現代詩中的前衛歷程與軌跡—以1930至1960年代台灣超現實主義為例

論文提要內容：「超現實主義」現代詩之於台灣文學發展歷程具有不可旁落的存在性與歷史淵源，本文將透過戰前超現實敘事源起與戰後超現實敘事必然，所共同築起之「超現實主義」在台灣，關係著新詩如何走向現代詩因革變遷的時代意義，亦是建立在二十世紀三十年代楊熾昌等創立的「風車詩社」，以「對台灣詩壇鼓吹新風」修正台灣「新文學運動」標榜寫實主義單一格式化為職志，所展開一連串隱喻於前衛詩論的文學創作期待，以及在現代詩場域的建構過程中，歷經對於現代主義的理解加以相對應於時空背景的更迭，從「新民族詩型」而至「超現實」所衍生出來不同文學視野的「創世紀詩社」。本文關注於「台灣超現實論述」之緣起與語言運用的轉換有前後對應的聯繫關係，建構背後或有(台灣文學論述與文藝政策)雙重連動壓力，呈現出以國族論述為後盾的現代性，與個人化偏離系統的現代主義發生了似無法彌合的裂縫。然而，並不影響詩學的現代化發展，且將隨著時代變遷循環往復於時代對應之必然，不惑於「台灣文學論述」千篇一律的偏頗現象。藉由三十年代楊熾昌與四十年代「銀鈴會」林亨泰等詩人，即光復前的前衛性實驗推衍至光復後現代詩運動的主要銜接者。「超現實主義」思潮的核心思想，以客觀性探求超現實主義是如何對於台灣文壇的實質影響。依循幾個相關的議題來進行察考與論述，且將依如下之所示：「風車」、「銀鈴會」、「超現實主義」、《現代詩》、『現代派』、《創世紀》探究這潮流軌跡，以求客觀真實。文學創作的閱讀觀察不能簡化，這會形成文本論述的偏差，而忽略創作者整體性的創作歷程的檢視，因此「超現實主義」是以何種形式呈現在台灣，對於台灣「超現實主義」文學的發展與既存的「寫實主義」文學之間是如何並行而非取代，其所形成的關鍵性影響與全然一新的文藝思潮，為本文所關切。

關鍵字

台灣超現實論述；林亨泰；風車詩社；創世紀詩社；楊熾昌

並列摘要

Abstract: “Surrealistic”modern poetry possesses its existence and historical origin in the process of development of Taiwanese literature, which shall not be omitted. The article discusses surrealism in Taiwan established jointly by the origin of the ”surrealistic”narrative before war and the necessary connection of the“surrealistic”narrative after war. It is related to the time significance of changes and transformation for how new poetry moves towards modern poetry. It is also established on the expectation to literature creation with a series of implied progressive poetics unfolded by “Le Moulin Poetry Society” founded by Chih-Chang Yang at 1930s in 20th century, which focuses on the single format of realism to modify “new literature movement” in Taiwan through “promoting new style in the poetic circles in Taiwan”. Moreover, the comprehension developed for modernism during the process of constructing the field for modern poetry plus the corresponding changes in the background created “Genesis Poetry Society” of different literature horizons transformed from “new ethical poetry” to “surrealism”. The article focuses on the corresponding relationship between the origin of “discourse of surrealism in Taiwan” and the transformation of language. It constructs the contingent (Taiwanese literature discourse and art policy) combined pressure behind and presents the modernity supported by national discourse and further creates gap with modernism of personal deviation system that cannot be bridged. However, it does not affect the modernization of poetics development. In addition, it moves in circles among the necessity of corresponding era along the change of time without being confused by the bias of “Taiwanese literature discourse” that follows the same pattern. Through the poets of Chih-Chang Yang in 1930s and Heng-Tai Lin from “Silver Bell Society” in 1940s, they were key linkers between the progressive experiment before the restoration of Taiwan and the movement of modern poetry after the restoration. The core thought of “surrealism” explores the substantial impact on the literature circles in Taiwan from surrealism by objectivity. It follows several relevant topics for investigation and discussion as well as explores the trace of the trend to find out the objective truth through “Le Moulin”, “Silver Bell Society”, “surrealism”, “modern poetry”, “modernist”, and “Genesis”. The reading and observation of literature creation shall not be simplified.It will create bias discussed in the article and ignore the examination of the overall creation process from the creator. Therefore, the concern of the article is how the “surrealism” is presented in Taiwan, how to keep balance between the development of“surrealistic”literature in Taiwan and the existing“realistic”literature instead of replacement, the key impact generated, and the whole-new thoughts towards literature.