本文藉由彼得列汶的創傷療癒理論,透過創傷區與資源區的來回擺盪,來讓創傷得以蛻變。以這樣的理論為基準,試圖整理歸納筆者一直以來的關注的三個面向,詩性與行動之間的關聯性,歷史與回歸土地之間的關聯性,以及媒體與生命經驗之間的關聯性。透過這三個面向的文本參照,重新檢視台灣藝文創作處理的創傷命題,諸如個體的壓抑、歷史的失根以及媒體機器的宰制等,並探討各類型文本如何透過文字或藝術形式的載體,以回歸日常性、土地與感知敘事,為當代台灣藝文界的創傷現象找到資源的存在。筆者也在這些創作文本的閱讀和參照中,整理出自己的創作核心,體現的詩——一個由身體向上影響認知,內在自由開展,進而與外在同步的狀態。
This thesis use Peter Levine’s Somatic Experiencing theory, illustrates 3 dimentions of my artwork, the relation between poetic and action, history and back to the nature, media and life experiences. through these dimentions, I re-examined the traumatic issues in Taiwanese art and literature, such as supression of oneself, the lost of history, and the dominant of media. And indicates how artists find their resource through creativity. In the dialogue with Somatic theory and other people’s creations, I realized my art core, that is “poetic embodiment”, a bottom- up process.