戰後陳千武文學中「歷史創傷」的象徵與衍繹

陳千武為跨越語言一代詩人，歷經兩個不同時代，親身感受到殖民、戰爭或長期戒嚴體制，伴隨而來的生存壓力。尤其，戰後因禁用日文頓成喑啞，以及威權體制的桎梏，致使他身陷於一種孤絕苦悶的狀態。是以，他最初的作品，在空間及時間的感受上，特別有染有孤獨、悲愁的基調，而「密林」既是他重要的寫作場域，也是重要的意象象徵，它夾雜著他青春的死亡哀愁、世代悲歌；同時，更是戰後切身的實存境況。然而，陳千武並未囿限在時局的滯礙中，而是在現實之中疊入「生」之慾，以此最大的抒情及踰越，去扺抗「死」及「實存」的逼迫，進而將此情感提升為「愛」，特別是對「女性」的命運，以及女性神祇「媽祖」的關注。日後，這一意象，漸漸轉化、發展成他一系列的「泛」政治詩的寫作，同時，建立起完整的「媽祖」的意象群及其隱喻系統。一九七○年代隨著時局的改革與開放，陳千武日漸擺脫歷史創傷的陰影，重新省視過往的軌跡，認知自己作為一名歷史創傷的「倖存者」，更該積極再現台灣的歷史記憶，以及記錄個人的生命經驗。由此，在詩藝的凝塑上，他也更明確以「寫什麼」大於「怎麼寫」的詩觀，共同在一九七○年代之後，建構台灣的歷史意識，並樹立起他個人的詩風特色，而成為台灣具代表性的詩人之一。

關鍵字

陳千武；跨越語言一代；歷史創傷；倖存者；隱喻

並列摘要

As a poet of the cross-language generation, Chen, Chien-Wu(陳千武) has lived through two different eras, experiencing first-hand the pressures of survival that accompany colonisation, war and prolonged martial law. In particular, after the war, he was trapped in a state of isolation and boredom due to the disabling of his Japanese language and the shackles of the authoritarian system. The 'dense forest' is not only an important scene for him, but also an important symbol of his youthful death and sorrow, as well as his immediate post-war existence. However, Chen, Chien-Wu(陳千武) does not confine himself to the constraints of the time, but overlays his desire for 'life' on the realities of the world, using it as a means of expressing and overcoming the compulsions of 'death' and 'existence', and then elevating this emotion to 'love', especially in relation to the fate of 'women' and the female deity Mazu (媽祖) . Later, this imagery was gradually transformed and developed into a series of 'pan' political poems, and at the same time, a complete imagery group of 'A-Ma' and its metaphorical system was established. With the reform and opening of the 1970s, Chen ,Chien-Wu(陳千武) gradually broke away from the shadow of historical trauma and re-examined the trajectory of the past, recognising that as a 'survivor' of historical trauma, he should actively recreate Taiwan's historical memory and record his own life experiences. As a result, his poetic art has been shaped by a clearer view of ＂what to write＂ than ＂how to write＂, and together they have constructed Taiwan's historical consciousness since the 1970s and established his own poetic style, making him one of the most representative poets in Taiwan.