As a poet and poetic critic who has long been renowned in the literary world, Ouyang Jianghe's works exhibit a richly varied style. His theoretical perspective transcends the inertial routines of traditional academic collation and compilation, offering unique depth of thought and novelty. Over the course of several years, his works have undergone a significant expansion, and over the past decade, they have undergone a relatively drastic ideological shift. Upon close reading and analysis of the underlying meanings, era-specific labels, or tracing the origins of his diverse styles in Ouyang Jianghe's language, and while conducting research, one becomes deeply aware that the relevant poetic issues he presents are almost entirely some kind of epitome or collateral evidence of the development process of mainland Chinese poetry over the past four decades. By deconstructing Ouyang Jianghe's poetic value, one can essentially participate in deconstructing the poetic apparatus of a group in an era.
Ruodong Gao (Thu,) studied this question.