中國大陸1990年代詩歌實驗寫作──以于堅、西川為例

本論文主要以中國大陸兩位當代詩人于堅和西川，在1990年代具有文體實驗性質的長篇詩歌作品為研究對象。序論的研究動機與目的，說明兩位詩人在中國大陸20世紀90年初中期，具有鮮明文體實驗特質的寫作，於詩壇具有標誌性的意義和地位。此外，詩人不約而同在90年代的寫作發生「轉型」，除了與個人文學理念的轉變有關，同時也與社會、文化與文學環境的整體變化相關，將兩位詩人在此階段的實驗詩歌文本做一具體而完整的掌握，不僅是對其詩歌價值的確立，同時也是對中國大陸當代詩壇發展概況的理解。在研究方法上採詩歌語言結構的共時性與歷時性發展脈絡，探討于堅、西川在1985-1995年間，詩歌實驗寫作的進程。文獻回顧首先梳理近五年兩岸相關的學位論文研究成果；其次整理重要的參考專書和期刊論文，以建構完善的書目資料。論文研究架構部分，第一章「自主精神的張揚：1990年代『異質』的詩歌寫作特徵」：第一節連結「朦朧詩群」與「第三代詩群」的詩歌史關係。第二節探討「第三代詩歌」的定義，從詩刊和詩群突出「第三代詩歌」的語言特質。　第二章「實驗的傾向與超越：1990年代詩人的自覺『轉型』與『非詩』的開展」：從最具「第三代詩歌」審美特徵和創作成果的「敘事性」詩藝路徑入手，分析詩歌文本的文體實驗寫作技藝及詩學價值，以做為後續對兩位詩人的前行研究。　　第三章「于堅：散文化與『詩劇』的詩歌」：第一節從于堅的實驗詩歌潛流與詩歌理論談起，包括成長經歷，80年代至90年代短篇「口語詩」的創作，「拒絕隱喻」詩歌理論的提出。第二節探討「非詩」形式的〈0檔案〉和採取「片段」、「細節」書寫策略的〈事件〉系列，兩首長篇詩歌都以文體實驗打破詩歌界限，為中國大陸詩壇帶來豐碩的「非詩」寫作成果。　　第四章「西川：『不潔』的和『容留』的詩歌」：第一節首先梳理西川80年代早期的重要詩作，其次分析80年代末期到90年代初期帶有實驗傾向的短篇詩歌，及長篇組詩〈匯合〉的討論，第三掌握1989年「詩人之死」對西川詩學「轉向」的影響。第二節以西川在1990年代「綜合創造」的組詩：〈致敬〉〈近景與遠景〉、〈芳名〉和〈厄運〉進行析論，統整其在90年代詩歌實驗創作的主體風格與樣態。　　結語：總結于堅、西川在1990年代中國大陸詩壇，以不同的寫作起點和道路帶來的實驗詩歌價值與意義。

關鍵字

于堅；西川； 90年代詩歌；詩歌實驗；跨文體寫作

並列摘要

This thesis mainly focuses on the poetry works of two contemporary Chinese poets, Yu Jian and Xi Chuan, whose long poetic works in the 90s have stylistic experimental are taken as the study objects. The motivation and purpose in the research preface explain the distinctive cultural and experimental characteristics of these two poets, who have a symbolic meaning and status in the poetic world in Mainland China in the mid-1990s. Also, the poet did agree in “writing transition” in the 90s coincidentally. In addition to the transformation of the concept of personal literature, the transition was also related to the overall changes in the social, cultural and literary environment. The two poets achieved a specific and complete mastery at this stage of experimental poetry, not only was it a confirmation of the value of poetry, but also an understanding of the development status of the contemporary Chinese poetry. In regard to the research method, the synchronic and diachronic development of poetry language structure is adopted, and the poetic experimental writing process during 1985-1995 between Yu Jian and Xichuan is discussed. In the literature review, the research results of relevant dissertations on the two sides of the strait in the past five years are compiled. Then, important reference books and journal articles are sorted out to construct a comprehensive bibliographic data. In terms of the research structure of the thesis, in the first chapter "The promotion of the spirit of autonomy: the "heterogeneous" characteristics of poetry writing in the 90s": the first section makes a connection between the poetic history of "the obscure poetry group" and the "third generation poetry group". The second section explores the definition of "third-generation poetry" and highlights the linguistic qualities of "third-generation poetry" from poetry and poetry group. In the second chapter “The tendency and transcendence of the experiment: the poet's conscious "transition" and "non-poetic development" in the 90s”: starting from the "narrative" poetic art path of the most "third-generation poetry" aesthetic characteristics and creation achievements, this paper analyzes the stylistic experimental writing skills and poetic value of poetry as a follow-up research to the two poets. In the third chapter “Yu Jian: ‘prosification’ and poem of the ‘poetic drama’”: the first section begins with Yu Jian's experimental poetry undercurrent and poetry theory, including the personal growing experience, the creation of short “phrase and word” essays from the 80s to the 90s, and “the rejection of metaphor”. The second section explores the "non-poem" form of " 0 files" and the "event" series of "fragment" and "details" writing strategies. Both long poems break the boundaries of poetry with stylistic experiments and become the “non-poetic” writing form which enriched the poetic world of Mainland China. In the fourth chapter “Xi Chuan: poems of ‘uncleanness’ and ‘tolerance’”: in the first section, important poems of Xi Chuan in the early 80s are compiled first. Then, short poems with experimental tendencies from the late 80s to the early 90s are analyzed, followed by a discussion of the long set of poem "Confluence". Thirdly, the influence of "The Death of the Poet" in 1989 on Xi Chuan’s "Shift" is discussed. In the second section, Xi Chuan’s sets of poems “Integrated Creation” in the 90s - "Commemoration", "Close and Far Views", "Your Name" and "Doom” – are analyzed and discussed so as to compile the main style and pattern of the poetry experiment in the 90s. Conclusion: it is concluded that Yu Jian and Xi Chuan have taken different starting points and writing paths to bring us the value and significance of the experimental poetry in the poetic world of Mainland China in the 90s.