台灣生態詩之初期作品研究──以《自立晚報》副刊一九八四年「生態詩‧攝影展」為例

Analysis of Taiwan Ecopoetry at the Initial Stage：A Case Study of the Column Ecopoetry and Photograph of Independence Evening Post,1984 .

謝三進(SAN-CHIN HSIEH)

指導教授 ： 林淇瀁

國立臺灣師範大學/文學院/台灣文化及語言文學研究所/碩士(2012年)

摘要

台灣生態詩隨著台灣社會邁向工業化的腳步而誕生，一九七○年代以環保議題為關懷的詩作開始出現於詩人筆下，一九八○年代始有報紙副刊製作生態詩專輯、專欄，本篇論文《自立晚報》一九八四年六月至八月間連載刊登之「生態詩‧攝影展」為主要討論文本，以此基礎歸納分析台灣生態詩初期作品之特質與內涵。

　　台灣生態詩之評論者不少，唯多為小篇論文或評論短文，且隨著評論者學養基礎不同而各有偏重，有從詩學之社會性著眼者，有從自然書寫觀點討論者。生態詩之研究在環境保護的大共識之下，各有意見分歧之處。唯這些不同的細節，事實上並未互相衝突，將不同意見予以整合、分析出生態詩論述者對生態詩的觀察及期許。以求得台灣生態詩的研究基礎，以及廣義的生態詩定義，便是本篇論文第一章緒論的首要任務。

　　上述生態詩評論者切入生態詩之視野各有不同，事實上，同樣的情形也發生在身為創作者的詩人身上。《自立晚報》「生態詩‧攝影展」專欄邀得二十二位詩人發表二十四首詩作，我們可從詩人們的創作發現其對「生態」的理解其實互有不同。有出自環保新聞而發表批判意見者，也有紀錄自身生態觀察經驗者。在第一章由生態詩論述所得的基礎上，本篇論文第二章「台灣生態詩初期作品分類」再參入由生態詩作文本分析而得的詩作焦點，分由「文化觀」、「自然觀」與「美學觀」三條脈絡切入剖析。

　　在第二章列出的分類基礎上，第三至五章便分由「台灣生態詩之文化批判」、「台灣生態詩之自然思索」與「台灣生態詩之美學經營」細論《自立晚報》「生態詩‧攝影展」專欄之詩作，並輔以自其他版面蒐羅而得之生態詩作品，以求得台灣生態詩初期作品之發展概況。第六章結論則彙整以上各章的研究結果，列述台灣生態詩之內涵、特質與意義，另列述台灣生態詩研究尚有待著力之部分，以求推進台灣生態詩之研究。

關鍵字

生態詩 ； 自然書寫 ； 生態批評 ； 一九八○ ； 《自立晚報》

並列摘要

Taiwan Ecopoetry arose with the development of industrialization. In 1970s, poems dealing with the issue of environment firstly showed up on the poets’ draft paper, and in 1980s ecopoetry started to occupy some spaces in the newspapers’ supplements. This paper mainly focuses on the column Ecopoetry and Photograph of Independence Evening Post to discuss and analyze the characteristics and the implied meanings of Taiwan ecopoetry at the initial stage.

　　There were a few reviewers devoting themselves in ecopoetry, though most of their works were short essays and commentaries, which were somehow biased because of the reviewers’ different backgrounds. For example, some of them based on social reality, while others discussed in the view of the nature. Although diverse in several ways, all the ecopoems still share the same core, which is environment protection. As a matter of fact, the differences not only don’t contradict but fuse, integrate and analyze all the viewpoints, and conclude to a common observation and expectation. The research basement and a wider definition of Taiwan ecopoetry are exactly what the first chapter is trying to conceive.

　　Reviewers commented ecopeoms in diverse point of views, and so did the poets. From the twenty-four poems written by the twenty-four poets that Ecopoetry and Photograph invited to present can we see that the poets also framed the concept of “ecology” differently. Some of them criticized on the basis of news related to ecology, while others simply recorded their own observations on the nature. Based on the reviewers ‘ commentaries in the first chapter, in chapter two The Categorizations of Taiwan Ecopoetry at the initial stage, I add the analysis on the ecopoems from three aspects---culture, nature and aesthetic.

　　From the basis of chapter two, chapter three to five deal with three subjects: Culture Criticisms, Nature Speculation and Aesthetic Management on Taiwan ecopoetry, which also base on the column Ecopoetry and Photograph of Independence Evening Post. Aside from all above, with the aid of other ecopoems can we conclude to a general situation of Taiwan ecopoetry at the initial stage. As a conclusion, chapter six lists the essence, characteristics and meaning of Taiwan ecopoetry. Furthermore, it also states how should we improve the research on ecopoems in order to further promote it.

並列關鍵字

Ecopoetry ； Nature writing ； Ecocriticism ； 1980s ； Independence Evening Post

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