台灣後現代詩觀察：
夏宇及其後的新一代書寫
Observation of Postmodern Poetry in Taiwan:
Writings of Hsia Yu and the New Generation
翁文嫻
Yung, Man-han
摘要
本文探研自夏宇之後，台灣近十年來，年輕一代的詩語言狀態。論文先從台灣詩壇的後現代論述回顧，例如：深具影響的孟樊及簡政珍二位之著作，再自這些學術基礎上，進一步探研後現代詩語言的面貌。討論的詩人為六○年代之後出生，葉覓覓、劉亮延、魚果、駱以軍、廖梅璇等。據其語言的方向與突破點，有來自夏宇影響，或有另外來源、想法的，疏理其語言形式洩露的社會文化訊息。另外，夏宇本人的詩集及其編輯理念，如新的一本完全透明、可浸泡在水中的詩集《粉紅色噪音》，及《現在詩》第2期「來稿必登」，亦一直帶領著一種新的後現代詩之風景。在台灣這片既有漢文化又深受世界詩潮鼓盪的土地上，如何在世界後現代既有論述中新增內容？亦為本文待處理的理論線索。
關鍵詞：後現代詩、夏宇、劉亮延、魚果、駱以軍
Abstract
This paper discusses the poetic language of the younger generation over the past ten years, in the wake of Hsia Yu. The paper reviews the postmodern discourse in Taiwanese poetry, such as the influential works of Meng Fan and Chien Chengchen, with a specific focus on the language used. The poets discussed were all born in the 1970s, such as Yeh Mimi, Liu Liangyen, Yu Kuo, Lo Yichun, and Liao Meihsuan. Based on their use of language and innovations, some of them were affected by Hsia Yu, while others were influenced by other writers and ideas. The social and culture messages in these works are revealed by their innovative use of language. The poetry and the editorial philosophy of Hsia Yu lead to a new scene of postmodern poetry, such as the works Pink Noise and Poetry Now. This essay also attempts to discuss how it tries to make an innovative theory on Taiwanese poetry, more than its basic sources both from classical Chinese poetics and modern western theories, in particular post-modernism.
Keywords: postmodern poetry, Hsia Yu, Liu Liangyen, Yu Kuo, Lo Yichun
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2012年9月3日 星期一
游牧的時間：夏曼．藍波安關於海浪的記憶
游牧的時間：
夏曼．藍波安關於海浪的記憶
The Nomadic Time :
On Syaman Rampoan’s Memories of the Sea
李育霖
Lee, Yu-lin
摘要
本文以時間的向度切入閱讀夏曼．藍波安關於海洋的書寫。回憶支配了夏曼的書寫，其寫作明顯地被某種雙重的時間攫住。同時，作者將自身及其作品的角色刻畫為「游牧者」，建構了特殊的文本結構與主體構成。本文將主要闡明此一游牧運動所展現的時間通道。本文認為，作者的書寫創造一個過去與當下交會的時分，透過回憶或說故事，過去被帶到當下，兩者並構成如影像般的效用表面，讀者因此目睹時間自我演化的幻影，而作者及其作品中的主角，則在其重複的運動中標定了個人與集體的歷史性；將自身開放，形構一個前個人、並與自然宇宙共振的生存領域。從這一角度看，夏曼的書寫並非僅僅再現了蘭嶼千年的歷史與傳統，相反地，在此一時間的辯證運動中，個人與集體的時間性重新被生產，書寫本身同時見證一個屬於當下的永恆。
關鍵詞：夏曼．藍波安、台灣原住民書寫、游牧、記憶、歷史、自然書寫
Abstract
This paper looks into the composition of time in Syaman Rampoan’s writing on the sea. It is well known that memory dominates Syaman’s writing so that his works are heavily haunted by the past. More significantly, Syaman constantly characterizes himself and the protagonists of his works as “the nomad,” which in turn constitutes a unique narrative structure and subjectivity. This paper pinpoints this particular aesthetics exhibited by the nomad, arguing that the author through his writing creates a time passage where the past and
the present converge; it also produces an effect surface where time displays itself as phantasm of history. In other words, the author and his protagonists are engaged in a repetitive movement by which the self is open to a preindividual existential territory corresponding to the natural environment. Seen in this light, Syman’s memories of the sea should not simply be considered as re-presentation of the cultural tradition of his tribe, but rather singularization of an individual and re-production of collectivity.
