台湾当代诗的后现代文化思潮及诗语言

Postmodern Trend of Cultural Thought and Poetic Language in Contemporary Taiwan Poetry

台湾现代诗史中的后现代有两种不同的意涵:时间上的后现代及美学上的后现代。时间上的后现代,指向1980年代以后;美学上的后现代,其哲学内涵重于拼贴的形式,而于1980年以前的诗作就已见蛛丝马迹。透过文化及文学、美学、哲学翻译的后现代思维,在台湾有形式与内涵分离的现象。在形式上,一眼可见的后现代,未必富含后现代的精神;而具备后现代精神的创作,未必符合标签上的后现代。论文以夏宇、向阳、简政珍、杨小滨的作品为论例,就形式的游戏与辩证的思维两方面切入台湾当代诗的后现代语言,尝试寻绎后现代语言中的解构精神:既解构外于自我的一切,也趋向自我消解。

Postmodernism in Taiwan contemporary poetry suggests two implications： one temporal, the other aesthetic. Temporal postmodernism refers to poetry created after 1980s while aesthetic postmodernism philosophical depth weighing over labeled collage, which already made its manifestation before 1980s. Through translations of culture, literature and philosophy, a disjunction exists between form and content in postmodernism. Some easily identified form of postmodernism may lack the real postmodern spirit, and some created works of postmodern aroma tend to be ignored because they are measured by simplified postmodern labels. This paper focuses on works of Hsia-yu, Hsiang-yang, Chien Chengchen and Yang Xiaohing to demonstrate the aspects of games in form and poetical/philosophical thinking in Taiwan contemporary postmodernlsm. Then it expounds upon the deconstructive spirit in postmodern poetic language, that is, the deconstruction of the world and the evaporation of the poem itself.