差異與反叛：陳克華詩作研究

Abstract

陳克華在台灣當代詩壇中是一個無法輕易歸類的異質。一方面源自於他的詩作經常於傳統與判別傳統之間游走，因此難以將他制式化地歸順出一種類型、一個派別，更因他時而順應著宏大敘事下書寫的潮流，時而從中展現出逆著潮流的差異；另一方面孰是因詩作中同時並置抒情與暴虐，用以進行文學想像與實踐一直是他詩作中的重要課題之一，這之間看似不相融的兩者，詩人藉由建立自我詩思形構而成的特殊觀照，將各種疏離傳統美感的意像、題材介入台灣當代詩之中，刻意以賤斥化的身體器官、精液血露等排洩物的流液、是屎或為尿、屍化等，具有負面、令人產生反感、汙穢的詩句，作為其書寫策略上逆反之姿的武器，並由外源至內裏，感官與抽象，形而上至符號義理之間，以及情與慾、人與非人、道德與悖德、聖潔與濁穢等，多重角度反覆地去辯證喻意極為不同的兩端，並以此解構了兩者間的對立面，同時也彰顯出當代詩中嶄新的變貌與豐富了文學的論述。 繼此，本論文的章節安排系以時間的動線，去探析創作與時代語境間的互動關係，找尋文本中作者與自我、社會間的重要流變與意義。各章次之間緊扣著作者生命歷程的流變，因應台灣民主化之下的同志論述發展，並以此作為文化脈絡的參照，希冀透過詩人的創作脈絡與風格衍變之間關係，經由空間之審視爬梳在進入二十一世紀後，同志以及跨性別書寫如何看待與解讀對於道德的意義？又是如何奪回情慾主體的發聲權？並彰顯出作品對同志現身的流衍中，看出邊緣與中心位置間的演變與翻轉。Ko-hua CHEN, an undefinable writer in Taiwan’s contemporary poetry field. On one hand, his works were often wandering between the tradition and the non-tradition, which made it difficult to define him into any style or a party. Sometimes, he followed the mainstream writing style but expressed his anti-mainstream style in the meantime. On the other hand, another critical feature he had is that he sometimes combined both sentimental and violent style in his writing. Through that, the literature imagination and execution had always been an important part of his poetry. These two writing styles seemed to go against each other; CHEN used these two styles to build his unique perspective based on his own poetry thoughts. And through isolating the elements of traditional beauty sense and topics, he intended to make use of disgusting body organs such as sperm, excrement and urine as his writing strategy; from externality to internality, sensation and abstraction, affection and lust, human being and non-human being, morality and immorality, cleanness and dirtiness, all these various angles are utilized to repeatedly express the extreme of the two sides. He thus deconstructed the two side’s confronting positions. Meanwhile, to emphasize the new phase of contemporary poetry and enrich the literature statement. The chapter arrangement in this thesis was based on timeline, to analyze the interrelationship between the writing and the era, to find the significant changes and meanings between the author himself and the society. Each chapter was tightly connected to CHEN’s life experience, and corresponded to the development in gay statement of Taiwan’s democratization. The above were used to be a reference of cultural sequence, and to examine how the gay and transgender writing were perceived, and to interpret the moral meanings via the relationship between CHEN’s writings and shift in style, and also the space after entering the twenty-first century? How the entity of affection and lust took back its speaking power? As a result, to manifest his gay tendency from his works, and to see the changes and overturns between the edge and the center.