Keywords: Syaman Rampoan, Taiwan aboriginal literature, nomad, memory, history, nature writing
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夏曼．藍波安關於海浪的記憶
The Nomadic Time :
On Syaman Rampoan’s Memories of the Sea
李育霖
Lee, Yu-lin
摘要
本文以時間的向度切入閱讀夏曼．藍波安關於海洋的書寫。回憶支配了夏曼的書寫，其寫作明顯地被某種雙重的時間攫住。同時，作者將自身及其作品的角色刻畫為「游牧者」，建構了特殊的文本結構與主體構成。本文將主要闡明此一游牧運動所展現的時間通道。本文認為，作者的書寫創造一個過去與當下交會的時分，透過回憶或說故事，過去被帶到當下，兩者並構成如影像般的效用表面，讀者因此目睹時間自我演化的幻影，而作者及其作品中的主角，則在其重複的運動中標定了個人與集體的歷史性；將自身開放，形構一個前個人、並與自然宇宙共振的生存領域。從這一角度看，夏曼的書寫並非僅僅再現了蘭嶼千年的歷史與傳統，相反地，在此一時間的辯證運動中，個人與集體的時間性重新被生產，書寫本身同時見證一個屬於當下的永恆。
關鍵詞：夏曼．藍波安、台灣原住民書寫、游牧、記憶、歷史、自然書寫
Abstract
This paper looks into the composition of time in Syaman Rampoan’s writing on the sea. It is well known that memory dominates Syaman’s writing so that his works are heavily haunted by the past. More significantly, Syaman constantly characterizes himself and the protagonists of his works as “the nomad,” which in turn constitutes a unique narrative structure and subjectivity. This paper pinpoints this particular aesthetics exhibited by the nomad, arguing that the author through his writing creates a time passage where the past and
the present converge; it also produces an effect surface where time displays itself as phantasm of history. In other words, the author and his protagonists are engaged in a repetitive movement by which the self is open to a preindividual existential territory corresponding to the natural environment. Seen in this light, Syman’s memories of the sea should not simply be considered as re-presentation of the cultural tradition of his tribe, but rather singularization of an individual and re-production of collectivity.
Keywords: Syaman Rampoan, Taiwan aboriginal literature, nomad, memory, history, nature writing
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天花板下的旅人：尋找黃國峻
天花板下的旅人：
尋找黃國峻
The Traveler under the Ceiling:
In Search of Huang Guojun
陳麗芬
Chen, Li-fen
摘要
在這樣一個凸顯問題意識，並將「問題」置於一個國族認同、文化身分、性別、階級等等的理念框架鋪演的時代裡，一個自處於精神上家國以外的年輕作家選擇以自絕的方式告別人間，體現個人意志，帶給我們的是莫大的震撼。每一個自殺的悲劇似乎都在提醒我們，在這政治意識形態高揚的社會裡，那暫時被我們壓抑，甚至遺忘的最基本的生存課題。於是一個出自於最為個人隱私層面的擧動，有時卻產生了最能震撼公共領域的效應。就黃國峻的例子而言，不論是媒體或是評論界，在嘗試理解他為何自殺時，都有一個極為明顯的將之既浪漫化但又病態化的傾向。再加上他身為黃春明兒子的特殊身分，論者總是喜歡把這對父子拿來作比較。相對於黃春明的鄉土、現實、入世，黃國峻是憂鬱的、自閉的、不食人間煙火的。不僅如此，這個對比形象亦不時延伸到人們對相隔四十年的兩代作家之間的識別。在一些對台灣當代小說傳承代換上的解讀中，黃春明所代表的「父輩」是書寫歷史、社會大論述的一代，「子輩」的黃國峻一代則是耽溺於私密主體的內向世代。本文並不同意這個由「大說」演進到「小說」的文學史觀。本文一方面透過對黃國峻小說的細讀，以探索這個年輕作家一種近乎儀式性的虛構模式與敘事法則，由此領會他在創作上的終極寄託。另一方面，也想藉此閱讀方式，檢視他的小說藝術在當代台灣文學的位置與重要性。本文試圖瞭解在這近十幾年來台灣小說發展的脈絡下，黃國峻其人其作所可能代表的意義。
關鍵詞：黃國峻、說故事者
Abstract
In a politically conscious literary climate that is obsessed with questions of cultural identity, gender and class, Huang Guojun is an anomaly. His self-inflicted death in 2003 at the age of thirty-two sent a shock wave to Taiwan’s literary community, causing a great deal of speculation. The fact that he was the son of Huang Chunming, the famed champion of Taiwan’s “Xiangtu wenxue” (nativist literature) in the 1960-70s, has undoubtedly contributed, to no small degree, to the enormous attention his suicide has received. The award-winning yet little known young writer soon became the focus of discussion in the media as well as in the academia. He was most often contrasted with a father who had long been made titanesque by theTaiwanese literary historians. Contrary to the father’s celebrated social satires, his work was considered as individualistic and unintelligible. This father-son comparison was even expanded to a critical discourse that tried to distinguish between two literary generations in terms of what counts as “experience.” My article questions this construction of a literary history in which a society vs. self, grand narrative vs. “little narrative” ( petit récit ) dialectic is clearly discernible. By closely reading the corpus of Huang Guojun’s work, the article presents a profile of a seemingly secluded young man as a self-made public “storyteller,” with the hope toyield some new understanding of this important writer. It is finally an attempt to position this much talked-about but little-understood writer and to assess his literary significance in the context of the recent development Taiwanese fiction.
