| DC 欄位 |
值 |
語言 |
| DC.contributor | 中國文學系 | zh_TW |
| DC.creator | 王為萱 | zh_TW |
| DC.creator | Wei-hsuan Wang | en_US |
| dc.date.accessioned | 2009-7-13T07:39:07Z | |
| dc.date.available | 2009-7-13T07:39:07Z | |
| dc.date.issued | 2009 | |
| dc.identifier.uri | http://ir.lib.ncu.edu.tw:88/thesis/view_etd.asp?URN=941201007 | |
| dc.contributor.department | 中國文學系 | zh_TW |
| DC.description | 國立中央大學 | zh_TW |
| DC.description | National Central University | en_US |
| dc.description.abstract | 現代詩壇歷經五、六O的現代主義風潮，西化模仿最後流於虛無而告終，直至七O年代前期的現代詩論戰以及新興詩社紛紛成立，最後提出以「回歸傳統」與「面對現實」作為改革的方向，中國傳統文化遂成為戰後第一代詩人重新審視、進而擁抱的對象。再者，因為外交挫敗導致國族意識油然而生，「民族詩風」的展現就是詩人心靈尋根的歷程，也因此促成了詩人面對國族意識的思考表述，從文學、文化來表現身分的認同。
本文依循此現代詩創作的現象，以文本分析的方式討論戰後第一代詩人在創作中對於古典素材的運用成果，並提出「古典傾向」一詞來強調繼承與差異並存的「鍛接」關係，主要是指現代詩作品中援用古典素材的表現，包括廣義的用典以及古典辭彙、意象的使用，即在現代詩作中可明顯感知取材於典籍與古典文學作品之創作方式。
由此可以發現戰後第一代詩人的古典傾向繼承了抒情的傳統，借用古典讓自我的情感與思想有所寄託，又不拘泥於古典的本義而有所創新以更符合詩旨的表現，也回應了當時在中國文化與臺灣土地之間認同情感的拉扯。另外，隨著詩壇創作理念的多元化，詩人在對古典進行重新認知後，發展出各種形式與主題的運用而屢見新意。
| zh_TW |
| dc.description.abstract | Going through the trend of modernism in the 1950’s and 60’s, the westernization of the modern poetry ended with little accomplishment. Not until the early 1970’s, debates on modern poetry took place and new poetry forums were established. Consequently, concepts of “Back to Tradition” and “Face the Reality” were proposed as the path for poetry revolution. The Chinese tradition and culture were studied and embraced by the first generation of poets after the Second World War. Furthermore, the racial awareness grew strong due to the setbacks in diplomacy, leading to the development of racial poetry, which manifests the process of poets spiritually finding their root and recognizing their identity in both literature and culture.
Following the phenomenon in the creation of modern poetry, text analysis is used in this research to discuss how the first-generation poets applied classic materials in poetry writing. The term “Classic-oriented” or “Pro-classic” is submitted to emphasize the co-existence of literature legacy and contrasts. This is a kind of “welding relationship,” which means in modern poetries, classic materials were used, including the allusions in broad definition and the usage of classic terms and imagery. It is evident that in the creation of modern poetries, the classic literature was applied.
It is discovered that after the World War II, the first-generation poets inherited the lyric tradition, making use of the classic to express their emotions and thoughts. Instead of being restricted to the original meanings of the classic, the poets were able to be innovative in order to improve their works with more appropriate and deeper meanings, which also echo the contrast between the Chinese culture and Taiwanese culture. In addition, as the poetry arena diversified in concepts, the poets identified the classic once again and came up with a number of new styles and themes.
| en_US |
| DC.subject | 臺灣戰後第一代詩人 | zh_TW |
| DC.subject | 古典傾向 | zh_TW |
| DC.subject | 現代詩 | zh_TW |
| DC.subject | 世代性 | zh_TW |
| DC.subject | Pro-classic (classic-oriented) | en_US |
| DC.subject | Taiwanese poets of the first generation after Wo | en_US |
| DC.subject | Generation representative | en_US |
| DC.subject | Modern poetry | en_US |
| DC.title | 臺灣戰後第一代詩人（1945～1955）之古典傾向研究 | zh_TW |
| dc.language.iso | zh-TW | zh-TW |
| DC.title | The Writing of the Pro-classic (classic-oriented)—Taiwanese poets of the first generation after World War II | en_US |
| DC.type | 博碩士論文 | zh_TW |
| DC.type | thesis | en_US |
| DC.publisher | National Central University | en_US |