Please use this identifier to cite or link to this item:
|Other Titles:||Dreaming Freely of Dancing while Walking: An Appraisal of the Creative Process of Li Kui-xian from His Prose Poems|
Department of Taiwan Culture, Languages, and Literature, NTNU
|Abstract:||立足本土，放眼國際的台灣詩人，非李魁賢莫屬。除了在國內外得獎無數的殊榮外，更創下三度（2002 年、2004 年、2006 年）獲印度國際詩人學會提名為諾貝爾文學獎候選人的記錄。在李魁賢的詩作中，我關注到其中一類表現形式較為特別，但數量極少的詩類──散文詩。綜覽其詩集並仔細耙梳後發現，李魁賢自1953年開始創作以來，總共只寫了7首散文詩，這在他高達1152首的詩作中，可說是鳳毛麟爪。而散文詩不同於單一文體所具有的獨具魅力與藝術價值，頗受國際詩學大師的青睞，如波特萊爾、泰戈爾、馬拉美、里爾克均有散文詩的創作。李魁賢也曾表示，台灣散文詩仍有許多嘗試的空間。因此，本文以李魁賢的7首散文詩為範疇，發現李魁賢在結合散文與詩這兩種文體的美學特質時，除了於散行的形式中致力於抒情意象的經營外，更進一步嘗試文體的再越界，也就是在散文詩中加入小說的筆法，表現出戲劇的效果。至於主題方面，則有別於他在傳統分行詩中批判社會現實的風格，偏重在對自我生命哲思的觀照。簡言之，由本文探析李魁賢在散文詩中表現出不同於他傳統分行詩的創作主題與特色。|
Rooted in Taiwan, Li Kui-xian is a poet with global vision. In addition to winning various awards at home and abroad, he was nominated three times by the Poetry International (India) for Nobel Laureate of Literature in 2002, 2004, and 2006 respectively. Among Li’s poems, there is a rather special category—prose poems, of which there is only a very limited number. Reading his collection of poems closely, we can find that he has only written 7 prose poems since 1953, which are: “Dusk on the Bridge,” “Nocturne of Early Summer,” “The Memory of Autumn and Death”—a series of three poems, “Grasp the Drumbeats,” “The Life of a Top,” “The End of a Hero,” and “Humid and Simple Room”. Among his 1152 works, it is a very small number. Different from any single genre, prose poems have unique charm and artistic value, and therefore are highly acclaimed by international poets and critics, such as Charles Pierre Baudelaire, Rabindranath Tagore, Stéphane Mallarmé, and Rainer Maria Rilke, who have published a few volumes of prose poems. Once, Li mentioned that there were plenty of rooms for the composition of prose poem in Taiwan. Therefore, this essay aims at discussing the 7 prose poems written by Li Kui-xian to examine the aesthetic features of the combination of prose and poem. In addition to discussing the lyrical images among the loosely arranged lines, it attempts to highlight the transgression of the boundary of genre, i.e. the usage of novel techniques in prose poem to represent dramatic effects. Regarding the theme, different from the social criticism found in most of his poems written in the traditional lined format, he focuses on the pondering of self, life and philosophy in his prose poems. Simply speaking, this essay probes into the themes and features that are different from the rest of Li’s poems written in the traditional lined format.
|Appears in Collections:||台灣學誌|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.