傳媒時代的臺灣古典詩壇：日治時期「全臺詩人聯吟大會」的社群文化與文學傳播

The World of Taiwan Classical Poetry in the MediaEra: The Community Field and Cultural Transmission of the Taiwan Island-Wide Poets’ Conference During the Japanese Occupation

日治時期「全島詩人聯吟大會」始於1914年春，終於1943年。日治臺灣傳播媒體風行 ，「全島詩人聯吟大會」經由報紙雜誌的傳播管道發佈消息，並且集結成為古典詩人社群，以社群網絡的方式同步發揮著傳播文化的功能。本文將探討「全臺詩人聯吟大會」的組織活動與運作方式，以了解其如何結合社群傳播效力與實體傳播媒體的力量，帶動文化意識之傳播並以形成社群文化。擊缽吟是「全島詩人聯吟大會」詩會中的主要活動，在此大型詩會中，舉行吟唱的主辦者往往掌握著發聲權力，亦將詩會課題與活動情境導向主事者需求的文化路線，在不同階段的課題詩會出現不同的「發聲」內容，文中探討「全島詩人聯吟大會」如何經歷三個階段性的流轉變化？「全島詩人聯吟大會」是集體性的課題寫作，在「定時」的規範下，詩人社群「量產」古典詩作，為數可觀，一方面散佈古典詩的寫作風潮，另一面「集體」接受傳播訊息的古典詩人，對此聯吟大會所形成的社群文化提出了批判聲音，文中亦將探究之。

The Taiwan Island-Wide Poets’ Conference started under the Japanese Occupationin in the spring of 1914 and ended in 1943. The paper will examine how the Taiwanese Poet’s Society was organized into a community network around the island via the formation of a community field, and also clarify the initiation process and development of the Conference. Taiwanese communications media became popular during the Japanese occupation, and the Conference often published news through media outlets, such as newspapers and magazines. This paper will discuss the communicative effectiveness of the community in terms of organizational activities and operating modes . The Conference’s main activity was Jiboyin. The organizer of the poetry reciting often had the privilege of officiating at large poetry conferences, which allowe them to direct conference topics and discussion along the cultural lines dictated by the director. At different stages of the topic conference, the community field would have different “voiced” contents. The paper also focuses on how the chanting content of the Conference went through three periodic changes. With regards to literary production, the Taiwanese classical poet community produced a considerable number of works which adhered to “timing specifications”. This inevitably-stimulated the publishing industry, and acted as a driving force behind the spread of classical poetry. In the communication field of “mass-produced” poetic works, Japanese-controlled mass media and audiences often criticized the communication field. The most criticized aspect of the Conference was its restriction of subject matter, and the romantic depiction of the geisha, which diverged from actual disposition and sociality.