Keywords: Huang Guojun, the storyteller
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尋找黃國峻
The Traveler under the Ceiling:
In Search of Huang Guojun
陳麗芬
Chen, Li-fen
摘要
在這樣一個凸顯問題意識，並將「問題」置於一個國族認同、文化身分、性別、階級等等的理念框架鋪演的時代裡，一個自處於精神上家國以外的年輕作家選擇以自絕的方式告別人間，體現個人意志，帶給我們的是莫大的震撼。每一個自殺的悲劇似乎都在提醒我們，在這政治意識形態高揚的社會裡，那暫時被我們壓抑，甚至遺忘的最基本的生存課題。於是一個出自於最為個人隱私層面的擧動，有時卻產生了最能震撼公共領域的效應。就黃國峻的例子而言，不論是媒體或是評論界，在嘗試理解他為何自殺時，都有一個極為明顯的將之既浪漫化但又病態化的傾向。再加上他身為黃春明兒子的特殊身分，論者總是喜歡把這對父子拿來作比較。相對於黃春明的鄉土、現實、入世，黃國峻是憂鬱的、自閉的、不食人間煙火的。不僅如此，這個對比形象亦不時延伸到人們對相隔四十年的兩代作家之間的識別。在一些對台灣當代小說傳承代換上的解讀中，黃春明所代表的「父輩」是書寫歷史、社會大論述的一代，「子輩」的黃國峻一代則是耽溺於私密主體的內向世代。本文並不同意這個由「大說」演進到「小說」的文學史觀。本文一方面透過對黃國峻小說的細讀，以探索這個年輕作家一種近乎儀式性的虛構模式與敘事法則，由此領會他在創作上的終極寄託。另一方面，也想藉此閱讀方式，檢視他的小說藝術在當代台灣文學的位置與重要性。本文試圖瞭解在這近十幾年來台灣小說發展的脈絡下，黃國峻其人其作所可能代表的意義。
關鍵詞：黃國峻、說故事者
Abstract
In a politically conscious literary climate that is obsessed with questions of cultural identity, gender and class, Huang Guojun is an anomaly. His self-inflicted death in 2003 at the age of thirty-two sent a shock wave to Taiwan’s literary community, causing a great deal of speculation. The fact that he was the son of Huang Chunming, the famed champion of Taiwan’s “Xiangtu wenxue” (nativist literature) in the 1960-70s, has undoubtedly contributed, to no small degree, to the enormous attention his suicide has received. The award-winning yet little known young writer soon became the focus of discussion in the media as well as in the academia. He was most often contrasted with a father who had long been made titanesque by theTaiwanese literary historians. Contrary to the father’s celebrated social satires, his work was considered as individualistic and unintelligible. This father-son comparison was even expanded to a critical discourse that tried to distinguish between two literary generations in terms of what counts as “experience.” My article questions this construction of a literary history in which a society vs. self, grand narrative vs. “little narrative” ( petit récit ) dialectic is clearly discernible. By closely reading the corpus of Huang Guojun’s work, the article presents a profile of a seemingly secluded young man as a self-made public “storyteller,” with the hope toyield some new understanding of this important writer. It is finally an attempt to position this much talked-about but little-understood writer and to assess his literary significance in the context of the recent development Taiwanese fiction.
