零雨詩的黑白辯證、光影幻術與黃昏風景

On the Black-and-White Dialectic, Light-and-Shade Magic and Dusk Scenery of Ling-Yu's Poetry

湯舒雯(Shu-Wen Tang)

《臺灣詩學學刊》 13期 (2009/08) Pp. 179-205

https://doi.org/10.29813/TP.200908.0008

摘要

本文試圖提出零雨詩中一個未曾被論及的龐大「意象叢」：「黑、白、光、影、朝、夕」。此諸意象在零雨的所有詩集中，就量而言，實具有壓倒性的規模；就質而言，不僅指涉了各單一座標所負載的象徵，更猶如星羅棋布般彼此牽引、互為因果。其所指涉的內涵以兩兩捉對的方式、循「正、反、合」的辯證模式推展於零雨詩集之中。本文循「新批評」的路徑，自零雨詩中二元對立的「黑、白」色彩意涵出發，深入「光、影」的幻術，最終演繹出「黃昏」此一陰陽調和、集其大成之意象。在黑白分明的辯證思考、目不暇給的光影幻術、以及日薄西山的場景中，得見零雨詩中中國水墨畫式的哲學內涵，也說明了零雨詩帶給讀者的「冷」、「知性」等閱讀感受所由何來。

關鍵字

零雨 ； 意象叢 ； 色彩意涵

並列摘要

This paper attempts to propose a huge ”cluster of images” in Ling-Yu's poems that has not been a subject: ”black, white, light, shade, morning, dusk.” Images from all Ling-Yu's collections, on the quantity, the amount is overwhelming; on the quality, it does not only referent the symbol which is loaded by every single coordinates, but also tow each others, be reciprocal causation as star-studded. The connotation it referents is by making pairs way, implement them into Ling-Yu's poems through the dialectical mode of ”thesis, antithesis, synthesis”. This article follows the path of ”New Criticism”, goes from the dualistic ”black and white” color meaning, go deep into the ”light and shadow” magic, finally interpret the ”Twilight”-this image of the reconciling of yin and yang, and the essence be assembled.The black and white dialectic thinking, the light and shade magic, and the scene of the setting sun, shows the Chinese ink and wash painting styled philosophical connotation of Ling-Yu, also shows how does the ”cold”, ”intellectual” feeling of reading come.

並列關鍵字

Ling-Yu ； cluster of images ； the color meaning

參考文獻

王金城(2005)。零雨的後現代詩歌寫作。臺灣研究集刊。2005(02)

史言(2007)。沮喪與孤獨的色彩空間：聞一多、鄭愁予詩歌「黑」、「白」特質下的孤獨感研究。臺灣詩學學刊。9

李桂媚(2007)。瘂弦詩作的色彩美學。臺灣詩學學刊。9

沈曼菱()。

林怡翠(2001)。詩與身體的政治版圖－臺灣現代女詩人情欲書寫與權力分析。南華大學文學系。