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臺灣期刊論文索引

摘要

本篇出處 中外文學 46:2=457 2017.06[民106.06] 頁119-160
篇名 冷戰意識形態與現代主義的文化想像:以戰後臺灣與中國的現代詩論述為觀察中心
作者 林巾力
中文摘要   近年來無論美國或台灣的學術界都在現代主義的研究上開展出嶄新的視野,這些研究使得吾人在探討台灣戰後的現代主義時,再也無法將其西方的參照僅僅囿限於十九世紀中葉至二十世紀前期的歐洲,而必須擴大將當時所處的冷戰條件考慮在內,也唯有如此,才能夠更清楚地照見台灣戰後現代主義「重返」文壇的契機。因此,本文以近年相關的研究成果為基礎,但特別關注先行研究較少著墨的問題,那就是:在眾多的文學思潮中為何是現代主義得以在冷戰期間異軍突起?對此,本文將考察的對象轉向現代詩領域,尤其是冷戰時期現代主義詩歌重新崛起當初的論述。此外,本文亦嘗試提出一個觀看的框架,也就是把現代主義文藝思潮放到冷戰底下的地緣政治結構中,並將考察的視野從台灣延伸到中國,進而分析同屬第三世界但分屬不同陣營的兩地現代主義詩歌在冷戰期間如何重新崛起,以及在重返的過程中如何受到冷戰結構的催生與限制。有鑒於此,本文希冀釐清如下幾個問題:冷戰究竟形塑了怎樣的意識形態與氛圍?台灣與中國身處冷戰與威權╱極權狀態下的作家們如何理解現代主義?現代主義在當時被賦予了怎樣的文化想像而得以受到青睞?最後,則是探討冷戰的文化想像又是如何影響或轉化現代詩的思想與論述等問題
英文摘要   In recent years, scholars in Taiwan and the United States have forged new ways of understanding and developing academic approaches to the study of modernism. This recent research has revealed that understanding postwar Taiwanese modernism requires knowledge not only of pre-early twentieth century modernist literature in the West, but also must take into account the Cold War Era modernism as a whole. Only in this way does it become possible to clearly observe the "return" of Taiwanese modernism after the war. Consequently, while based on this recent research on modernism, the present article focuses on a question that has received scant attention: that is, what factors led to modernism's rise to prominence in Cold War literary and artistic circles? In approaching this question, this article concentrates the early period of the modernist movements arising in the Cold War era. This article attempts to provide a framework for answering this question, by placing modernism into the geo-political structure of the Cold War, and extending this range of observation from the United States and Taiwan to include China. Furthermore, this article explores how the two opposing "camps" of the Cold War stimulated and gave rise to the modernism movements in Taiwan and China. Therefore, this study attempts to clarify the following questions: What sorts of ideologies and political atmosphere did the Cold War form? How did Taiwanese and Chinese writers under different political regimes understand modernism? What sorts of cultural imaginings of modernism led to its rise to prominence on both sides of the Taiwan Strait? What sorts of new literary breakthroughs did this imagining of modernism bring about?