問題化「後現代」－以八O年代中期台灣「後現代詩」的想像建構為觀察中心

本文以「後現代主義／後現代詩」在八○年代中期台灣現身並逐步被接受、正典化的過程為研究對象。八○年代中期，「後現代主義」之引進係以「後現代詩」為前導，首次在台灣登場。而「後現代詩」這個文類範疇的成立，是為了催生、合理化「台灣後現代狀況」的存在，而由羅青、林燿德、孟樊等人透過論述逐步「建構」而成的一個「新文類」。值得注意的是，在台灣「後現代詩」創建之初，與其透過國外作品的譯介，引介者更用力於從「現有的」「台灣戰後世代」的作品中去找尋所謂的「後現代詩／後現代狀況」。而「後現代」在台灣的引介並形成風潮，可視為台灣戰後出生世代作家崛起之初所搭的「順風車」，用以宣稱世代的新、世代的合法性，並試圖在僵固的文壇權力結構中突圍，重組文學版圖。其係一種對於「影響焦慮」的「超克」。藉著回顧八○年代中期「後現代」在台灣現身並逐步被正典化的過程，我們將發現：後現代理論在台灣的傳播，既是全球性知識流動的一個例證，同時也接枝上八○年代台灣社會經濟結構的轉型、戰後文學世代的崛起、以及解嚴後面臨的後殖民情境，成為一種在地化的「台灣後現代」。

關鍵字

後現代詩；新世代；都市文學；林燿德；羅青；孟樊；夏宇

並列摘要

This article focuses on the appearance, acceptance and canonization of ＂post-modern poetry＂ in Taiwan in the mid-1980s. The establishment of ＂postmodern poetry＂ as a literary genre was constructed by Luo Ching, Lin Yao-te, and Meng Fan to demonstrate and explain that the ＂post-modern condition＂ also existed in Taiwan. Notably these introducers tried to construct a new genre of post-modern literature not by translating foreign post-modern poetry into Chinese, but by finding the post-modern spirit in the existing poetry of young poets in Taiwan, which were born after W.W.II. In fact, the postmodern discourse of Taiwan in this period was connected to the rise of a new generation of writers and urban writings. The younger generation adopted this as a strategy to fight against their elders, making a rupture between generations and overcoming their ＂anxiety of influence＂ towards the modernists and realists. The spread of ＂post-modernism＂ in Taiwan was therefore not just an example of global knowledge flow, but also a localization process that chimed with the transformation of social and economical situation, the rise of younger generation writers, and the post-colonial condition after the lift of martial law in 1987.