意象中國：1970年代戰後第一世代詩人的國族符號建構

The Image of China: Construction of National Symbols of Postwar Poets of the First Generation in the 1970's

解昆樺(Hsieh, Kun-Hua)

《文史台灣學報》 11期 (2017/12) Pp. 113-151

摘要

戰後第一世代詩人在1970年代為對應國族危機與1960年代現代主義書寫弊病，透過籌組詩刊提出一系列詩聲明，他們在詩刊所發表之詩作正是其聲明的實踐。在詩中他們大量運用中國符號匯意成象，本身即存在以詩文本為再現國族的空間，藉反覆捏塑中國意象以實現建構理想國族的企圖。然而，就詩美學與歷史意象生產的角度來看，世代群體對中國符號的運用本身還包括擇選、應用，甚至隨文化心理意識的轉化衍生出差異的紛繁現象。本文即在檢視戰後第一世代詩人在1970年代如何運用中國意象符號成就國族，以及後續所發生的意識歷程轉變。首先，檢視戰後第一世代詩人詩作所初步呈現之具抒情特質的中國古典情境，探討藉語言經驗中國的方式裡頭所存在的現代寫作主體課題。其次，則分析神州詩社馬華詩人執戀中國符號架構自我生存空間的現象，耙梳其與前行代詩人余光中凝視故宮博物院式中國符號所呈顯出的夢境視域之脈絡關係。進而比較同世代台灣本島詩人如何以自我時代在地經驗，辨析出中國意象內在傳統／現代／現實的細微光譜架構，突顯出戰後第一世代內不同社群詩人於1970年代中期後彼此對中國符號運用上的細膩差異。透過逐層論述可以發現戰後第一世代詩人並非以哀衿的遺孤（民）姿態進行意象中國書寫，他們既以詩架構出中國意象空間孕化自我主體性，亦有意識地以中國意象為鏡，並在其上敲撞出國族危機的裂縫，投射入時代現實光芒，在那迴返的色澤中顯影、反思自我主體。

關鍵字

戰後第一世代詩人 ； 中國意象 ； 國族 ； 主體性 ； 書寫意識

並列摘要

As a response to the national crisis and the writing maladies in the 1960's affected by Modernism, the postwar poets of the first generation in the 1970's had proposed a series of claims of poetries through organizing poetry journals. The poetries presented in the journals were a practice of their claims, in which images were formed based on meanings through a large number of Chinese symbols. With their actions involving the room of representing the nation through poetry texts, these poets reiterated their ambition of constructing the ideal nation through repetitive forming of the image of China. Nonetheless, with regard to poetry aesthetics and historical image creation, the utilization of Chinese symbols by generation groups also involve choices, applications and even the different complex phenomena derived from the transformation of cultural and psychological perspectives. This research paper aims to study how the postwar poets of the first generation in the 1970's accomplished the nation via applying Chinese image symbols and the changes of perspective process took place sequentially. First of all, this paper views the Chinese classical scenarios with sentimental qualities presented primarily by the postwar poets of the first generation, discussing the theme issues of modern writings existed in the Chinese way based on language experiences. Secondly, this paper analyzes the strong passion for Chinese symbols and construction of the self-survival space of the Malaysian-Chinese poets from Shen Zhou Poetry Club, whose contextual relation with the dream vision of Guang-Jhong Yu, the postwar poet, after he contemplated the NPM-style Chinese symbols is then analyzed. Moreover, this paper further compares the way Taiwanese poets proposed the subtle conventional/modern/practical spectral structure of the Chinese image through their local experiences of the era. This highlights the minor discrepancies between the applications of Chinese symbols of the postwar poets of the first generation in the 1970's from various poetry clubs. It can be discovered from detailed discussions that the postwar poets of the first generation had not produced their works of the Chinese image from the viewpoints of descendents (orphans) sorrowfully. Instead, they constructed the room of the image of China via poetries and gestated their sense of self-subjectivity. In addition, they consciously referred to the reflection of the image of China and produced a crack of national crisis on the mirror of reflection, injecting the practical light of the time and introspecting their self-subjectivity which was reflected in the lingering tincture.

並列關鍵字

Poets of the first generation postwar ； Image of China ； Nation ； Subjectivity ； Writing perspective

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