摩登詩人鷗外鷗

Abstract

鷗外鷗自1980年代重被發現以來逐漸得到文學研究者的關注，主要以其先鋒詩形和特殊的左翼現代主義路線為人所知；然而詩人早期一批風格獨具的詩作卻尚未得到研究者足夠深入的討論。緣此，本文論題起點便在於發掘鷗外鷗為人所忽略的「摩登」面向，自其人至其詩深入，以求呈現。 檢閱鷗外鷗精彩動盪的一生，無處不與其創作實踐發生關聯。「鷗外鷗考」一章蒐羅整理各方文獻，將豐富的材料各依品類歸檔製表供人參詳，以圖文對照之方式重新勾劃鷗外鷗生命軌跡，更新目前對詩人史傳方面的認識。此外又藉一篇小說／一段戀愛軼聞打開新的認識大門，從精神史學角度延伸出「戀愛」對鷗外鷗寫作種種影響，使這個話題與鷗外鷗往後所持摩登生活美學及情慾導向戀愛觀聯繫起來。 「鷗外鷗與新感覺派」話頭從流派歸類的窘境談起，正視鷗外鷗詩的豐富特殊難以輕易歸入現有的幾個認識框架，並提出「新感覺派」作為一種新角度，回應歷來「鷗外鷗究竟是不是未來派」一類爭論不休的問題。筆者梳理詩人與中日新感覺派作家關係之餘，更檢閱「エロ文化論」論述引導下各式各樣的現代想像與修辭手段如何展現於鷗外鷗詩中，用最摩登撩亂之課題冷靜回應所處的都會現實。 鷗外鷗藉物創造詩意的寫作傾向尤其值得注意。本文第三部分專注深入其詩「物與觀看」主題，從此二個緊密相關的方面揭開鷗外鷗詩摩登現代之妙──特別是視覺元素之百變發揮以及藉物認識世界的方式，分析詩人如何觀物玩物進而挪物入詩，另立一種現代的詩意生產模式。

Since the 1980s, Ouwai Ou (1911-1995) has gradually gained the attention of literary researchers, mainly known for his avant-garde poetry and unique leftist modernist approach. However, the early batch of stylistically distinctive poems by the poet has not yet received sufficient in-depth discussion from researchers. Therefore, this article intends to explore the overlooked "modern" aspect of Ouwai Ou, delving into both the poet himself and his poetry in order to present it. Reviewing the eventful and remarkable life of Ouwai Ou, it is difficult not to find connections to his creative practice. The second chapter aims to update the understanding of the poet's biographical history. Abundant materials from various sources are collected, reorganized and categorized into tables for reference. Also, visual aids are used to depict the life trajectory of the poet. Additionally, by employing a short story/anecdote of a romantic affair, a new avenue of understanding is opened, extending from the perspective of the history of consciousness to explore the various influences of "love" on Ouwai Ou’s writing, connecting this topic to his subsequent modernist lifestyle aesthetics and sensual-oriented views. Chapter 3 focuses on the discussion between Ouwai Ou and Neo-Sensationalism. It begins by addressing the dilemma of the categorization of his work, acknowledging the rich and distinctive nature of Ouwai Ou’s poetry that does not easily fit into existing frameworks of understanding. Therefore, the "Neo-Sensationalism" is proposed as a new perspective to respond to the perennial debate of “whether Ouwai Ou truly belongs to the Futurist movement.” While examining the relationship between the poet and the Neo-Sensationist of Japan and China, this chapter also reviews how various modern imaginings and rhetorical devices guided by the discourse of "erotic culture theory" are manifested in Ouwai Ou 's poetry, calmly responding to the urban reality of the time with the most modern and provocative themes. Chapter 4 emphasizes a particularly noteworthy and specific theme of Ouwai Ou’s poetry, which is the tendency to create poeticity through objects. This chapter unveil the subtleties of Ouwai Ou 's modern poetry—especially the diverse utilization of visual elements and the employment of objects as a way to approach the world, while also analyzing how the poet observes and plays with objects to bring them into his works, thus establishing a new mode of poetic writing.