新批評在台灣：以現代詩場域為中心

Abstract

現代主義在上個世紀的五、六〇年代構成了台灣文壇最令人矚目的風景，而現代詩 更是扮演了時代先鋒的角色，它不但是第一個衝破官方話語的文學，並且比小說更快地 站上了「文學現代化」的浪頭。儘管現代詩的創作呈現一片繁景，但關於它的批評卻是 進展緩慢。而第一個具有相對完備的理論且講求方法的文學批評，是始於顏元叔在六〇 年代末期所提倡的「新批評」。新批評的崛起不但與文學教育的建制化息息相關，同時 也使得文學批評最終成為學術殿堂裡的專屬事業。雖然新批評逐漸在七〇年代取得主流 的位置，但隨著社會的日益複雜、現實視野的擴展以及紛繁多樣的理論進入文學場域， 新批評很快地失去了批評的主導地位而盛況不再。儘管如此，新批評的方法卻早已深入 文學的教育之中，其影響至今不衰。就此意義而言，對於參與文學生產的新批評在台灣 的傳播狀況進行探究，有助於了解台灣文學與詩學的發展。因此，本研究以新批評為主 要觀察對象，特別是聚焦於現代詩的場域，而去考察新批評在台灣如何被引介與實踐的 過程，以及這種批評方式與現代主義有著怎樣的互動、而它又為台灣詩學帶來了怎樣的 影響等問題。

The rise of modernist poetry is one of the most significant phenomena of post-war Taiwanese literature. It was the first literary movement to break through the dominance of official discourse under its slogan of “modernization of literature.，’ Yet, compare to the development of modernist poetry, criticism made only slight progress until the introduction of New Criticism to Taiwan by scholars. The rise of New Criticism coincided with the institutionalization of literary education in universities, which resulted in literary criticism becoming a more academic profession. Not long after New Criticism became dominant in the 1970s, a new wave of literary and critical theories from the West started flooding into Taiwan’s literary field. New Criticism seemed to be declining, but the methodology of New Criticism prevailed in the literary education and had much influence on poetry. Therefore, in order to understand the development of Taiwanese literature, particularly modern poetry, it is necessary to understand how New Criticism was introduced and practiced. By tracing the trajectory of New Criticism’s development in Taiwan, this project aims to analyze how New Criticism interacted with modernist movement, and to look at how it influenced Taiwan’s modernist poetry as well as the contradictions it involved.