詩刊協作「臺灣」－戰後新詩的媒介環境與我群意識（1971-1984）

Abstract

本文試圖解釋1970年代臺灣詩壇的我群意識轉向，並特別關注「詩刊」組織及媒介特質對詩學與詩作的建構力量。相對於既有學術研究多偏向詩社與詩人的世代論述，多將詩刊視為詩社附屬的刊物作為文學史料，或者將1970年代詩人積極書寫「此地現實」視為帶有特定企圖的藝術行動，本文認為應該正視「詩刊學」本身具有的組織結構、媒介意義及其能動性。因此，擬以「協作網」、「媒介論」、「讀者論」三種方法重構「詩刊學」，將研究視角從「作者中心」轉向「組織／媒介／讀者」的共構關係，以探討戰後詩刊的媒介環境與詩學思潮的轉變。本文據此重新審視1970至1980年代初期台灣新詩的發展歷程，對1971年至1984年間創辦的八種詩刊，包括《龍族》、《大地》、《主流》、《後浪》、《詩人季刊》、《草根》、《詩潮》與《陽光小集》，透過考察詩刊的創辦班底、詩刊的編輯策略、出版發行機制等，從而辨明詩刊與讀者對話之設定，如何成為我群意識與臺灣意識合流的條件。全文推論循序展開如下，（一）詩學知識聯盟的組成：以協作網概念聚焦詩刊生產所涉及的社會組織與專業分工，指出詩刊的存續與影響力，並非僅靠詩人的才情與熱情，而是仰賴於一套由班底、積極發表者、贊助與（文人）出版交織而成的分工網路。（二）詩刊的媒介設定及其啟動：以詮釋社群為思考，觀察詩刊如何實踐並展現其讀者意識，使讀者從受眾轉為共同生產者，進而參與詩意義的生成。（三）以詩作揭露「我們」的存在：將詩刊中頻繁出現的「我們」定義為「新原型」，一來分析詩刊文本如何進行主體建構，二來則與戰後台灣詩中的離散原型進行對話。綜上，本文指出，1970年代以來臺灣詩學的變革，必須歸因於「詩學知識聯盟」所啟動的生產機制，藉由將「讀者」納入媒介運作而產生動能，使詩刊成功地重塑戰後臺灣詩學生產的規則。

This dissertation elucidates the transition of "we-consciousness" within 1970s Taiwanese poetry circles, focusing on the constructive force exerted by the organizational and media characteristics of "poetry magazines." While existing scholarship often treats these magazines as mere affiliates of poetry societies or views the here and now realism as a singular artistic aim, this study asserts that the organizational structure and agency of the poetry magazine itself must be prioritized. By integrating the methods of cooperation network, media theory, and reader theory, this research shifts the analytical focus from "author-centric" models to a co-constitutive relationship between "organization, media, and reader" within the framework of poetry magazine studies. Accordingly, this study re-examines the developmental trajectory of Taiwanese new poetry from 1971 to 1984, centered on eight pivotal publications: Dragons Poetry, Ta-Ti Poetry, Mainstream Poetry, The Waves Poetry, Poets Quarterly, Roots Poetry, Poetry Tide, and Bundle of Sunshine. Through an investigation of key members, editorial strategies, and publication mechanisms, this dissertation clarifies how the conversational setting between magazines and readers facilitated the convergence of "we-consciousness" and "Taiwan-consciousness." The findings are synthesized as follows: (1) Formation of a Poetic Knowledge Alliance: Utilizing the concept of collaborative networks, this study demonstrates that the influence of poetry magazines relied not solely on individual talent, but on a networked division of labor involving publishers, sponsors, and literati publications. (2) Media Setting and Activation: By incorporating interpretive communities, the research surveys how magazines transformed readers from a passive audience into joint producers of poetic meaning. (3) Revealing "Our" Existence through Poetry: The "we" frequently appearing in these texts is defined as a new archetype, serving both to construct poetic subjects and to engage in dialogue with the diasporic archetypes of postwar Taiwan.