穆旦被作為四○年代現代主義詩歌的先鋒,他進入公共文化場域的代表作《旗》(1948),有密切與社會、政治議題的對話。本文以「聲音」為線索,把「時代」、「抒情」聯繫起來,側重《旗》的聲音表現與轉變;在自我與現實交錯下,指出穆旦詩在內戰時期表現出來的拮抗與矛盾。我們聚焦以下三個面向,分別是:一、穆旦在身份與聲音之間的重組關係;其次,不同版本在刪修改易之間的多重聲音;最後探討穆旦在「新的抒情」的理念與書寫實踐之間的轉向與偏離。通過上述討論,我們發現,穆旦《旗》展現為群體代言的急切性,卻無法脫離「詩人本色」;從漢語詩史的角度來看,《旗》深化現代主義與現實的關係,但亦有所侷限。
Mu Dan's Flag (1948) is his representative work entering the public cultural field. This collection of poems has a close dialogue with social and political issues. This article takes "sound" as a clue, connects "times" and "lyrics", and focuses on the sound performance and transformation of Flag. Under the interweaving of self and reality, we point out the antagonism and contradiction shown in Mu Dan's poems during the civil war . We focus on the following three aspects, which are: first, Mu Dan's reorganization relationship between identity and voice. Second, the multiple voices of different versions between deletions and revisions. Finally, we discuss Mu Dan's turning and deviation between the concept of "new lyricism" and writing practice. Through the above discussion, we found that Flag showed the eagerness to speak for the group, but it could not be separated from the poet's essence. From the perspective of Chinese poetic history, Flag deepens the relationship between modernism and reality, but it also has limitations.
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