臺灣解嚴後笠社政治詩的歷史語境：以戰後世代詩人為分析對象

臺灣本土的《笠》詩刊，奉「現實主義」為創作圭臬，從一九六○年代起雖處於文學舞臺的邊緣位置，然在集體共識的堅持下，以隱喻的手法，批判政府也為人民發聲，實踐詩人的社會責任。本文重點在於探究笠詩社在解嚴後如何傳續現實詩學，以及潛藏哪些歷史語境。探討對象以笠詩社曾貴海、李敏勇、鄭烱明、江自得、陳鴻森的解嚴後政治詩為主，他們都是戰後嬰兒潮世代的詩人，擁有戰後的社會成長經驗，不僅參與臺灣的經濟成長，也見證社會開放及政治多元的演變，體現戰後世代反省與批判的自覺。研究方法採文化詩學的分析觀點，強調文本中歷史語境的深探，依此研析詩人們經歷邊緣而到主流的文壇趨勢，其政治詩的批判美學與文學價值。政治詩可說是推動臺灣從獨裁、壟斷走向自由、民主的影響力量之一，解嚴後笠詩社戰後世代的政治詩，期待國家脫胎換骨，活出新臺灣人的再生形象。如今2022年，臺灣已邁入自由民主的政治體制，回顧解嚴後笠社詩人這些野生思考的政治詩，不僅見證臺灣建構主體性的進程，同時標示臺灣新詩本土化的意義與價值。

關鍵字

臺灣解嚴後；笠社詩人；戰後世代；政治詩；文化詩學

並列摘要

Li Poetry Magazine, a Taiwan local publication, had stuck to Realism as the principle of creative works. Despite its marginalized status in the local literature since the 1960s, poets at that time had insisted on fulfilling their social responsibility by criticizing the government and voicing out for the people in a metaphorical way under collective consensus. This paper focuses on understanding how Li Poetry Club had passed down its realist poetics after the lifting of the martial law and what historical linguistic context had been embedded. Targets under exploration are mainly the political poems after lifting of the martial law by Li Poetry Club's poets, including Zeng Gui-Hai, Li Min-Yong, Cheng Chiung-Ming, Chiang Chi-Der, and Chen Hung-Sen. These poets were born in the post-war baby boom, growing up in the post-war society. They were not only involved in the economic growth of Taiwan, but also witnessed its evolution into social openness and political pluralism. They exemplified the reflective and critical self-awareness of the post-war generation. In terms of the research method, the analytical perspective of cultural poetics is adopted, with emphasis on the profound scrutiny of the historical linguistic context in the text. Thereby poets' experiences of shifting trend from the margin to the mainstream of the literary world, as well as the critical aesthetics and literary value of their political poems are studied and analyzed. Political poetry can be said to be one of the influences that have driven Taiwan from autocracy and monopoly to freedom and democracy. These post-war generation's political poems of the Li Poetry Club after the lifting of the martial law expressed an aspiration for the complete makeover of the nation and living out the new image of the Taiwanese. In 2022, now that Taiwan has established its free and democratic political system, looking back at these wild thoughts in the political poetry of the Li Poetry Club's poets back then not only manifests the process of constructing Taiwan's subjectivity but also highlights the meaning and value of localizing Taiwan's new poetry.