台湾当代诗的后现代理论轮廓

Postmodern Theoretical Profile of Contemporary Poetry in Taiwan

在台湾当代诗的后现代文化思潮中,后现代的"后"同时具备"现代主义之后"及"对现代主义的反动"两种意涵。居于台湾"主流"位置的后现代论述,恒以简化的标签横扫文学界与文化界,昌言文类泯灭、意义崩解、游戏当道、解构至上,造成1980年代之后,文学创作者向边缘靠拢的风潮。权宜性的"后"字,极贴切地表述了后现代思维中的解构精神:既解构外于自我的一切,也趋向自我消解。台湾现代诗界对于后现代状况的发生与取名的意见大致可分为两派。不赞成或不喜欢后现代艺术表现的学者、炒作或消费后现代主义的评论者、及从文化角度研究后现代的学者除外,对于后现代思想的论述意见也有分岐明显的两派。通过探讨理论演绎后的台湾后现代论述轮廓,从时间上与美学上的后现代意涵,可把握台湾现代诗坛理解中的后现代诗特质,追溯历史发展中的各种派别与意见,进而讨论奚密、廖炳惠、简政珍对后现代的思索。

In the postmodern cultural ideological trend of contemporary poetry in Taiwan, the word postmodern has two implications ： after modernism and anti- modernism. In the postmodern discourse of Taiwan＇ s ＂mainstream＂ position, they always swept through literary and cultural field with simply la- bels. They trumpeted that culture dying out, meaning collapsing, while game in power and deconstruction first, which resulted in that literary creators were marginalized after the 1980s. The expedient word after, very aptly shows the deconstruetion spirit in the post-modern thought： not only to deconstruct everything outside ,but also to deeonstruct themselves.