National Changhua University of Education Institutional Repository : Item 987654321/17234
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题名: 水蔭萍作品中的頹廢意識與台灣意象
Decadence and Taiwanese Images in the Work of Shui-yin-ping
作者: 徐秀慧
贡献者: 國文學系
关键词: 水蔭萍;超現實主義;頹廢美學;異鄉情調;殖民地文學
Shui-yin-ping;Surrealism;Decadence;Exoticism;Colonial literature
日期: 2005-12
上传时间: 2013-08-28T08:13:37Z
出版者: 國立彰化師範大學國文系
摘要: 翻開日據時期的台灣文學史，在以反帝、反封建為主要課題的抗議文學傳統中，乍現1933年水蔭萍（本名楊熾昌）創辦的風車詩社，以前衛之姿提倡超現實主義詩風，無可諱言地具有異質的風采。但如果不孤立地看這「橫的移植」的新詩實驗的出現，驚喜於它的「前衛性」與「世界性」；而是從社會關係的角度分析水蔭萍如何從日本移植歐洲超現實主義，並比較它與日本、歐洲超現實主義的差異，那麼我們將發現水蔭萍作品中流露了殖民地菁英的意識形態，而不像它的源頭－－西方的現代主義－－是叛逆資本文明體制的產物，反而與日本帝國資本主義的殖民體制有密不分的關係。水蔭萍為了逃避日警的思想檢查，提倡「去政治化」的超現實主義，作品中雖然羅列了一些台灣風土的意象，卻是以一種「異鄉人」的視角，在藝術的象牙塔裡幻想著「鄉土台灣」。無論是將鄉土賦予野蠻、原始的生命力，作為抵制內在恐懼的根據，或是描寫瀰漫著黑暗、腐敗氣息的台灣鄉土，「鄉土台灣」並非水蔭萍現實或精神的歸宿，只不過是藝術的象牙塔裡美感經營的對象罷了。這種將鄉土台灣異鄉情調化的文學表現，不但無從抵拒殖民主義，無意間還迎合了殖民體制教化的目的，印刻著殖民地文學的烙印。
Anti-imperialism and anti-feudalism are central topics in the Taiwanese literary tradition of protest literature during Japanese occupation. Feng-che Poetry Society, established by Shui-yin-ping (pseudonym of Yang Chi-chang) in 1933, advocated surrealistic poetic techniques and displayed heterogeneous style. Such experimental poetry was no doubt an event marked by its avant-garde and globalization. From a social relationship perspective, it can be seen that Shui-yin-ping transplanted European surrealism from Japan. If not to be evaluated as a single issue of "borrowing," Shui-yin-ping's work revealed colonial elite ideology when compared with surrealism in Japan and Europe. Unlike its origin, western modernism, which was a rebellious product of capitalist system, his work was closely related to Japanese imperial colonialism. To escape Japanese censorship, he advocated de-politicized surrealism. Some Taiwanese images were presented from a perspective away from home: Homeland Taiwan was imagined within the ivory tower of art. Homeland, endowed with savage and primal energy, might be the source of power to conquer inner fear. Or it was permeated with darkness and corruption. To conclude, homeland Taiwan was not the final destiny either in reality or in spirit for Shui-yin-ping. It was an aesthetic object that the poet endeavored to build in his ivory tower of art. This kind of literary expression infused exoticism into homeland Taiwan. It not only failed to resist colonialism, but also unintentionally catered to colonial teaching with its unmistakable mark of colonial literature.
關聯: 國文學誌, 11: 409-428
显示于类别:[國文學系] 期刊論文

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