대만 모더니즘시 운동과 성취에 대한 재조명

Abstract

In the study of Taiwanese Modernist Poetry Movement from the early 1950s to the mid-1970s, many literary critics have agreed that Taiwanese Modernist poets have their various thoughts on poetics and are brought into a poem full of experimental image and metaphor, with sandwiching in between Chinese traditional culture and Western Modernist literature. The purpose of this study is to illustrate the aesthetic characteristics of Taiwanese Modernist poetry, especially focusing on such binaries as “tradition and modernity,” “Chineseness and the West,” “vertical inheritance 縱的繼承 and horizontal transplantation 橫的移植.” This study contains four parts, together with introduction and conclusion. Part Two explores three poetry schools such as “Modern Poetry 現代詩,” “Blue Star 藍星,” “Genesis 創世記” and analyses their four rounds of debates on questions such as What is good poetry? Where is new poetry going? Should poetry be easily understandable or not? What is the poetry’s relationship with society? and What is the poetic balance between Chinese cultural tradition and Western Modernism literature? The debates began in the 1950s and went through the 1960s and early 1970s. Part Three examines each individual poet of Taiwanese Modernist Poetry Movement and revaluates his or her distinctive aesthetic qualities within representative poem. The poetics and the style of every Taiwan’s modern poet are different, This appears in such poems as Yu Guangzhong‘s 余光中(1928-2017) “Lamenting for Keats-A Eulogy Commemorating the One Hundred and Thirty-Second Anniversary of Keats’s Death 吊濟慈—濟慈逝世百卅二年紀念,” Lin Ling’s 林泠(1938- ) “Tree-Shaded Path 林蔭道,” Ji Xian’s 纪弦(1913-2013) “Solitary Wolf 狼之獨步,” Ya Xian’s 瘂弦(1932- ) “Songlike Andante 如歌的行板..” Part Four concludes that Taiwanese Modernist Poets opens new direction to realize their potential between the trend of Westernization and the awakening of national consciousness, with citing Yang Mu’s 楊牧(1940- ) “Your Feeling 你的心情.”