抒情與吶喊：後五一三馬華現代詩的症狀

在閱讀馬華現代詩的體驗中，我發現詩作中經常隱含著能夠引起華人族群共鳴的情感，而且直接關乎到整個馬來西亞朝向建立民族國家進程中，對於「國家」之於公民、文化與文學的重新定義。自1969年的五一三事件發生以後，聯盟政府開始陸續頒布並落實以土著其服務對象的國家政策，不僅是為了重組社會、經濟結構，以達至其「終極目標」，同時也促成「馬來人至上」的威權體制。至此之後，國家有制度性地將非土著排除在國家之外。被劃分在非土著的華人族群，開始對於國家、社會與文化等議題產生危機意識，包括什麼是馬華文化、馬華文學應該具備什麼樣的元素於要件、如何呈現等問題。於是，這種制度性地暴力遂也造成馬華文學五一三症狀的產生，而「感時憂國」成為了當代馬華文學的主要敘事和話語，同時也被視為是一種抵抗詩學，或者文學行動。儘管它不一定能夠達到目的與有效溝通。藉由俄國形式主義者雅克慎 (Roman Jakobson)所提出語言的詩學功能，我試圖畫出現代詩寫作以表現功能和指示功能(交流功能)為兩種不同功能為極值的光譜。佐以過往學者對於現代詩的研究，藉以歸納出抒情詩與詩吶喊詩的這兩種不同類型的現代詩，以及它的特徵、形式及效果。從國家、社會與文學三個不同層面間的交互影響中，我將重新探討國家意識之於文學創作的議題，從而釐清不同立場論者對於寫作的想像為何。同時，也嘗試回答:為何身處於同一情境下的詩人們，他們會發展出不同的現代詩類型? 因此，本論文旨在探討:馬來西亞重大的歷史事件——五一三事件發生以後，1970年代以降的華人族群是處於一個什麼樣的情境、狀態?面臨種種制度性的暴力與被政策邊緣化，馬華現代詩人如何藉由詩的形式回應這一歷史悲劇所帶來的創傷?而他們採取的是一個怎樣的文學形式?最終是否能夠達到其目的?若站在馬華文學史的角度來看，這又是一個怎樣的發展過程?

關鍵字

馬華文學；五一三事件；天狼星詩社；動地吟；文學史

並列摘要

In my experience reading Sinophone Malaysian Poems, I have found some resonance with Malaysian Chinese in the text and its connection to the re-definition of civic, literacy, and culture during the establishment of Malaysia's modern nation. After the May 13 Incident, the government promulgated a policy aimed at serving Malays and restructured Malaysia's society and economy to achieve its ultimate goal, which is to create a 'new Malaysia'. At the same time, it has given Malays privileged authority over their own country. Since then, the nation has systematically excluded Malaysian Chinese (as a part of the non-indigenous), resulting in crisis awareness of national, social, and cultural issues around 'What is Malaysian Chinese Culture?' and 'What is Malaysian Chinese Literature?'. It is therefore symptomatic of Sinophone Malaysian literature, which has thus patriotically become the mainstay of discourse in the literary world. Although not an effective form of communication, it was seen as a form of resistance to poetics or literary action. I would like to draw out a spectrum of lyricism and shouting for both genres of Chinese Modern Poems, based on the theory of linguistics and poetics by Roman Jakobson. This will allow me to explore the relationship between national iii consciousness and the literature of its time. What are the imaginative writings of different poets in their perspective of national consciousness? How are their different writings dealing with the plight of Malaysian Chinese society? This article aims to probe the status and plight of 1970s Malaysian Chinese after the May 13 Incident. How do poets respond to the trauma of history with their writings when the nation has systematically excluded them (as a part of Malaysian Chinese)? What genre are they using? Has it achieved its purpose? From the perspective of Sinophone Malaysia's literary history, what is this development process really about?