燃燒與飛躍：一九三○年代台灣的超現實詩

本文深入探討兩位台灣超現實詩人：楊熾昌(1909~1994)和林修二(1914~1944)。他們和其他五位詩人在一九三三年共同創辦了風車詩社並出版同名詩刊。雖然詩社只維持了兩年左右而詩刊僅出版了四期，風車詩社卻代表了台灣文學史和中國文學史上最早有意識地推動超現實主義的群體。楊熾昌和林修二都曾留學日本，在日本接觸到超現實主義思潮，並進而發展個人的創作和詩觀。楊氏不僅是優秀的詩人也是重要的文學評論家，將日本與法國的超現實引介到台灣。林氏英年早逝，然而卻留下了極富原創性的佳作。本文探討兩位詩人創作的歷史脈絡和跨文化語境，提供多種對其文本及詩學的分析，並對評者將楊熾昌定位為「後殖民」的看法提出商榷。最後，本文從比較的角度來分析一九三○到四○年代大陸詩人的超現實表現，凸顯兩位台灣詩人在文學史上的獨特意義。

關鍵字

超現實；風車詩社；後殖民；文學史

並列摘要

The paper offers an in-depth study of two surrealist poets in Taiwan: Yang Chi-Chang (1909-1994) and Lin Xiu-Er (1914-1944). With five other poets, they co-founded the Windmill Poetry Society in Tainan in 1933 and published a journal under the same name. Although the Poetry Society only lasted two years and the journal only published four issues, the Windmill represents the earliest conscious appropriation and promotion of Surrealism not only in Taiwan but also in the Chinese-speaking world. Both Yang and Lin studied in Japan, where they were first exposed to French Surrealism. Yang was not only a talented poet but also an important literary critic who introduced French and Japanese Surrealism to Taiwan. Lin died young, but he left behind an oeuvre of great originality and beauty. This essay examines the historical and transcultural context in which Yang and Lin wrote, provides detailed analyses of their literary positions and artistic expressions, and addresses the characterization, by some critics, of Yang's work as ”postcolonial.” Finally, the essay compares Yang and Lin with mainland Chinese poets who were also influenced by Surrealism in the 1930s-1940s, thus affirming the historical and literary significance of the Taiwanese Surrealists.