兩岸在戰後當代詩領域,由於國共意識形態對立、中國無產階級文化大革命、台灣長達38年餘的戒嚴等特殊歷史因素,亦礙於兩岸現實政治因素等等,兩岸在新詩領域的「對話」與「交流」有餘,但是在詩史/學研究上的「比較研究」仍顯不足。本論文的寫作意圖並非將兩岸戰後當代詩統攝在一個先驗而虛擬的、不具備歷史實證意義的「華文」或「漢語」傳統的語言屋宇下,而是指明--兩岸在政治結構、歷史與文化發展的差異下,兩岸詩人在自我意識與世界的互動結構、現代主義的延續與斷裂、後現代主義的反叛與超越,以及女性詩歌的語言創造與生產上,出現了諸多重要的美學差異面。本文致力於兩岸戰後新詩「比較研究」的最終目的,就是要揭示兩岸戰後新詩呈現出「交涉」的美學--兩岸戰後新詩不是新詩話語的「統合」,而是新詩話語的「競合」;兩岸戰後新詩不是新詩美學的「整合」,而是新詩美學的「遇合」。兩岸戰後各自不同的政治、社會與文化的結構性力量,落實在各自新詩場域中語言、形式、觀念與意象的表現與影響,以及面對這樣差異的歷史/社會/文化脈絡,兩岸戰後詩人如何在各自的文化場域之中,進一步形構主體話語並建構出彼此差異的新詩美學:兩岸戰後詩人如何辯證自我、如何現代、如何後現代、如何性別?
In the field of post-war contemporary poetry, due to special historical factors, such as the ideological confrontation between the Kuomintang and the Communist Party, the cross-strait "dialogues" and "communication" are more than enough, but the "Comparative Poetics" is still insufficient. The purpose of this paper is not to capture the post-war contemporary poetry of the two sides of the strait under a transcendental and virtual language house of "Chinese," which has no historical, empirical significance, but to point out the differences in political structure, historical and cultural development, poets on both sides of the Taiwan Strait have emerged many important, different dimensions of poetic aesthetics: (1)the interactive structure of self-consciousness and the world, (2)the continuation and rupture of modernism, (3)the rebellion and transcendence of postmodernism, and (4)the language creation and production of female poetry. This paper intends to reconstruct the "Comparative Poetics" of Modern Chinese Poetry between the two sides of the straits during the post-war period; that is, to trace the aesthetics of "Poetry as a Matter of Negotiation." Specifically, the post-war Modern Chinese Poetry between Taiwan and China is not about "integration," but about "negotiation" in poetic discourses. The "negotiation" here means how the different expressions of language, forms, concepts and images by the cross-strait poets' were represented in the different political, social and cultural structural forces. How do they further shape the subjectivity discourses, and construct poetic aesthetics in their respective cultural fields in different ways: how do they construct the dialectical-selves, e.g. how to modernize, how to post-modernize, and how to discourse upon gender?