空意、情思、聲姿：陳育虹詩藝論

Abstract

2017年，陳育虹獲得第四屆「聯合報文學大獎」。從該獎「不限文類」的評選辦法來看，除了肯定陳育虹過往累積的創作成果，也重新喚醒了台灣文學界對於「詩」此一文類的重視。透過文學獎決審紀錄與高峰對談內容，本文提出陳育虹獲獎的意義在於「詩藝」的重新發揚。與陳育虹同屬1950世代出生的詩人，在70、80年代已有詩集出版而浮現詩壇，然而陳育虹遲至1996年才出版第一本詩集《關於詩》。90年代，陳育虹共有兩本詩集問世，李元貞《女性詩學》卻未見其蹤跡，陳育虹因而在當時的台灣女性詩學隊伍中缺席。此外，過往評論者在論述女性詩人作品時，常落入性別詮釋的刻板慣性，無形中簡化了作品內涵與藝術審美的複雜向度。因此，本文擬以「詩藝」的角度，重新提出具體細緻的作品論，觀察陳育虹整體創作歷程的內容風格與技巧轉變，以此回應她在獲得2004台灣年度詩獎後，在詩壇逐漸曝光顯影的過程。

本文以陳育虹出版至今的七本詩集為主要研究材料，借用文字學上「意─思─姿」的活語言動態詮釋觀點，開闢「空意」、「情思」、「聲姿」三大面向，深入析論陳育虹「詩藝」的多重表現。首先，我回溯陳育虹早期自然詩中的佛、道感悟，探討詩人如何透過「詩的語言」，迂迴創造空意的留「白」美學。再來，從親情、愛情、動物、人間災難四個子題探究陳育虹詩的「情思」精神，進而聚焦解析〈一種藝術〉作為銜接歷來詩集主題的線索，並以此「輪迴」創作環鏈，建構出專屬於陳育虹的一套詩學循環系統。最後，本文從詩、音樂與身體的關係，檢視陳育虹詩的多樣音樂性實驗，並觀察詩人的「聲／身姿」體現，從紙上詩作到發聲朗誦，如何透過字句與聲音的各種設計，深化作品的詩藝效果。本文也期許從台灣現代詩史的批評視野，透過陳育虹「詩藝研究」個案，反思並調校過往女性詩學的方法論。就詩論藝，方能細緻檢視陳育虹的詩學表現，並在其作品逐漸典律化的過程中，給予其適當的定位與評價。

In 2017, the Taiwanese poet Chen Yu-Hung (1952-) won the Fourth Grand Literary Prize of the United Daily News. From this prize, which is not limited to genre, we can not only see the accumulated achievements of Chen’s poetry-writing up to now, but it has also re-awakened Taiwanese literary circles' attention to the genre of 'poetry'. By looking at the records of the jury and forum, this study shows that the significance of Chen's winning the award is a re-exaltation of the 'art of poetry'. From a historical perspective, female poets who, like Chen, were born in 1950s in Taiwan have mostly published their works and been known to the public in the 70s and 80s. However, Chen Yu-Hung’s first collection was published late in 1996. Although Chen published two collections of poetry in the 1990s, she did not appear in Li Yuan-Zhen’s Female Poetics, Chen thus being absent from contemporary studies on women's poetry. Moreover, critics in the past often used stereotypical interpretations of 'female', thus overlooking other aspects of the content and aesthetics of poetry. Therefore, this study suggests a new discussion of Chen Yu-Hung’s poetry from the perspective of the 'art of poetry', and examines the changes of content, style, and techniques of her whole creative career, to comment on the process of how she gradually gained attention in poetry circles after winning the 2004 Taiwan Annual Poetry Award.

This thesis takes the seven collections of poetry Chen Yu-Hung has published to date as its focus. It uses the 'idea - thought - gesture' dynamic from Chinese philology as a core interpretative concept, exploring various expressions of Chen's 'art of poetry' through the three aspects of 'the idea of emptiness', 'sentiment', and 'voice as gesture'. First, it traces the poetic expression about Chen’s early works related to images of nature, which concern 'the idea of emptiness' from Nirvana and Tao. Second, 'sentiment' in Chen’s poetry is discussed according to four themes: family, romantic love, animals, and disasters from the human world. Also, a set of Chen’s poems, 'One Art', is highlighted to construct a cyclical system of Chen’s poetics. Third, the musical experiment of Chen's poetry is explored through the relation of poetry, music, and body. It examines how the poet's embodied 'voice as gesture', through various designs of text and voice, deepens the effect of the poetry when recited. Through analyzing Chen’s 'art of poetry', this study re-examines and re-adjusts the methodology of the research of female poetics, and responds to the canonization process of Chen Yu-Hung, to give her an appropriate evaluation and position within the history of Taiwanese modern poetry.