當代詩的觀念寫作：以夏宇的詩學與實踐，及其主編的《現在詩》第九期為例

夏宇的詩歌實驗一直存在觀念寫作的一面，依照此路徑重新檢視夏宇的詩，會發現當代詩早已以「非創意」的思維，針對寫作方式、閱讀方式、文體範式等重新展開想像，尋求著一種不依賴經典性表述、更傾向引發直接感受與思考的藝術。夏宇的觀念寫作也直接影響了詩刊《現在詩》，尤其以她主編的第九期《劃掉劃掉劃掉》為代表，在中文詩裡新建了作為觀念寫作實踐方案的「劃掉詩」。《劃掉劃掉劃掉》首先是編輯群創作的總體性觀念作品，其次才向眾多寫作者發出再創造的邀請。它主動迎向當代生活中文本大豐富的困境，圍繞「潛文本」的理念，在既有文本之上開闢出個體的心靈活動空間。多數參與者在執行過程中積極發揮創意，為總體計畫尋求最具價值的藝術形式。與主流詩學不同的是，「劃掉詩」以「創新」觀取代了固有的「原創」觀，在數位時代的衝擊下另覓別樣的文化「深度」。

關鍵字

夏宇；《現在詩》；非創意寫作；觀念寫作；劃掉詩

並列摘要

There is a conceptual-writing style in Hsia Yu's poetic experiments. If we re-examine Hsia Yu's poems from this perspective, it is obvious that contemporary poetry has already re-imagined writing styles, modes of reading, and stylistic paradigms in an ＂uncreative＂ way, pursuing a new kind of art that does not rely on classic expressions but tends to trigger direct feelings and thinking. Hsia Yu's conceptual writing has also influenced Poetry Now, especially as represented by the ninth issue of Cross Out Cross Out Cross Out edited by her. Through this issue, the cross-out poetry is born as a new practice of conceptual writing in Chinese poetry. This book is firstly a general conceptual work created by the editors, and secondly an invitation to potential writer-participants for re-creation. The issue confronts the dilemma of textual abundance in contemporary life, centers on the concept of ＂subtext,＂ and opens up individual spiritual spaces in existent texts. Most participants show their creativity in the implementation process, seeking the most valuable artistic form for the plan. Unlike the poetic mainstream, the cross-out poetry replaces the concept of ＂originality＂ with ＂making it new,＂ and finds another kind of cultural depth under the impact of the digital age.

並列關鍵字

Hsia Yu ； Poetry Now ； uncreative writing ； conceptual writing ； cross-out poetry

參考文獻

林苡霖（Lin, Yi-lin）。2009。〈夏宇詩的歧路花園〉“Hisa Yu shi de qilu huayuan” [The Garden of Forking Paths in Hsia Yu’s Poetry]。碩士論文 [MA Thesis]。國立清華大學 [National Tsing Hua U]。[https://doi.org/10.6843/NTHU.2009.00242]

李幸錦（Li, Hsing-ching）。1998。〈論夏宇詩中的「陰性書寫」〉“Lun Hisa Yu shi zhong de ‘yinxing shuxie’” [The Feminine Writing of Hsia Yu’s Poetry]。《問學集》Wenxue Ji 8:1-19。[https://doi.org/10.29450/wenxueji.199809.0001]

翁文嫻（Yung, Man-Han）。2012。〈台灣後現代詩觀察：夏宇及其後的新一代書寫〉“Taiwan houxiandaishi guancha: Hsia Yu jiqihou de xinyidai shuxie” [Observation of Postmodern Poetry in Taiwan: Writings of Hsia Yu and the New Generation]。《台灣文學研究》Taiwan wenxue yanjiu [Taiwan Literature Studies] 2: 251-302。[http://dx.doi.org/10.6463/TLS.201206.0251]

陳柏伶（Chen, Po-Ling）。2014。〈「先射，再畫上圈：夏宇詩的三個形式問題」導論〉“‘Xian she, zai huashang quan: Hsia Yu shi de sange xingshi wenti’ daolun” [“Shoot First, Draw the Circle Afterwards”: Three Formality Problems in Hsia Yu’s Poetry]。《臺灣詩學學刊》Taiwan shixue xuekan [Bulletin of Taiwanese Poetics] 23: 123-59。[https://doi.org/10.29813/TP]

孟樊（Meng, Fan）。2009。〈夏宇的後現代語言詩〉“Hisa Yu de Houxiandai Yuyanshi” [Hsia Yu’s Postmodern Language Poetry]。《中外文學》Chung Wai Literary Quarterly 38.2: 197-227。[https://doi.org/10.6637/CWLQ.2009.38(2).197-227]

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當代詩的觀念寫作：以夏宇的詩學與實踐，及其主編的《現在詩》第九期為例

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