後現代詩之互文性 : 以夏宇為對象

The Intertextuality in the Post-modern Poetry – A study of Hsia Yu

宋淑婷(Shu-Ting Sung)

指導教授 ： 賴賢宗

國立臺北大學/人文學院/中國語文學系/碩士(2011年)

摘要

本文以「互文」作為夏宇詩作的詮釋策略，主要參考法國女性主義哲學家克莉斯蒂娃（Julia Kristeva）所發明的「互文性」（intertextuality）理論，以及法國文學批評家熱奈特（Gérard Genette）提出的五種「跨文性」（transtextualité）類型，並依此五種類型歸納統整夏宇詩作與其他文本的互文關係。本文著眼於夏宇詩與其他文本的「互文關係」，據此掌握夏宇詩作裡意義的流動性、歧義性、和多元性，闡明夏宇詩作的後現代特質。本文藉由互文的文本分析、佐以後現代與互文理論上的啟發，關注夏宇對語言的反思，對人性的體察以及對愛情、婚姻生活的體會。

本文第二章〈台灣後現代詩與夏宇〉爬梳台灣後現代詩發展時的社會背景與思想轉型的契機，同時統整學者論述夏宇詩作中的後現代特色。第三章〈女性與抒情：夏宇後現代詩的女性抒情〉，則是深入釐析奚密對夏宇詩的整體論述。本章兼以〈腹語術〉、〈開罐器〉等詩的互文分析，闡發夏宇獨特的、女性抒情的書寫特質。第四章〈互文與書寫：夏宇後現代詩的書寫策略〉則以「互文」作為「後現代詩的書寫策略」角度切入，在夏宇詩與其他文本的互文分析中，結合「諧擬」、「引用」等概念，以及德希達「延異」、「蹤跡」等解構理論，具體呈現出夏宇詩作的互文要點。本章在結語的部分則提點出夏宇詩作中的互文現象，當為詩人將閱讀經驗轉換成創作的真實發生場域。

第五章〈前衛與偶發：夏宇詩與西方藝術〉則將夏宇對詩在創作形式方面的思考，與她所熱愛的西方現當代藝術作一互文觀照，尤其體現在《摩擦•無以名狀》的拼貼並置的創作法，與二十世紀前衛藝術獨出的拼貼技法之間的關連；同時，本章關注夏宇詩與裝置藝術和流行音樂等後現代文化的互文脈絡。最後，筆者將論文寫作的體會回應於夏宇的言談，表達詩互文的質地。

關鍵字

夏宇詩 ； 後現代 ； 互文性 ； 解構 ； 前衛藝術 ； 拼貼

並列摘要

This paper studies Hsia Yu’s poems from the perspective of “Intertextuality”. The idea mainly refers to the French feminist philosopher, Julia Kristeva who promoted the concept of Intertextuality. The study also reviews Hsia Yu’s poem on its intertextual connection with other texts from the point of “transtextualité”, theory raised by Gérard Genette, a French literary critic, which consists of five types of transtextualité. The intertextuality analysis between Hsia Yu’s poems and other texts helps to examine the fluency, difference and diversity of writing significance, which also reveals the post-modernism of Hsia Yu’s poetry. In this paper, intertextual analysis of writing and the inspiration from the post-modernism and the intertextuality are observed to follow Hsia Yu’s thoughts in language, as well as her observation on human beings, on love, marriage and life.

Chapter two, “Taiwan’s post-modern poetry and Hsia Yu” , focuses on the social background of post-modern poetry’s development in Taiwan and the evolution of thoughts; also, discussions on Hsia Yu’s post-modern characteristic and main ideas of “the intertextuality” concept are elaborated. In chapter three, “Female and sentiment: feminine lyrics in Hsia Yu’s post-modern poetry”, observations from Michelle Yeh on Hsia Yu’s poetry is described into details. Also according to intertextual examination on her poem “Ventriloquy” and“Can opener”symbolize unique and feminine sentiments in Hsia Yu’s composition. In chapter four, “Intertextuality and writing: writing strategy in Hsia Yu’s post-modern poetry”, intertextuality is perceived as a writing strategy of post-modern poetry. In intertextual analysis, “parody” and “citation” are found, as well as Derrida’s “différance” and “trace” concept of Deconstruction, that explicitly express the intertextual character of Hsia Yu’s poems. As a conclusion of the chapter, I point out the intertextuality that makes a poet transforming her reading into her composition practice.

Chapter five, “Avant-garde and Happening: Hsia Yu’s poetry and western art” emphasizes the intertextuality between Hsia Yu’s creativity in her composition and the modern western art that she adores. In particular the connection between the collage technique applied in “Friction, Undescribable.” and the outstanding collage technique expressed in the avant-garde art of 20th century. This chapter also focuses on the intertextual aspect between Hsia Yu’s poem and the post-modern cultural evolvement such as installation art and pop music. Finally, the study ends with personal feelings in response to Hsia Yu’s talk and ends in a poetic finishing.

並列關鍵字

Hsia Yu’s poetry ； Post-modern ； Intertextuality ； Deconstruction ； Avant-garde ； Collage

參考文獻

夏宇，《腹語術》，臺北：夏宇，2008三版。

夏宇，《腹語術》，臺北：夏宇，2010四版。

夏宇，《Salsa》，臺北：夏宇，2002。

夏宇，《這隻斑馬》，臺北：夏宇，2010。

簡政珍，《詩心與詩學》，臺北，書林，1999。