| Summary: | 碩士 === 國立清華大學 === 中國文學系所 === 105 === Abstract
“Cruising” and “Drifting” are two concepts that the thesis is undertaking to describe Zang Di’s poetry between 1984-2003. They refer to the unique style of his poetic criticism and writing, the intensive study of the poetic languages, the experiment on the poetic level, and also the reader's reading experience to Zang Di's poems. As a single poet studies, the thesis aims to indicate his important role in the field of contemporary Chinese poetry and to depict an appropriate position along the history of modern poetry, by analyzing the critics and works of the poet, and the poetic issues that he cares most.
In chapter 1, Introduction, we will first explain the basis of the argument, “Cruising” and “Drifting”, is chiefly based on the “Liquid Modernity” theory of Zygmunt Bauman, and with the philosophical theory of G. Deleuze and F. Guattari as an auxiliary. Secondly, we will make a comprehensive definition of the connotation of "Cruising" and "Drifting", explain the research motives, methods and materials, and review the related studies.
From the perspective of Zang Di’s poetry idea, we will examine his senses on literature tradition, poetry writing and criticism in chapter 2. He marked the New poetry (Xīnshī) has its own tradition, which is the writing itself, in course of pursuing modernity, as opposed to the classic traditional scale of poetry. Then, we believe that Zang Di has an exploratory sense of poetry for discovering and extending the inclusive range of modern poetry, with an experimental use of language. In the meantime, he pays much attention to the development of the writing skills, hoping to maintain the imagination, feelings and artistic taste. In addition, the critic style of the poet also represents a patrolling sense. The poet is vigilant in the choice of the political position of poetry, the standard mechanism and the guidance of criticism, and the poetic content itself.
In the third chapter, we reorganize the growth experience of the juvenile Zang Di via his poetic works. At this stage, the influences of the French symbolists such as S. Mallarmé and P. Valéry have deeply rooted in the poetic cognition of Zang Di. To a certain extent, that is the origin of Zang Di’s poetry. At the same time, he establishes his own poetic voice, representative works such as “zài āi dé jiā sī nuò mù qián”, “qī rì shū”, “yuè liàng” emerged, while showing the initial “Drifting” characters in other works.
In chapter 4, we will first discuss the key guidance of the mysticism of L. Wittgenstein to Zang Di, pointing out that the poet respects the process rather than the outcome of poem writing. After that, we will analyze the works in “yàn yuán jì shì”, outline the reality refining and the constructs of the imagination. We will use the philosophical theory and vision of Deleuze, dismantling some of the complex and obscure works of Zang Di, pointing out that the poet’s writing has a certain degree of deterritorialization and effect of escaping, which could continue to generate the meaning of the poetry. Afterwards, we select “butterfly” as a core image of Zang Di poetry, explain its subtle role on imagination, becoming significance, and functioning. We will discuss the works of “wèi míng hú shī” and “xié huì shī” at the end of this chapter, from a view of meta-poetry, advocating that the poet has an intention to establish critic-like poems.
Key words: Zang Di, Xīnshī, Cruising, Drifting, Liquidity, Deleuze, Barthes
|
|---|
