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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4382

    Title: 語境的還原:北島詩歌研究;Return to the Original Context: A Study of Bei-Dao's Poetry
    Authors: 楊嵐伊;Lan-Yi Yang
    Contributors: 中國文學研究所
    Keywords: 朦朧詩;現代漢詩;北島;流亡;存在主義;Exile;Existentialism;Misty poetry;Modern Chinese poetry;Bei-Dao
    Date: 2009-06-30
    Issue Date: 2009-09-22 09:17:56 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 北島自一九七○年開始寫作新詩,初執詩筆的北島以抒情避世的田園風情為入門,在接受到地下青年思想圈的存在主義感召,以及詩人自身的使命感和理想,遂將原初的浪漫情懷注入以干預現實的無比勇氣。一九七三年〈告訴你吧,世界〉寫出之後,北島的心緒便轉向對現實社會的反省與反叛。陸續的幾年間〈結局或開始──給遇羅克烈士〉、〈宣告──給遇羅克烈士〉,以及〈回答〉接連著寫出,這些詩作不僅激起了「一代人」的自主自覺,直至一九八○年代中國詩壇開展的「朦朧詩」論爭,仍視北島一九七○年代的作品為大逆不道的「崛起」。然而,到了一九七六年因著人生的鉅變,北島詩作頓時轉向悲淒愁苦。詩人於一九七八年以前的語言嘗試,皆以不同比例,分佈於一九七九年之後的創作中。 一九七八年底除了是地下文學刊物《今天》亮相登場的時刻,對北島的新詩創作來說,亦是詩人在《北島詩選》(1986)裡設下的,第一個寫作階段的底限。一九七九年《今天》大張旗鼓之時,北島於一九七八年以前完成的政治詩作仍然適用,詩人亦暫時將筆觸導向款款的情詩創作。一向關注於中國社會的北島,最終仍選擇帶著他的詩回到現實世界裡,梳理存在與自由、現在與未來以及一代人與一個人的細密糾葛。及至一九八九年之後,北島在流亡之中以母語寫作,詩人和文字的不尋常關係,除了滲透著流亡生活的苦澀,語言和寫作對詩人的意義,才是真正造就流亡詩特質的原因,從這一根本的創作路徑出發,我們試圖建構出,北島如何通過流亡的距離,思索自身與原鄉的連結。 本論文將分成四個章節,分別就詩人各個時期之詩作特色和創作意識省察開展之。 Bei-Dao started to write Modern Chinese Poetry since 1970. At the first stage of writing, Bei-Dao intended to create some peaceful pastoral poems. But when he inspired with Existentialism which circulated through underground literary circles, Bei-Dao turned the romantic notions about poetry into the though about changing the Chinese society. In 1973, after writing the poem “Let Me Tell You, World,” Bei-Dao tried to introspect himself and rebel the society through writing. In the following years the poems “An End or a Beginning—for Yu Luoke,” “Declaration—for Yu Luoke,” and “The Answer” had created, these poems arouse “A Generation” from befuddled life. Until the middle of 1980, The Chinese poem circle started on discussed about “misty poetry” (Meng-Long Shi), the poems which Bei-Dao wrote in 1970’ still considered as a rebel. However, Bei-Dao’s life changed by family member’s death in 1976, the writing of poems turned into sorrowful and grievous. The poet’s attempt on poetic language still remained in Bei-Dao’s coming poems. In the end of 1978, not only the first publication of the ‘unofficial’ literary magazine called Jintian (Today), but also the year which Bei-Dao set an end for his first stage of poem writing. While the magazine Jintian was famed for Chinese young man, Bei-Dao was trying to write some love poems. Bei-Dao who always pays close attention to the Chinese Society, at least, choose to made his poems to claim for the freedom and a human’s responsibility for the world. Nevertheless, after The Tiananmen Square protests of 1989, Bei-Dao was exiled by Chinese government. Since Bei-Dao started his exile at 1989, he insisted on writing poems in Chinese and used his mother tongue to consider the relationship between himself and his homeland—China. Through poems, we could get close to Bei-Dao’s mind and catch more clues about how Bei-Dao thinks while writing in exile. Even though the words which Bei-Dao had gave in speeches or interviews could also let people understand the state of Bei-Dao’s exilic life, we could understand Bei-Dao’s thought more by reading his poems. We could find a purity poet’s world without other conditions’ interrupting. Therefore, all the discourse which came from Bei-Dao’s poem could be solved from this foundation. This essay attempts to go back to Bei-Dao’s creations, figure out the quality in poet’s works and discussing further more about Bei-Dao’s establishment in modern Chinese poetry.
    Appears in Collections:[中國文學研究所] 博碩士論文

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