台灣現代詩「鄉愁」意象研究──以余光中、席慕蓉容為例

Study on“ Nostalgia” Imagery in Taiwan’s Modern Poetry ──A Case Study of Yu Guang-Zong and Xi Mu-Rong

張青紟(Chang, ching Jin)

指導教授 ： 陳芷凡

國立清華大學/人文社會學院/臺灣研究教師在職進修碩士學位班/碩士(2013年)

https://doi.org/10.6843/NTHU.2013.00140

摘要

本文以余光中、席慕蓉二人詩作中有關鄉愁的作品為研究範圍，從「人文地理學」的視角出發，輔以段義孚(Yi-Fu Tuan)、雷蒙威廉斯(Raymond Williams)、巴舍拉(Gason Bachela)……等人的理論、解釋作家如何從地方感，發展成為對群體及文化的認同；建立「地方」到「鄉愁」中書寫的關係，釐清余光中、席慕蓉的鄉愁書寫及世代差異、中國結與台灣結的矛盾，並依歷史、地理、文化與認同四向度比較他們在「鄉愁意象」的不同點；最後歸納出二位詩人因其性別、族群的差異，在詩作內容、文學技巧上呈現他們「鄉愁書寫」的特殊性。
研究結果發現：這二位詩人由於都具有深厚中文的素養，並繼承古典文學的意境，作品有不少相似的模式：或緬懷故鄉的歷史、擁抱土地的芬芳、或感嘆家國經歷的滄桑變化、以及文化的渴慕、認同的意念。
從二人現代詩的「鄉愁意象」產生了下列的意義：一、大時代遷徙的歷史見證：余光中與席慕蓉他們寫那一段下時空下及兩岸開放後的鄉愁記憶，余光中在美國開始遇見他者，藉由美國人的凝視與異國文化來觀照自身，而產生了強烈民族的情感，拒絕融合於美國文化；席慕容則顯現面對滿/漢對立時產生內心掙扎及留學生涯的孤獨之感。二、在台灣文學發展史上的意義：懷鄉文學為台灣文學裡的一支，鄉愁書寫豐富了台灣文學的內容。三、鄉愁意象的重層性與關聯性：歷史鄉愁是地方記憶的累積；地理鄉愁是對地方感受；文化鄉愁是地方人民的潛意識；認同鄉愁是地方人民心靈的歸屬。當地景改變，會造成歷史的斷裂、因而產生文化的失憶與認同的茫然。四、文化中國意象的殊異：余光中的鄉愁書寫喜以典故為歷史人物、戰爭為歷史的意象；以土地上的植物、氣候、長城，為地理的意象；以藝術品為文化的意象；以異國的書寫反激民族的自尊為認同意象；席慕蓉的鄉愁書寫則是以月亮、沒有年輪的樹，代表其時間的永恆；以長城、塞外風光，代表地理的意象；以蒙古語文、馬鞍，代表其文化意象；以與大雁的對話帶出家國之思，為認同的意象，二人在題材上呈現鮮明的對照。五、重新面對想像中的故鄉──鄉愁的衍變與再定義：兩岸開放後，余光中的鄉愁是一種再也回不去的感傷；席慕蓉踏上蒙古高原，如癡如醉，但又為族人面臨土地的浩劫的困境而擔憂。

關鍵字

鄉愁 ； 意象 ； 地方感 ； 感情結構 ； 認同

並列摘要

Study on “Nostalgia” Imagery in Taiwan’s Modern Poetry
—A Case Study of Yu Guang-Zhong and Xi Mu-Rong

Graduate Student: Chang, Ching-Jin Advisor: Chen, Chih-Fan

Graduated Program of Taiwan Studies for In-service Teachers,
National Tsing Hua University

Abstract
The study focuses on the poems of Yu Guang-Zhong and Xi Mu-Rong regarding nostalgia from the perspective of “human geography,” supplemented by the theories of Yi-Fu Tuan, Raymond Williams, Gason Bachela and so on to explain how these writers started from the sense of place to develop into group and cultural identity and to build the writing relation of “places” to “nostalgia.” Meanwhile, the author intends to clarify the nostalgia writings and generation differences of Yu Guang-Zhong and Xi Mu-Rong, and their contradictions between China complex and Taiwan complex. Additionally, their differences in “nostalgia imagery” are compared based on the four aspects of history, geography, culture and identity. Last but not the least, the study concludes that the two poets show their respective uniqueness in “nostalgia writings” on their the content of their works and literary skills due to gender and ethnic differences.
The study found that: these two poets have profound Chinese literacy, and they possess the artistic conceptions of classic literature. Therefore, there are quite a few similarities between the works of the two poets in which they commemorate the history of their hometowns, embrace the fragrance of their land, or lament for great changes their country has gone through, and express their aspirations for and identity with cultures.
The study found the following meanings of “nostalgia imagery” in the two poets’ modern poety: I. Historical witness of great migration: both Yu Guang-Zhong and Xi Mu-Rong wrote about nostalgia memories in that space-time background and after opening up the cross-strait relations. Upon beginning to encounter others in the United States, Yu’s strong ethnic feelings grew from reflecting himself by the gaze of Americans and exotic culture, and he refused to blend in the American culture. Xi showed her inner struggle and feeling of solitude while studying abroad when facing the opposition on the Manchu-Han relation. II. The meaning in the development history of Taiwan literature: nostalgic literature is a branch of Taiwan literature. Nostalgia writings enrich the content of Taiwan literature. III. The multi-layered nature and correlation of nostaliga imagery: historical nostalgia is the accumulation of local memories, geographic nostalgia is a feeling toward a place, cultural nostalgia is the subconsciousness of local people, and identity nostalgia is the spiritual belonging of local people. The change of landscapes leads to the fracture of history and causes the amnesia of culture and vagueness of identity. IV. Entire differences in Chinese cultural imagery: Yu Guang-Zhong likes to use historical characters and wars in allusions as historical imagery, plants, climate and the Great Wall as geographic imagery, works of art as cultural imagery, and exotic writings to inspire the self-esteem of a nation as identity imagery. Xi Mu-Rong’s nostalgia writings use the moon and trees without an annual ring to represent the eternity of time, the Great Wall and scenery beyond the Great Wall as geographic imagery, Mongolian and saddles as cultural imagery, and dialogs with wild geese to show her homesickness for her hometown as identity imagery. Therefore, there is an obvious contrast between their subjects. V. Facing hometowns in their imaginations again—the development and redefinition of nostalgia: Yu Guang-Zhong’s nostalgia is irretrievable sadness. When Xi Mu-Rong set her foot on the Mongolian Plateau, she was totally fascinated, but she was also concerned about the predicament her tribal people had to face regarding the calamity of their land.

Keywords: Nostalgia, imagery, the sense of place, emotional structure; identity.

並列關鍵字

Nostalgia ； imagery ； the sense of place ； emotional structure ； identity

參考文獻

李瑞騰，《新詩學》(板橋：駱駝出版社，1999)。

余光中，《天狼星》(台北：洪範，1976)。

余光中，《分水嶺上》，(台北：純文學，1986)。

余光中，《夢與地理》，(台北：洪範，1990)。

余光中，《白玉苦瓜》(台北：九歌，2008)。