Memory and Poetry：The Exploration of Historical Narrative and Cultural Practice —Li Min-yung’s and Chen Hung-sen’s Poetry as examples

• Main Authors: Hung-Yi Chen, 陳鴻逸
• Other Authors: 林淇瀁
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/33266413546880598047

碩士 === 中興大學 === 台灣文學研究所 === 95 === 　　The purpose of this paper is to examine profound meaning of the poetry, corresponding to the postwar generation poets who lived under the postwar martial law system, during several important eras in history, including postwar period when Taiwan suffered from the social structure of nationwide suppression and ideology, the White Terror era during 1950s and 1960s, withdrawal from United Nation and the time of Oil Crisis during 1970s, and the later on critical events such as native literature controversy, diplomatic relations break-off with the United States, Formosa Incident, until late 1980s and early 1990s when declaring martial law ended and the development of constitutional amendment. 　　After “Modern Poetry”, “Blue Star”, “Genesis“ and “Li” founded one by one, it has accomplished a marvelous mission in Taiwan modern history of poetry. For “Li”, the hard works in early days have given a solid foundation for the postwar generation when entering 1970s and 1980s; and the “postwar generation” also becomes Li’s core member and the administrator of realism. Belonging to the postwar generation, Li Min-yung and Chen Hung-sen gradually break away from the writing styles of individualism and sentimentalism, and switch to realistic style of “targeted” and “root-searching” when the times entering 1970s. It focuses on the searching and pursuit in the period of Japanese-governance and warfare suffering faced by prior generation; on the other hand, it examines individual and society, the specific position when an individual confronting history. Following the movement and rise of outside parties during 1980s, an ideology of freedom and democracy awakens and the politics opens to public access. In a generation of uproar and melody of multi-tune symphony during 1980s, the interpretation and confirmation of reality and also subject have become perfect condition for poets confronting practice. When “Taiwan” symbol becomes a historical, geological, discussible and living (or existing) space, it means this land consequentially carries loads of many past miserable experiences. Therefore, “discovery” Taiwan is not just a symbolic meaning of totem; it needs to be deep-dug for past historical remains of culture and language to help expand and observe the future. 　　We use postwar generation poets Li Min-yung and Chen Hung-sen as examples to analyze the social, political, colonial phenomenon and historical development in Taiwan, to open the discussion for participation, describe and interpret both poets’ intellectual thought and practical dialectical deliberation when they facing the trend of Taiwan history so as to prove the narrative model and poetry theory.