摘要
拙著之所以认为台湾当代新诗史应从光复后开始,不完全是从政治事件着眼,而是因为在文学的表现形式上,光复后的诗人不再用日文而改用中文创作,并不再"断奶",重新和祖国大陆文坛取得了联系。作为50年代主要文类的"反共诗歌",之所以能主导台湾诗坛的话语情境,并不是它有什么特殊的艺术魅力,而是因为适应了执政党的政治需要,充当了"反共抗俄"的文宣传单。在传统写法的基础上另辟蹊径,这便有了新诗史写作的陌生化问题。
As already claimed in his History of Contemporary Taiwan Poetry, the present author believes that the origin of contemporary Taiwan Poetry should be traced back to the Recovery. Rather than from the perspective of political events, this view holds water in the sense that in terms of manner of representation, the poets after the Recovery compose no longer in the language of Japanese but in Chinese, and cease 'weaning' themselves from the literary world in China's Mainland. As the mainstream literature of the 1950s, Anti-Communist Poetry dominated Taiwan’s poetic discourse not because it charmed the readers with its unique artistic creations; rather, it derived its leading position from the fact that it catered to the Administration Party by becoming the literary propaganda of 'Anti-Chinese-and-Soviet-Communism.' Based on the poetic tradition, it blazes a whole new path and thus generates the problem of estrangement in historical narration.
出处
《华文文学》
2008年第5期27-33,39,共8页
Literatures in Chinese
关键词
台湾当代新诗史
"反共诗歌"
陌生化
诠释权
Contemporary Taiwan Poetry, Anti-Communist Poetry, estrangement, right of explanation
