Geng Zhanchun remembers that it was teacher Liu Siqian who asked Li Haiying during the interview, such as what kind of research he plans to do when entering the doctoral stage, generally speaking, everyone will directly answer this question that should be prepared, but I heard Li Haiying say: "I want to be a Benjamin-style critic..." I don't know if the mentors here are satisfied, I thought to myself, it seems that this year is her, at least in my critical writing, Benjamin also used to be a signpost. That was the first time I saw Hai Ying, but she said no, she rubbed my liberal arts class and could recite the poems I taught in class. Remembering that this was seven or eight years ago, Haiying was indeed working toward the goal of self-perception as a "Benjaminian critic." So what does a Benjaminian criticism mean? Although everyone will have a different perception, at the very least, it is an approach that places literary studies and literary criticism in a more far-reaching historical context, and should have a very different purpose from self-contained text-only studies. It is a way of placing elements of literary criticism in a more general cultural function, such as placing "story" or narrative in the process of transmutation from myth and legend to modern fiction, placing language and rhetoric in the context of evolution from sacred word to journalistic language, and placing the examination of style and form in the socio-cultural system, and this investigation never ignores the context of the text, but is still an activity from within the text. Indeed, such a trait can now be found in these critical articles by Hai Ying. The articles presented in this book have shown this meaning. She questioned the possible chronological arrangements in Changyao's "early writing", and based on an examination of social rhetoric, she raised the possibility of "late revision" with evidence, and questioned the assertions of her rather authoritative predecessors in the academic world. Of course, her questioning was not deliberately offended by some young scholars, I remember that the first time I asked her to write an article was to give Duoduo a new set of poems, and a month later she handed in the article, and she took a small article signed "Duoduo" in 1980, "The Old Poet Who Insisted on Being Cold", and asked if it was this Duoduo we were talking about, I thought that it was not necessary to examine all the texts to comment on a new set of works, and she actually replied to me bluntly, "Yes, otherwise how would I know what he looked like before." "Soon I understood that her frankness pointed to herself, that she wanted to be clear about her own perceptions or judgments, and that she did not mean any offense to others. Just like the analysis of some of the most important issues in the history of contemporary poetry and the "long poetry writing" of the most influential poets, the fundamental intention is to communicate and maintain, out of respect and expectation of the essence of literature. Of course, what is more visible in her poetic work is her interpretation of some important poetic texts, such as the investigation of the relationship between city and poetry, local experience and poetry, traumatic experience and poetry, and her understanding of poetry is more about the understanding of the heart. When Hai Ying aspires to be a Benjaminian critic, I understand this idea as a critique of popular literatureism, a dissatisfaction with the exclusion of subjective opportunities for intellectual inquiry, and perhaps a denial of the exhaustion of meaning caused by banal linguistic activity. This is a process that originated as poetry, so research is a different kind of writing. In fact, she attached great importance to literature, at first I thought it was related to the training tradition of the College of Literature of Henan University, but later I thought it might be due to personality, sensitivity to emotions, keen on words, hopelessly obsessed with thoughts, and ardent yearning for mysterious things... Many seemingly contradictory things are incompatible with her, these things are conducive to writing or research, but also put the heart in the abyss, she later became obsessed with Baumann, Baudrillard, Lévi-Strauss, Hillis Miller, Wendler, Williams and others, and has repeatedly told us about a certain person and a certain book, and then looked gloomy: "I slipped into a black hole", perhaps research and reading were originally the self-saving straws she tried to grasp, but the vortex of ideas and knowledge can engulf people at any time, Disintegrate one darkness and rebuild another. When Hai Ying said that she wanted to be a Benjaminian critic, Benjamin was not the only reference, Benjamin belonged to a family, he belonged to a starter on this genealogical tree, and after formalist criticism, those studies that linked literary theory and literary criticism, certain literary elements to political theory, social thought, and philosophy of history, all belong to this revived critical tradition. This points to both literature and criticism itself and to the critics themselves. In the opposite direction, as in the historian Hayden White, applying the methods of literary theory and literary criticism to the philosophy of history, he describes this appropriation as a reflection on "the understanding of the coming revelation." To explore textual historical thinking or historical narrative is to confront "a literary work that has no place for it." In White's view, literature cannot be seen as a beginning, so where is the beginning? Escaping is a beginning that precedes other things. How can a critic establish a beginning in a discourse that has always begun? These questions have puzzled her many times, and even got into trouble, and the search for truth may have always been an inquiry into darkness. Said's solution in Beginnings: Intention and Method is to emphasize that "beginnings are the first step in the intentional generation of meanings" and that "beginnings create another thoughtful generation of meanings...". In the sense of critical method and critical style, this may be a problem that Vico and Nietzsche have long foreshadowed. But in the sense of individual life, how to accomplish the creative expression of a chaotic world? Hae-young has named the criticism he has tried over the years "unplucked strings," both anxious and melancholy. Picasso created the famous "Man Who Played the Blue Guitar" during the Blue Period, an image used by the American poet Wallace Stevens to explore how artists creatively express this theme, how strings are falsified, and how things are played as they are. We cannot bring a full world, how can we stitch it up to the best of our ability? This is the problem of poetics and even more the problem of life, but in any case, she has leaned over the "blue guitar" and chose to play - "imaginary pine, imaginary jay." "Autumn 2017（AI翻译）