反諷詩學：以陳黎與唐捐為例

Abstract

「反諷」不僅僅是語言修辭上的技巧，同時也是哲學、文學、音樂、政治等知識 範疇中的重要概念。反諷的歷史源遠流長，從蘇格拉底到後現代，其指涉豐富、涵義 多端，卻仍可見其一脈相續的精神內涵。尤其在詩學的演化中，反諷更是扮演著推動 語言革新與詩意創造的角色。在台灣，無論是被歸為現代主義、鄉土寫實或後現代的 作品，都不難看見反諷的痕跡。其中，屬於中生代的詩人陳黎與唐捐，都是將反諷精 神發揮得淋漓盡致的詩人。他們的詩作融合了前行世代的現代主義與鄉土寫實，加之 本身的鄉野成長背景與學院的專業訓練，反映在作品中的是揉雜了來自民間與廟堂、 古典與現代等多元渠道的詩歌靈感。著眼於陳黎與唐捐在詩作中所展現的矛盾特質與 豐富性，本研究以「反諷」作為切入的主題，觀察兩位詩人如何周旋於各種對立錯雜 的元素之間，考察他們如何從中演繹出嶄新的詩意與特異的詩學，並進一步為現代漢 詩的「反諷詩學」開發一個可行的研究面向。

Irony is not only a rhetorical device but also an important concept in many knowledge fields such as philosophy, music, politics, etc. Although irony has a long history, it has developed into many forms; from ancient Greece to postmodern times, from verbal irony to situational irony. It derives from the same structure and shares the same characteristics. Irony has been playing an important role in language renovation, particularly in poetry. It can be also frequently found in Taiwan literary works, regardless of those considered as modernist, native or postmodern literatures. Among which, two Taiwanese poets, Chen-Li and Tan-Juan, are believed to be adept at manipulating the skills and ideas of irony. Focusing on the complexity and multiple facets of irony in Chen-Li and Tan-Juan5s poetry, this research will explore how the two poets develop their new poetics while contending with the intricate and confronting elements of irony. This research will also aim to establish the possibilities of a so-called “poetics of irony.”