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題 名 | 現代主義與六○年代的臺灣女性散文=Modernism and Taiwanese Feminine Prose in the Sixties |
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作 者 | 張瑞芬; | 書刊名 | 逢甲人文社會學報 |
卷 期 | 13 民95.12 |
頁 次 | 頁1-43 |
分類號 | 824.1 |
關鍵詞 | 女性散文; 現代主義; 六○年代; Modernism; Feminine prose; The sixties; |
語 文 | 中文(Chinese) |
中文摘要 | 在台灣受現代主義影響的六0年代前後,傳統文學史對當時女性散文的表現極少著墨,當時重要女性散文家也普遍受忽視。然而她們用前衛的理念跨越書寫文類,開啟了散文書寫的新可能,恰恰呈現了女性文學於六0年代一個重要的轉折位置。 六0年代女性散文多線並行,並存在著異質的聲音與世代交替的意義。最大宗的散文寫作延續張秀亞諸人而下的抒情路線,新崛起的年輕女作家普遍為外省來臺時幼小一輩。簡宛、荊棘、陳少聰、蔣芸都因出國太早或散文寫作較晚而被忽略,丹扉、陳克環則走知性雜文專欄路線,關心時政與社會,反應女性的立場。趙雲、張菱舲、李藍在六0年代雖然並非主流,寫作時間短,作品數量亦少,然而她們結合現代主義思潮,發展出一個相對於五四新文學白話傳統的轉折。趙雲散文充滿實驗電影與小說的越位,張菱舲以詩情散文回應余光中的散文革新主張,李藍散文則承接了張愛玲的現代主義隔空影響。在現代主義風潮中,女作家以一種違逆主要潮流的方式作了文體實驗。這實驗當時看來似乎未稱成功,然而如今重新檢視台灣當代女性散文的發展,六0年代以現代主義作為啟蒙,開始展現了女性文學的主體性與自覺,轉變了五四跨海而來的中國性與寫實傳統,也開啟了八、九0年代眾聲喧譁的散文後現代世代的可能。 |
英文摘要 | In the sixties when modernism was impacting Taiwan expansively, feminine prose was rarely mentioned by traditional literature history, and key female writers were also ignored. However, with their avant-garde concepts, the female prose writers leaped over various literature genres, launched new possibility of prose writing, and eventually presented a significant turning point for feminine literature in the 60’s. Feminine prose in the 60’s was characterized by coexisting; i.e. heterogeneous voices and meanings of generation transformation coexisted. Following the soft feeling track from popular writers such as Chang Shou-Ya, the young female writers were mostly the second generations immigrated from mainland China. Due to going abroad too early or beginning to write prose at a later stage, writers such as Chien Wan, Jing Ji, Chen Shau Tsung and Chiang Yun were neglected. Dan Fei and Chen Ko Hwan followed the road of journalism for knowledge of variety, caring about contemporary politics and society in response to the female posture. Nevertheless, Chao Yun, Chang Ling Ling and Lee Lan developed a turning point between modern and traditional literatures by contrast to the “May-Fourth new literature revolution” although their works were not so many. Chao Yun’s prose was filled with an overriding spirit between experimental movies and novels, while Chang Ling Ling’s prose responded Yu Kwang Chung’s new ideas of prose with poem-styled feelings. Moreover, Lee Lan’s prose appeared to be sequenced by space-isolated modernism from Chang Ai Ling. Under the waves of sweeping modernism, these female writers eventually conducted literature styling experiments by ways against the mainstream styles. |
本系統中英文摘要資訊取自各篇刊載內容。