哗的社会文化气候，深刻地影响着他们的情感态度与价值观，从而与他们在童年时期感受到的红色时代“余晖”交互作用，形成了一代人独有的思想和创作方式。这其中，70后诗歌创作的一些重要特点具有比较重要的文学史和思想史价值。 首先，他们不再循着个人化写作的“纯诗”路线疏离意识形态，而是就广场等符号性空间在新旧时代交替中功能的演变描摹讽喻性的画面，重新拷问人与政治的关系，进而发出有关公共生活的深沉呼告，其中的代表有杨邪、安石榴、苏浅、温志峰等；第二，70后诗人严重地困惑于物质上越来越充盈的日常生活，新世纪以来再无公共性可言的现实，令他们不能像第三代以及90年代口语写作那般热衷于呈现所谓事物的庸常“本相”，而是生动地传达自身的困惑，如王艾、阿翔、黄礼孩、薛舟等，努力去寻求某种价值建构，如安歌、朵渔、唐兴玲、刘川等的自然观照；第三，70后诗歌的身体书写虽因“下半身”的叛逆而声势爆裂，但是相比1990年代末出现的70后小说的消费主义逻辑，“下半身”创作在狂烈的话语方式之下其实依然具有不可忽视的反思性张力，特别是在沈浩波、朵渔等人的那里；第四，一些存身于学院体制内的70后诗人，从口语诗歌中汲取了养分，而又借助经验空间的探索超越了第三代以降的诗学和思想局限，胡续冬、姜涛是其中最优秀的代表。本文紧扣这些特质，以1990年代中后期至今的70后诗歌创作为对象，希求借助社会历史语境的梳理，就70后一代创作者的诗学观念、思想观念展开论述辨析，同时利用较为细致的文本分析加以佐证。 绪论部分回顾解析了70后诗歌创作浮出地表的背景，展开了这一代诗歌创作出场与命名的历史过程，进而溯及70后诗学思想在当代诗歌谱系中与朦胧诗、第三代以及90年代口语诗歌的关系。以此为前提，将70后诗人作为特殊的精神主体陈述了论文的思路和基本结构样式，完成了对之前研究的述评，说明了论文的研究价值。 第一章以旧梦为题，关注70后创作中有关公共生活的思索与追问，从而探索70后诗歌最根本的创作动机。虽然普遍成熟于市场化改革的潮流之中，但是70后诗人大都出生于激进革命时代的尾声，有着新旧过度的历史时期的经验。当改革逐渐深化，往昔如火如荼的政治运动化作尘埃，公共生活也同时被彻底放逐，新启蒙思想、新时期文学曾经畅往的现代化终于演变为一种扭曲的现实情境。这种去公共化的现实并未能够让70后诗人得以安顿其间，他们记忆中已经恍惚的红色规训一定程度上代表着建构更理想更完善的个人和社会的活动，在政治哲学的意义上与每个人应该保有的理想追求有着不可忽视的关联。这种追求深刻地触发了70后诗人的创作思想，使得他们热衷于有关广场的言说，这一带有强烈符号意味的空间凝聚了一代创作者对公共活动的吁求，从而积极地表达着他们在当下现实生活中获得的独特精神体验。 第二章聚焦70后的日常叙事。既然不能从表面繁荣的社会现实中找到精神的居所，那么这一代诗歌创作对第三代以及90年代口语诗歌的日常叙述的继承就面临着某种疑问：如何让自己的日常观照具有不可替代的诗学和思想品质?也许70后没有提出超越朦胧诗和第三代的、更具召唤力的主张，但是他们从日常书写中表达了更为困惑的感受，从而将之前的口语写作的平面化原则之于当前历史语境的意义作为问题展示出来。通过文本解读和思想辨析可以看出，70后没有简单重复第三代的命意。当时代的剧烈变迁终于令中国式现代化深入到每个国人的具体生活，缺乏更开放的公共活动、更高的理性追求的社会现实已经将意义和价值的缺失所造成的恶劣后果暴露出来。 70后无法在直面这种虚无的同时不去寻求意义的建构，为此，他们实践了大量不同于之前诗歌创作的自然观照，为自己的反思探查了一条可能的路径。 第三章以70后的身体书写为主要考察对象。70后的身体诗学借助“下半身”诗歌运动呈现了非常激烈的面貌。这种狂飙突进的宣言方式招致了巨大的非议。然而与日常叙事的意义探寻相关联的是，70后的身体书写其实包含着深刻的对于当代人的经验基础的拷问。“诗到肉体为止”不仅是将欲望宣泄加以合法化的手段，它为非价值、无意义的生活实质提供了一个无法再虚化的实体性基点。当然，人的自然性因其泥沙俱下的先天不足必然不能承担起重构信仰世界的重责。详考之，以“下半身”为代表的70后身体书写并未止步于此。通过展现身体对“光照”的渴望，“下半身”同时也在表达依托与人得以融构的自然去追寻一个超感性世界的愿景。可惜的是，就“下半身”诗群而言，基于破坏冲动的先锋姿态还是限制了他们的观念和思想建构，从而无法止息关于70后身体诗学的种种非议。 第四章以胡续冬、姜涛为典型案例，着重探讨70后之中那些承继知识分子写作思想、具有强烈历史意识和批判精神的诗人。这些存身于学院之中、创研相长的年轻诗人有着深厚的学术根基和锐利的创作情态。虽有学者身份，他们作品的形式特征却与口语诗歌有着难解难分的关系，既表现在戏谑精神的生动传达，也体现对个人生活深刻而具体的感受、描摹与思索。敢于与身处其中的环境分离，并藉此矢志不渝地追求真理，是知识者最重要、最高贵的使命。尽管面对时代的变迁，诗人理应承担批判的责任，但是理性意识是这种责任得以展开的前提，真知是保证这种责任得以实现的根本。所以，胡续冬、姜涛等诗人强烈的现实关怀并不构成一种局限于生活写真的语言实践，在背离宏大叙事的基础上，借助对另一重经验空间的探索，70后的批判性写作有效地完成了社会学视野、日常主题、口语化形式特征与哲学思考的融合，表现出了令人欣喜的创作成就。 余论提出，在现代新诗的经典化尚未完善的情况下，为尚处于动态发展之中的70后诗歌寻求妥帖适洽的有机参照存在着较大的困难。何况70后诗歌还面临着文学被边缘化后读者日益减少、“文学公共领域”失效的困境。为此，应该充分阅读其作品、理解其生存境况，悬置先入为主的价值判断，更好地梳理其创作实况、进而在诗歌史及更广阔的社会语境中框定其价值。本文所做的尝试即是为了这个目的。 关键词：70后诗歌、广场、日常叙事、身体书写、批判写作

 The analysis of the contemporary Chinese poetry through the intergenerational dimension in the sense of time began with the study of the post-1980s’ generation. Even though before this generation of the poets entered the field of the study, at the same way the poets of the post-1960s’ generation who also rose after the third generation of the obscure poem have achieved relatively more outstanding creative achievements and have received strong repercussions. But if we lay emphasis on judging it from the perspective of the similar ideas and behaviors, as the poetic creators, the post-1970s’ generation does indeed have the more prominent and unneglectable intergenerational feature. From the basic aspect of the creation, the post-1970s’ generation inherited the oral feature of the third generation, and the weight of works on the ordinary people and the daily life is quite heavy. In this basis, he post-1970s’ poetic destiny has a certain breakthrough related to the third generation and the oral poetry of the 1990s through the intellectual concerns about the public life and the aesthetic integration of the nature and existence. This generation has been able to fully enjoy the freedom of the consumption and entertainment brought about by social change after growing up. The historical context of the post-revolution, the increasingly diverse modern life and the social and cultural climate of the public noises has strong influenced their emotional attitude and values. As a result, they interacted with the “afterglow” of the red age they felt during their childhood .They formed their unique way of the survival and creation. The post-1970s’ poets actively used the traditional media and private publications. The number