Keywords: Huang Guojun, the storyteller
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滿洲內在化與島都書寫：林煇焜《命運難違》的滿洲匿影及其潛話語
滿洲內在化與島都書寫：
林煇焜《命運難違》的滿洲匿影及其潛話語
The Internalization of Manchuria and Urban Writing:
The Hidden Shadow of Manchuria and its Latent Discourse in Lin Huikun’s
Inviolable Destiny
柳書琴
Liu, Shu-chin
摘要
筆者認為，台北是在一邊朝島內最大都市更新的進程中，一邊飛躍性地成為日本帝國境內的東亞節點都市；而讓滿洲事變進入民眾生活領域，亦即把滿洲內在化，便是這進程中的重要環節。本文從《臺灣日日新報》上的滿洲事變、滿洲事變周年記念日活動報導入手，觀察與台灣關係微薄的滿洲事變如何成為台灣人日常生活訊息乃至身體經驗的一部分。接著，探討林煇焜怎樣將滿洲事變背景化，以輕描淡寫的方式將它匿置於《命運難違》此一台灣首部長篇都市小說之最底層。最後，比對這部報紙連載小說與《臺灣新民報》社論的共同點，指出作者透由時事描寫和報紙社論議題進行暗合的意圖。在事變報導／都市書寫／殖民政策批判的關聯性中，總結這種敘事模式隱含的潛話語。
關鍵詞：滿洲事變、滿洲事變記念日、台北、都市小說、林煇焜、《命運難違》、《臺灣日日新報》、《臺灣新民報》
Abstract
In the 1930s, Taipei was in the process of carrying out the largest urban renewal project in Taiwan, and rapidly becoming an important location in the Japanese empire. Meanwhile, making the Manchurian Incident part of people’s lives, an thus internalizing Manchuria, was an important part of this process. This study begins with various reports on the Manchurian Incident and the memorial events on its anniversary in the Taiwan Daily Newspaper, observing how the incident, which was only slightly related to Taiwan, became part of local people’s lives. It also explores how Lin Huikun turned the Manchurian Incident into part of the background of Inviolable Destiny, Taiwan’s first long work of urban fiction. Finally, by comparing the common points in this serialized story that appeared in a newspaper and the editorials in the Taiwan New People Newspaper, this study examines the writer’s attempt to implicitly consider the issues discussed in the editorials through the description of current events in this novel. This study then examines the implicit latent discourse in this mode of narrative through the relations among reports of the Manchurian Incident, urban writing, and critiques of colonial policy.
Keywords: Manchurian Incident, memorial events, Taipei, urban fiction, Lin Huikun, Inviolable Destiny, Taiwan Daily Newspaper, Taiwan New People Newspaper
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林煇焜《命運難違》的滿洲匿影及其潛話語
The Internalization of Manchuria and Urban Writing:
The Hidden Shadow of Manchuria and its Latent Discourse in Lin Huikun’s
Inviolable Destiny
柳書琴
Liu, Shu-chin
摘要
筆者認為，台北是在一邊朝島內最大都市更新的進程中，一邊飛躍性地成為日本帝國境內的東亞節點都市；而讓滿洲事變進入民眾生活領域，亦即把滿洲內在化，便是這進程中的重要環節。本文從《臺灣日日新報》上的滿洲事變、滿洲事變周年記念日活動報導入手，觀察與台灣關係微薄的滿洲事變如何成為台灣人日常生活訊息乃至身體經驗的一部分。接著，探討林煇焜怎樣將滿洲事變背景化，以輕描淡寫的方式將它匿置於《命運難違》此一台灣首部長篇都市小說之最底層。最後，比對這部報紙連載小說與《臺灣新民報》社論的共同點，指出作者透由時事描寫和報紙社論議題進行暗合的意圖。在事變報導／都市書寫／殖民政策批判的關聯性中，總結這種敘事模式隱含的潛話語。
關鍵詞：滿洲事變、滿洲事變記念日、台北、都市小說、林煇焜、《命運難違》、《臺灣日日新報》、《臺灣新民報》
Abstract
In the 1930s, Taipei was in the process of carrying out the largest urban renewal project in Taiwan, and rapidly becoming an important location in the Japanese empire. Meanwhile, making the Manchurian Incident part of people’s lives, an thus internalizing Manchuria, was an important part of this process. This study begins with various reports on the Manchurian Incident and the memorial events on its anniversary in the Taiwan Daily Newspaper, observing how the incident, which was only slightly related to Taiwan, became part of local people’s lives. It also explores how Lin Huikun turned the Manchurian Incident into part of the background of Inviolable Destiny, Taiwan’s first long work of urban fiction. Finally, by comparing the common points in this serialized story that appeared in a newspaper and the editorials in the Taiwan New People Newspaper, this study examines the writer’s attempt to implicitly consider the issues discussed in the editorials through the description of current events in this novel. This study then examines the implicit latent discourse in this mode of narrative through the relations among reports of the Manchurian Incident, urban writing, and critiques of colonial policy.
