本文選題：臺(tái)灣詩歌 + 后現(xiàn)代��； 參考：《南京師范大學(xué)》2017年碩士論文

【摘要】：二十世紀(jì)七八十年代之后的臺(tái)灣由于獨(dú)特的政治經(jīng)濟(jì)狀況,已經(jīng)進(jìn)入了信息消費(fèi)時(shí)代。臺(tái)灣“后工業(yè)時(shí)代”即“互聯(lián)網(wǎng)訊息社會(huì)”、“消費(fèi)社會(huì)”的快速發(fā)展,顯現(xiàn)出它強(qiáng)大的信息復(fù)制能力,迅捷的網(wǎng)絡(luò)傳播能力,以及形式與內(nèi)容互相分離等特征。反映到文化上,顯而易見的是各種次級(jí)文化不斷崛起,并且逐步呈現(xiàn)出蓬勃興盛之勢(shì);具有后現(xiàn)代主義傾向的詩人,打碎了曾經(jīng)的中心、均衡、和諧、統(tǒng)一的概念,相反,他們更多關(guān)注的是離散、非中心、邊緣化的狀態(tài),這些關(guān)注恰恰扣合臺(tái)灣整個(gè)文化發(fā)展的大趨勢(shì),同時(shí)也映襯了島內(nèi)外頻繁變動(dòng)的社會(huì)政治局勢(shì)和脈動(dòng)。正因?yàn)槿绱?臺(tái)灣的后現(xiàn)代詩歌格外引入矚目,它具備著后現(xiàn)代詩歌的本質(zhì)特征,即“解構(gòu)中心”和“反理性”,將一切既成秩序顛覆,消解權(quán)力話語,以反中心、反理性、反文化的姿態(tài)形成抗拒之勢(shì)。它們質(zhì)疑歷史,質(zhì)疑啟蒙主義宏大敘事的合法性,更是對(duì)知識(shí)的權(quán)威性,價(jià)值的終極意義,以及真理的永恒性產(chǎn)生極大的懷疑。詩作中將后現(xiàn)代的思維帶入語言,力圖尋求邊緣性來打破曾經(jīng)的范式,因而這些詩歌具有獨(dú)特的審美內(nèi)涵。本文以臺(tái)灣新世代詩歌為研究對(duì)象,把它置于后現(xiàn)代的視域之下,全面地審視和探究這些詩歌所具有的審美意義與影響。首先,結(jié)合臺(tái)灣的社會(huì)經(jīng)濟(jì)狀況,分析其所具備的后現(xiàn)代“碎片化”特質(zhì),以及其詩歌發(fā)展充分表現(xiàn)出的后現(xiàn)代精神與思想。然后,具體從言、象、意的維度對(duì)臺(tái)灣后現(xiàn)代詩進(jìn)行系統(tǒng)的分析,“言”的角度主要分析詩歌語言的不確定性,文本結(jié)構(gòu)“空隙”特征,以及文類界限的模糊性;“象”的角度主要分析后現(xiàn)代詩歌意象的流動(dòng)性和拼接性,來深入挖掘其碎片化的審美特征;“意”的角度主要是分析臺(tái)灣后現(xiàn)代詩的精神意蘊(yùn),從哲學(xué)、社會(huì)和文化的視角探索其生成的美學(xué)意義及影響,并搜尋臺(tái)灣后現(xiàn)代詩“碎片化”之后復(fù)歸完整的可能性。臺(tái)灣后現(xiàn)代詩人運(yùn)用后現(xiàn)代主義的哲學(xué)理念來反抗固有的意識(shí)形態(tài)本體中心化,喚醒人們對(duì)于既定的傳統(tǒng)西方思維和闡釋方式的深入思索,以看似虛無以及支離破碎的文本游戲來表達(dá)深刻的用意,在分裂的文本之中形成對(duì)后現(xiàn)代碎片化的外部世界的極大觀照,折射出人類社會(huì)置身于現(xiàn)代荒原的斷裂之感。本文通過分析臺(tái)灣后現(xiàn)代詩歌在意象、結(jié)構(gòu)、意蘊(yùn)中的解構(gòu)特征,充分展示了后現(xiàn)代詩的不確定性原則,從詩中我們可以解讀出當(dāng)今社會(huì)人類生存巨大的精神危機(jī)與人文困惑。
[Abstract]:Taiwan has entered the era of information consumption due to its unique political and economic situation since the 1970s and 1980s. The rapid development of "Internet information society" and "consumer society" in Taiwan's "post-industrial era" shows its strong ability of information reproduction, rapid network transmission, and the separation of form and content from each other. Reflected in the culture, it is obvious that all kinds of secondary cultures are rising up, and gradually taking on a thriving trend; the poet with a postmodernism tendency has broken the once central, balanced, harmonious, unified concepts, on the contrary, They pay more attention to the discrete, non-central and marginalized state. These concerns are in line with the general trend of Taiwan's entire cultural development, and also reflect the frequent changes in the social and political situation and pulsation inside and outside the island. It is precisely because of this that Taiwan's post-modern poetry has attracted special attention. It has the essential characteristics of post-modern poetry, namely, "deconstruction center" and "anti-rationality", which subverts all established order, dispels power discourse, and takes anti-center and anti-rationality. Anti-cultural posturing forms a tendency to resist. They question the history and the legitimacy of the great narration of enlightening doctrine, but also doubt the authority of knowledge, the ultimate meaning of value and the permanence of truth. Poetical works bring postmodern thinking into language and seek edge to break the former paradigm, so these poems have unique aesthetic connotations. This paper takes the poetry of the new generation in Taiwan as the research object, puts it under the field of postmodernism, and comprehensively examines and explores the aesthetic significance and influence of these poems. First of all, according to the social and economic situation of Taiwan, this paper analyzes the character of "fragmentation" of postmodernism, and the spirit and thought of postmodernism which is fully manifested in the development of Taiwan's poetry. Then, from the perspective of speech, image and meaning, this paper makes a systematic analysis of the postmodern poetry in Taiwan. From the perspective of "Yan", it mainly analyzes the uncertainty of poetic language, the characteristics of "gap" in text structure, and the fuzziness of the boundary of literary category. The angle of "Xiang" mainly analyzes the fluidity and splicing of postmodern poetic images to dig into its fragmentary aesthetic characteristics, while the angle of "meaning" is mainly to analyze the spiritual implication of post-modern poetry in Taiwan, and from the perspective of philosophy, From the perspective of society and culture, it explores the aesthetic significance and influence of its formation, and searches for the possibility of returning to the whole after the "fragmentation" of Taiwan's postmodern poetry. The postmodernist poets in Taiwan use the philosophy of postmodernism to resist the inherent ideological Noumenon centralization and awaken people to think deeply about the established traditional western thinking and interpretation. With the seemingly nihilistic and fragmented text game to express the profound intention, in the split text to form a great view of the post-modern fragmentation of the external world, reflecting the human society in the modern wilderness in the sense of rupture. By analyzing the deconstruction characteristics of postmodern Taiwanese poetry in image, structure and implication, this paper fully demonstrates the principle of uncertainty of postmodern poetry, from which we can interpret the great spiritual crisis and humanistic puzzlement of human existence in modern society.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.25

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本文編號(hào)：2104906