of the self-edited poetry published was large, and they were extremely good at making use of the emerging media. They took the opportunity to promote their images at the beginning of the internet era. The post-1970s’ generation not only exited and develop in the field of the culture and the education like the senior poets, but also became better at the art activities of the cross border, even many of them engaged in the other fields that were completely unrelated to the poetry. The identity of the generation of the poets has become diverse and complicated. Taken together, as the first generation of “the children of the reform and opening up” , the post-1970s’ poets did have fully experienced the improvement of the material standards of living brought by the market-oriented tide, and therefore directly felt the spiritual impact. Because of the poet’ s keen sense, the serve social transition will of course deeply affect their creation and make them suffering from the embarrassing situation to endure more excited thought fission. Therefore the paper takes the post-1970s’ thought of the poetic creation as the research subject to discuss and analyze on the poetic ideas and the ideas of the generation with the help of the social and historical context. At the same time, we use the more detailed text analysis to prove it. In the introduction part, we review and analyze the background of the post-1970s’ poetic creation, which emerges from the earth’ s surface. The historical process of the appearance and naming of this generation’ s poetic creation was launched. And then it trances back to the relationship between the post-1970s’ poetic thought and the obscure poetry, the third generation and spoken poetry the post-1970s in the pedigree of contemporary poetry. Based on this premise, we make the post-1970s’ poet as the special spiritual subjects to have stated the ideas and pattern of the basic structure of the paper. We have completed the review of the previous study and illustrated the value of the paper. The first Chapter focuses on the old dream and pays close attention to the thinking and questioning on the public life of the post-1970s’ creation. Athough they generally matured in the trend of market-oriented reform, the experience of which arrives in the world at the end of the radical revolutionary era is the spiritual background that this generations of the creators can not ignore. As the political movements that once occupied almost all the space of the Chinese people gradually became strangers to the contemporary life, it seems that the modernization of the new enlightenment and the literature of new era once looking forward to has finally come true. However, the reality of removing publicity has not allowed the poets of the post-1970s’ generation to settle down. The red discipline in their memory that has been blurred, to a certain extent, represents the construction of a more ideal and perfect individual and social activities, and is closely related to the pursuit of virtue that should be preserved by everyone in the sense of political philosophy. The role of this pursuit makes the Post-1970s’ poets enthusiastic about the words of the square. This space with strong symbolic meaning condenses the creators’ appeal of the generation for public activities. Thus they actively express the spiritual experience in their current real life. The second chapter focuses on the daily narration of post-1970s’generation. Since it is impossible to find a spiritual home in the superficially prosperous social reality, the inheritance of the daily narrative of the third generation and the spoken poetry of the 1990s by this generation of poetry is confronted with a certain question: how can we make our daily observation have irreplaceable poetic and ideological qualities? Perhaps the post-1970s’ generation did not propose a more appealing proposition than the obscure poems and the third generation, but they expressed more confused feelings from the daily writing. Thus it shows the significance of the previous principle of the planarization of oral writing to the current historical context as a question. Through the textual interpretation