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題 名 | 哲學是詩和現實交相辯證後的結果--簡政珍〈浮生紀事〉長詩的意境美學三昧=Philosophy is the Result of the Dialectic between Poetry and Reality: Three Thematics in Zheng-zhen Jian's Long Narrative Poem Memoirs |
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作 者 | 蔣美華; | 書刊名 | 國立彰化師範大學文學院學報 |
卷 期 | 2 民92.11 |
頁 次 | 頁21-59 |
分類號 | 863.51 |
關鍵詞 | 簡政珍; 浮生紀事; |
語 文 | 中文(Chinese) |
中文摘要 | 〈浮生紀事〉是詩人簡政珍發表於一九九二年的詩作:這首長詩卷軸,以抒情筆觸,刻劃出死生契闊的兒女私情;吞吐語調,飲泣著造化弄人的坎坷際遇。熊國華認為〈浮生紀事〉長詩:「詩人以抒情為框架,取代了長詩以敘事為主的傳統格局,採用意識流動和電影「蒙太奇」式的意象剪輯手法 ……濃縮凝結成一個完整的意象系統,創造了一個源於現實又不同於現實的奇妙的詩的空間,以此實現對現實和歷史的重整。」此詩意境高遠,意象美侖,意蘊餘嫋--故園渺何處的鄉愁,流民和麥芒的悲憫,山洪的人溺己溺,重整虛構的歷史,揶揄肅穆的宗教等詩旨,具體而微地體現著詩人「苦澀的笑聲」之「詩心」。「詩和現實交相辯證」:世事/幻夢的有無辯證,生離/死別的時空交錯,放逐/回歸的倒因為果,天理/人欲的主客重整等詩義,將意象事件與哲學內涵綰結成多重指涉,印證其「哲學是辯證後的結果」之「詩美學」。至於其意象的姿勢,映象的語碼,隱喻的迴旋,換喻的指涉,量詞的複沓疊加,人稱代詞的凝視觀照,標點符號的沉默訊息等「本真的傾聽,沈默的召喚」之詩法,呈顯其層疊繁複的「詩語言」。費勇稱譽〈浮生紀事〉長詩:「〈浮生紀事〉長詩之所以值得重視,正是在於:立足於對近、現代中國歷史的感受,透過意象的組織,建立了一個相當完整的隱喻體系。簡政珍這種對於「中國社會現實」詩化的處理,無論風格、語調、角度等,都是前所未有的。……這首詩是「體系式」的,有內在的「語言結構」與「歷史結構」支撐,在文學史上,可作為一代人對於這一時代的「詩化詮釋」而流傳下去。」吟詠體驗此詩的箇中三昧,正是筆者詮釋書寫此論文的緣由。 |
英文摘要 | Zheng-zhen Jian published her Memoirs in 1992, in which she describes fairly emotionally the life and death of today's everyday men and women. Commenting on the poem, Guo-hua Xiung (熊國華) asserts: “Using emotion as structure, the poet changes the tradition of longer narrative poetry and gives it drifiting consciousness and montage editorial skill [...], condenses it into a complete system of imagery, and creates a furtive space originated from reality and also different from it. Reality and history are thus reordered.” This poem is a poem about dialectics between poetry and reality: the haves and have-nots in the dialectic of reality / dream, the reversal of cause and effect in exile / homecoming, the rearrangement of subject / object in the universal order / personal desire: the poet has associated imagistic events with philosophical underpinnings so multiple significations can conform to her self-claimed poetics: “Philosophy is the result of dialectics.” The imagery it employs, the linguistic codes it impresses, the metaphors it spins, the metonymies it carries on, the numbers it puts in, the pronouns it mirrors, the punctuations it silences--all these “subjective listening” and “unspoken call” are her prosodic language of poetry. Yong Fei (費勇) praises Memoirs: “It is worthy of our attention precisely because it stems its feelings on contemporary and modern Chinese history. In its well-wrought imagery, it establishes a complete metaphoric system. Zheng-zhen Jian's poetic handling of ‘Chinese social reality’, be it style, intonation, or point of view, have never been seen before [...]. This poem is systematic, carrying the support of ‘linguistic structure’ as well as ‘historical structure’. In our literary history, it can be read as the testment to this generation's ‘poetic interpretation’of our times.” Reflecting and thinking all these, I write this paper. |
本系統中英文摘要資訊取自各篇刊載內容。