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來源資料
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題 名 | 長詩美學的發展--臺灣現代詩美學初探=The Aesthetics of Long Poems--A Preliminary Study of Modern Poetics in Taiwan |
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作 者 | 簡政珍; | 書刊名 | 興大人文學報 |
卷 期 | 34(上) 民93.06 |
頁 次 | 頁473-497 |
分類號 | 821.28 |
關鍵詞 | 長詩; 詩系; 意象敘述; 意象的環鍊; 文本互植; 詩小說; Long poem; Poetical sequence; Narrative of images; Linkage of images; Interplay of texts; Poems in novel form; |
語 文 | 中文(Chinese) |
中文摘要 | 長詩的寫作是對詩人極大的考驗。長詩可以視為詩人能否跨越門檻成為主要詩人的關鍵。短詩瞬間的創意在長詩的書寫裡,只是一個詩句的開始,需要意象的敘述能力來展延。但所謂展延,不是將文字稀釋,而是在維持相同的字質時,行數的增加能強化詩的量感與嚴肅性。在閱讀的感覺上,短詩與長詩最大的不同可能是:前者是一首好詩,但後者可能是一首「宏大」的詩。從細節觀照,臺灣現代詩長詩展現了繽紛的美學風貌。有的以組詩的型態呈現,有的是歷史的再書寫,有的是以意象的環練構築敘述,有的以文本互植推展,有的以詩的小說化強調詩的戲劇性。而二十一世紀洛夫約兩、三千行的長詩〈漂木〉再度擴展了長詩的可能的疆域。 |
英文摘要 | A long poem poses a great challenge to a poet. A long poem can serve as a threshold on which a writer can step over to become a major poet in literary history. For a long-poem writer, the creative spark in a short poem just initiates a poetic sentence; the moment of creation is to be stretched in narrative. But extension doesn’t mean the quantity is increased at the expense of quality. To be qualified as long-poem writer, one has to maintain the quality of every line while the increased written space imparts a sense of weight and seriousness of poetry. A short poem may be a good poem, but rarely a great one; however, a long poem can be “felt” to be both good and great. Long poems display varieties in Taiwan modern poetry: some are composed as a poetical sequence; some re-write history and legend; some build their narrative on the linkage of images; some are created by the interplay of texts; some take form of novel to dwell on its dramatic force. And with Lo-Fu’s “Drifting Wood” at the beginning of this century, the possible field of long poem is again explored and expanded. |
本系統中英文摘要資訊取自各篇刊載內容。