and ideological analysis, we can see that the post-1970s’ generation has no simple repetition of the third generation’ s meaning. The high-speed changes of the times finally had made Chinese-style modernization penetrate into the specific details of every Chinese people’s lives. The social reality of the lack of more open public activities and higher moral pursuit has exposed the bad consequences of the lack of meaning and value. The post-1970s can not face this nihility without seeking the construction of meaning. For this reason, they have practiced a lot of natural reflections which are different from the previous poetic creation, thus exploring a possible path for their own introspection and exploration. The third chapter takes the post-1970s’ body writing as the main object of investigation. Unlike the other ideas and creations, the post-1970s’ body poetics showed a very fierce appearance with the help of the lower-part body poetry movement. This way of declaring the hurricane approach has caused great criticism. However, in connection with the exploration of the meaning of daily narratives, the post-1970’ s body writing actually contains profound torture of the empirical basis of contemporary people. “Poetry to the flesh" is not only a means of legitimizing the catharsis of desire, but also provides a substantial basis point for the non-valuable and meaningless essence of life. Of course, the nature of human beings because of its inborn deficiencies can not assume the responsibility of reconstructing the belief world. By showing the body’s desire for "light, " the lower-part body is also expressing its vision of pursuing a super-sensitive world based on the nature of human beings. Unfortunately, as far as the lower-part body is concerned, the vanguard attitude based on destructive impulses still limits their ideas and ideological construction, so that it is impossible to rest on the various criticisms of physical poetics after 70 years. The fourth chapter takes Hu Xu-dong and Jiang Tao as typical cases, and focuses on the poets who inherited the intellectual writing ideas of the post-1970’ s years. These young poets who are in the college and have long been created have deep academic foundation and sharp creative style. Although they have scholar status, the formal characteristics of their works are inextricably related to oral poetry. They not only express the lively spirit of banter, but also reflect the profound and specific feelings, descriptions, and reflections on personal life. The most important and noble mission of a knowledgeable person is to dare to be separated from the environment in which he is living and to pursue the truth. Although the poet should bear the responsibility of criticism in the face of the changes of the times, rational consciousness is the premise for the development of this responsibility, and true knowledge is the fundamental to ensure the realization of this responsibility. Therefore, the strong practical concern of poets such as Hu Xudong and Jiang Tao does not constitute a language practice limited to life portraits. On the basis of deviating from the grand narrative, we use the exploration of another experience space. The knowledge writing of the post-1970s has effectively completed the integration of sociological vision, daily themes, colloquial forms and philosophical thinking, and has shown gratifying creative achievements. Under the condition that the classical of modern new poetry is not perfect, it is difficult to find appropriate organic reference for the post-1970s’ poetry which is still in the dynamic development. Moreover, the poetry of the post-1970s is still faced with the dilemma of diminishing readers and failing of "literary public domain" after literature is marginalized. For this reason, we should read his works, understand his living conditions, and set aside preconceived value judgments so as to better comb out his creation and frame his value in the history of poetry and the broader social context. The attempt made in this paper is for this purpose. Key words: the post-1970s’ poetry; square; narrative of everyday life; body poetics; critical writting