物象的内心灵视:战后台湾现代诗的超现实经验  

Survey on Imagery Expression——Surreal Experience of Post-war Modern Poetry in Taiwan

作　　者：柴高洁[1] 

机构地区：[1]中原工学院外国语学院

出　　处：《文学与文化》2017年第4期84-90,共7页Literature and Culture Studies

基　　金：国家社科基金后期资助项目"20世纪台湾现代诗的突围与转型研究"(16FZW042)阶段性成果

摘　　要："现代主义"作为一种思潮和方法,于战后台湾现代诗的发展而言,被颇多诟病,尤其是超现实主义大行其道的20世纪60年代中后期,诗歌技巧的"新奇",意象选取的"怪异",诗意嫁接的"跳跃"等,使台湾诗坛对"现代主义"几乎一边倒地饱以老拳。然而,纵观台湾现代诗发展脉络,从日据时期开始,"现代主义"就是一个绕不过去的体现台湾诗歌重量的"特质"。理解此吊诡之处,需要以台湾现代诗文本为出发点,深入台湾诗坛动态发展过程,细致剖析现代主义诗学理论于台湾现代诗的功过,明白台湾现代诗的超现实经验,从而客观地评价现代主义于台湾现代诗的重要意义。Modernism, an ideological trend, has been fiercely criticized in the development of post-war modern poetry in Taiwan. In the middle and late 1960s when surrealism was in full swing, modernism have been attacked sharply, with its novelty in poetic skills, abnormality in imagery preference and jump in poetic composition. However, modernism is an unavoidable element playing an important role in modern poetry development in Taiwan ever since the Japanese occupation. To better understand the contradictory phenomenon, it is necessary to study the texts of modern poetry in Taiwan, to explore the poetic development in Taiwan, and to analyze the merits and demerits of modernist poetic theory on

关 键 词：战后台湾现代诗 超现实主义 意象思维 自动写作 

分 类 号：I207.25[文学—中国文学]