臺灣詩人的囚與逃──以商禽、蘇紹連、唐捐為抽樣

Captivity and escape of Taiwanese poets —Shang Qin, Su Shao Lian, and Tang Juang as samples

夏婉雲(Wan-Yun Hsia)

指導教授 ： 楊昌年 ； 袁保新

淡江大學/文學院/中國文學系博士班/博士(2013年)

https://doi.org/10.6846/TKU.2013.00375

摘要

1949年後一甲子，出現在臺灣的詩人約二十年可分為一代，因此可分為前行代、中生代、新生代等三個世代，他們的文化認知與土地認同有極大不同。本論文是取樣商禽(1930–2010 )、蘇紹連(1949–)、唐捐(1968–)三人的詩作品，他們都是較同時代詩人「囚」得較厲害、風格較奇特、藉助語言也「逃」得較厲害的邊緣型詩人，耙梳臺灣三個世代詩人時必有所抽樣，因此針對「囚」與「逃」落差較大的此三位詩人，在政經情勢、社會及國際環境的巨大變化中，研究其寫詩的軌跡、身體知覺是如何運轉，肉身（形）與意識(神)透露出怎樣異同的困境（囚）、和異同的逃逸方式(逃)。
此論文藉現象學中的「意向性」、「能動性」、「身體-主體性」等學說來審視不同世代詩人求取本真的實踐力，並藉拉康的精神分析，尤其是他的語言觀與大小他者的看法來理解詩人在囚與逃間跨與互動的緣由。同時藉現代智能科學針對人的左右腦功能的差異及其與人之意識與潛意識的關係，去理解人之大腦奧祕與精神分析、現象學研究可能有的一些連結，並將囚逃說、拉康說、梅洛龐蒂說與左右腦功能關係做系統性的結合後，做為此論文主要的立論根據與分析文本時的重要方法。
此文從「遠土」（突現期）到「本土」（歧出期）再到「幻土」（分進期）三代詩人的不同，得出他們有「形神分裂」、「形神求合」、「形神遊走」三種「囚」與「逃」矛盾困挫的趨向。「突現期」商禽的一生追索人的「位置」、生命「原質」、及透過人和其他事物不斷「變位」（變形和轉位），他與同代詩人在大動亂時空下的囚與逃是最厲害的一群，因而產生能集體「突現」（湧現）的現象，他的成功是一整代詩人藝術家共同造業的結果。「歧出期」蘇紹連是中生代在大小鄉土爭論中不斷建構「主體」的代表，他與外省第二代詩人的歧出點即是一直試圖在詩中「雙聲」發音，他在詩中既有前行代的良好傳承，卻也要突破大他者的語言禁制，並進入網路虛擬世界、架構詩的特殊場域，脫離前行代巨大的影響。「分進期」唐捐既是土生土長的本省籍詩人、又受長期完備的中文訓練、卻又有強大民間宗教信仰的認知和陰影，其「父親糾纏」、「魔怪」寫作、與「混搭臺語中文」等各種方式的合唱，逆崇高、卑賤書寫、惡露誇飾、狂歡拼貼，在語言和意識上充滿臺灣小鄉大城、現代與傳統的環境轉換和背叛。三位詩人之「遠土」、「本土」、「幻土」的不同文化範疇與土地認同也代表了臺灣不同世代的詩人在時空環境下的囚逃關係

關鍵字

遠土 ； 本土 ； 幻土 ； 囚/逃 ； 商禽 ； 蘇紹連 ； 唐捐

並列摘要

Taiwanese poets from 1949 can be divided into three generations every 20 years: the previous generation, the middle generation, and the new generation. Their cultural awareness and identity of land are vastly different.

This thesis analyzed three poets and their works, Shang Qin (1930-2010), Su Shao Lian (1949 -), Tang Juang (1968 -), to represent the three generations. They are the poets of the edge in their era for their serious captivity, exotic style and flee in languages.

The analysis focused on the political and economic situation, social and tremendous changes in the international environment, the trajectory of their 的poetry; body perception; their flesh and consciousness showing the different difficulties and different ways to escape.
This thesis systematically combined the theories of "intentionality", "initiative", "body - subjectivity" in phenomenology, Lacanian psychoanalysis, and cognitive neuroscience about the differences between left and right brain functions in analyzing the context.

The poets in three generations belong to three periods: the "far land" (emergent period), "native land" (divergence period), "illusion Land" (split period). Their flesh and consciousness are captivate and escaping in three trends: "splitting", "seeking together", and "roaming".

Shang Qin in "Emergent period" quests for the "Location" of human life, the "Original value" and seeks constantly between people and other things "change places" (deformation and translocation). Resulting in the collective emergent phenomenon, he with the contemporary poets, in the age of turmoil, is severe in captivity and escaping. His success presents the joint efforts of the whole generation.

Su Shao Lian in "Divergence period" is representative the middle generation of poets, building the subject of Taiwan in the debate of the size of the land and of the country. The difference between Su and the other second-generation mainlanders poets is that he tries to pronounce in "dual voice". His poetry not only heritages the ideas of previous generation, but also breaks the language ban and enters the virtual network world to construct a special field of poetry and to disengage the impact from the previous.

Tang Juang in "Split Period" has received comprehensive long-term Chinese language training. He bears a strong religious background and folk shadow from his father. His writing technique adopted monster, reverse noble, humble and "Taiwanese Chinese". His language and consciousness is full of urban and rural ambience of Taiwan, modern and traditional environment deformation and betrayal.

The three poets in different cultures and recognition of l and, "Far land", "native", "illusion Land", represent captivity and escape of three generations in Taiwanese poets.

並列關鍵字

captivity and escape ； far land ； native land ； illusion land ； Shang Qin ； Su Shao Lian ； Tang Juang

參考文獻

翁文嫺，〈商禽──包裹奇思的現實性份量〉刊登於《當代詩學》2期(2006.09），頁116∼127。

───，〈商禽──包裹奇思的現實性份量〉，《當代詩學》2 期(2006.09)。

───，〈暴力與音樂與身體：瘂弦受難記〉,《當代詩學年刊》2期(2006.09)，頁100-115 。

李翠瑛，〈割裂的自我──論蘇紹連詩的創作手法 與生命向度〉，彰化師大《國文學誌》10期(2005.06)。

顏崑陽，〈用詩，是一種社會文化行為模式 建構「中國詩用學」初論〉，刊登於《淡江中文學報》18期（2008.06月），頁279-302。