Keywords: Manchurian Incident, memorial events, Taipei, urban fiction, Lin Huikun, Inviolable Destiny, Taiwan Daily Newspaper, Taiwan New People Newspaper
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帝國的審美與觀視：論台灣八景言說的建構及其美學意識型態
帝國的審美與觀視：
論台灣八景言說的建構及其美學意識型態
The Aesthetic Appreciation and Aspects of Empire:
The Literary Construct of the Eight Scenic Views of Taiwan and its Aesthetic
Ideology
申惠豐
Shin, Hui-feng
摘要
本文透過對台灣八景詩（大八景）的分析，論述清領前期台灣的仕宦與文人如何透過八景言說的建構，掌握台灣這塊位處邊陲帝國的新附之地；本文試圖透過空間分析的方法論，論述這些仕宦文人如何透過賞景此一關於美的觀視，解決身處異地所產生的主體認同問題。本文認為，這些仕宦與文人的八景言說建構中，存在著大量的帝國修辭，他們透過召喚歷史、文化記憶，透過轉喻、透過一種筆者稱之為帝國美學架構的修辭實踐，轉化台灣的空間屬性，創造了一個新的台灣空間形貌與歷史，目的是為了將台灣加入帝國的想像共同體之中。
關鍵詞：台灣八景、空間、地方、認同、地景
Abstract
By analyzing a poem lauding the eight scenic views of Taiwan (the greater eight views), we attempt to explain how the bureaucrats and literati of Taiwan, during the early period of the Qing Dynasty’s rule, and through the literary construct of the eight scenic views of Taiwan, controlled the new addition to the frontier of the empire, that is, Taiwan. In this study, using the spatial analysis method, we discuss how these bureaucrats and literati resolved their subjective identification issues resulting from being in a foreign land through the beauty of scenic views. We contend that the literary construct of the eight scenic views, upheld by these bureaucrats and literati, comprised a significant amount of imperial rhetoric. By referencing historical and cultural memories, transforming metaphors, and implementing rhetoric under what was called an “imperialistic aesthetic framework” by the author, they transformed the spatial attributes of Taiwan, creating a new spatial form and history. The purpose of this framework was to integrate Taiwan into the imagined community of the
empire.
Keywords: Eight scenic views of Taiwan, space, location, identity,
landscape
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論台灣八景言說的建構及其美學意識型態
The Aesthetic Appreciation and Aspects of Empire:
The Literary Construct of the Eight Scenic Views of Taiwan and its Aesthetic
Ideology
申惠豐
Shin, Hui-feng
摘要
本文透過對台灣八景詩（大八景）的分析，論述清領前期台灣的仕宦與文人如何透過八景言說的建構，掌握台灣這塊位處邊陲帝國的新附之地；本文試圖透過空間分析的方法論，論述這些仕宦文人如何透過賞景此一關於美的觀視，解決身處異地所產生的主體認同問題。本文認為，這些仕宦與文人的八景言說建構中，存在著大量的帝國修辭，他們透過召喚歷史、文化記憶，透過轉喻、透過一種筆者稱之為帝國美學架構的修辭實踐，轉化台灣的空間屬性，創造了一個新的台灣空間形貌與歷史，目的是為了將台灣加入帝國的想像共同體之中。
關鍵詞：台灣八景、空間、地方、認同、地景
Abstract
By analyzing a poem lauding the eight scenic views of Taiwan (the greater eight views), we attempt to explain how the bureaucrats and literati of Taiwan, during the early period of the Qing Dynasty’s rule, and through the literary construct of the eight scenic views of Taiwan, controlled the new addition to the frontier of the empire, that is, Taiwan. In this study, using the spatial analysis method, we discuss how these bureaucrats and literati resolved their subjective identification issues resulting from being in a foreign land through the beauty of scenic views. We contend that the literary construct of the eight scenic views, upheld by these bureaucrats and literati, comprised a significant amount of imperial rhetoric. By referencing historical and cultural memories, transforming metaphors, and implementing rhetoric under what was called an “imperialistic aesthetic framework” by the author, they transformed the spatial attributes of Taiwan, creating a new spatial form and history. The purpose of this framework was to integrate Taiwan into the imagined community of the
empire.
Keywords: Eight scenic views of Taiwan, space, location, identity,
landscape
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