觀看、浪蕩與現代性──鷗外鷗的現代「物書寫」

長期被文壇所遺忘的「失蹤詩人」鷗外鷗，近期逐漸得到論者注意，他詩中藉物創造詩意的寫作傾向尤其值得注意。本文欲聚焦其物書寫進行細論，觀其如何「現代」、如何「詩意」。借用布希亞的觀點回頭重新細察現代詩人筆下形形色色的物，它們之所以閃現稱為「現代」的亮光，其光芒往往不是來自物的本質義層面朝向所謂「現代」有多大的躍進，而是來自其引申義，來自現代的「人的觀看」、「人的想像」，繼之在人與物之間畫出的新關係。在鷗外鷗充滿玩味之意筆下，我們看到了新的人─物關係，物得以從秩序與綱紀中解放，用更輕盈的方式入詩；我們看到了通過代表現代科學的各種學科作為透鏡，藉物觀照世情的方法；他更透過命名與各種其他媒介（影像）的相搭配，在創作形式上進行本質的「物化」。若進一步推展至風格問題，更可觀察到在新感覺派在詩領土上的開拓。

關鍵字

鷗外鷗；現代詩；現代性；物書寫；新感覺派

並列摘要

The "missing poet" Ouwai Ou (鷗外鷗, 1911-1995), long forgotten by the literary world, has recently received increasing attention from commentators. This paper intends to point out his noteworthy tendency of borrowing objects to create poetry; it analyzes how he wrote objects, explaining how his doing so was both "modern" and "poetic." Borrowing Busia's point of view, this paper argues that the reason why the various objects written by modern poets offer glimpses of "modernity" is often because the essential meaning inherent in the object creates "modernization," but rather becauseits extended (inessential) meaning conveys "the view and imagination from the modern day people." As a result, a new relationship drawn between people and objects. In Ouwai Ou's playful writings, we observed a new relationship between people and objects: objects are liberated from order and discipline, allowing them to be written into poetry in a lighter tone. Also, we are able to see through the lens of various disciplines representing modern science, observing the world through the use of objects. Ou's form of writing allows him to achieve "materialization" of his works through the combination of naming and various visual media. Furthermore, with regards Ou's style, we can observe the development of the Neo-Sensationalism (新感覺派) in the poetic world.