後現代主義的台灣論述－羅青論

現代主義所統轄下的象徵主義、意象主義、達達主義、存在主義、超現實主義……五○年代引入台灣，在極短的時間內，在不甚確知的認知下，詩人、文學家開始生澀操作，八○年代尚未達及成熟階段，尚未發揮到極致地步，尚未被社會大眾所概括接受，「後現代主義」就已宣告駕臨。這是後現代主義必然交疊著現代主義的歷史明證。因此，以線性史觀看待這段成長中的詩史，不如視之為兩種主義的交疊、輝映，或可免除單一個人對某種主義信奉與否的評述，免除單一主義對某一時代造成絕對影響的論斷。從羅青的五本詩集，可以印證羅青與台灣後現代詩的發展與論述若合符節，顯露羅青後兒童期的嬉戲本質。

關鍵字

台灣現代詩；後現代詩；羅青；後現代主義

並列摘要

The scope of modernism consolidates Symbolism, Meaning-ism, Dadaism, Existentialism, and Surrealism…of whose were led into Taiwan in fifties. Within very short time and even no one knew their identities of these -isms, literators and poets had begun application in their creations. In eighties when they were all not filly understanding of these-isms or they were immaturely developed. Perhaps, they were not comprehensively utilizing and not yet been adapted by this society, the Post Modernism was somehow been conveyed to Taiwan's society. This is a historical evidence of Post Modernism overlapping on Post Modernism. Thus, by linear historical standpoint to observe the evolution of poetry, people would rather see it as two isms overlapped and reflected each other. Perhaps, it might have excluded people’s bias, critics and/or not being a believer in a certain ism. This phenomenon avoids a single ism that might have caused a certain era's influenced comment. From Lo Chin's five collections of poetry, they prove that Lo Chin and Taiwan's Post Modern development are in accordance with theory unveiling Lo Chin post-childhood playing essentials.