複數的本土：向陽的詩藝歷程與展演

Multiple Nativism：Poetic Art History and Performance of Xiang-Yang

歷經六○年代現代主義疏離於現實的前衛實驗，七○年代先後爆發的「現代詩論戰」與「鄉土文學論戰」，台灣新詩風潮轉向了關懷社會、正視現實、認同土地、走向群眾的文化景觀。作為當時初入詩壇的戰後第一代詩人向陽，也約略於這個時間點，在遭遇時代潮流（回歸鄉土）與個人生命經驗（父親病重）的激盪之下，也開啟了其「台語詩」的寫作，扭轉了遭受中文／華語貶抑為方言的「台語」，其邊緣、附從於主流官方語言的存在境況，亦正式開啟了顛覆自身國族認同的「邊緣」位置、賦予「現實」更為深刻「本土」認同意涵的書寫行動。而在台灣承受後現代詩潮衝擊的八○年代，向陽亦展現其充滿本土意識的詩藝涉世參與，連結本土關照與後設擬仿，融合歷史重構與敘事解構，於2005年出版的詩集《亂》，即是此一詩觀與風格建構工程的體現。向陽本土論生發於母語、根植於民間，但其「本土詩學」的形塑策略與構圖方式，並非僵化固著於單一的語言／國族中心或採取簡化的中心／邊緣的話語操作。本文認為，向陽整體創作歷程其實就是「複數的本土」此一思維內涵的具象展演，詩藝歷程與展演方式大體上可拆分為「寫實／現代」圖示與「後殖民／後現代」圖示。向陽的詩藝歷程與創作展演，最終圍繞、也一直在處理的是「本土／前衛」的融合問題。「複數的本土」（思想）有效地收納諸多語言技巧（前衛），縫合後殖民與後現代兩種思潮在美學本體論與方法論的矛盾與分化，另一方面，「複數的本土」不但使向陽在「寫實／現代」此一內在構圖做出成功的融合，也促使後殖民──台灣主體性建構與多族群、語言、文化的雜揉性，與後現代───反本質和寫實、顛覆單一真理、去／抵中心，出現了「本土／在地化」思維圖示的感覺綜合。

"Xiang-Yang's nativism was born in the mother tongue and grass-root society, but the discursive strategy was not rigidly fixed to a one-dimensional language/nationality or adopted simplified centered/peripheral language representation in his 'nativist poetics'. In general, Xiang-Yang's poetry is actually a concrete performance of 'multiple nativism' and its methodology is revolved around and have been dealing with the integration of nativism and avant-garde. His poetry writing history can be divided into two ways of thinking: 'realistic/modern' and 'postcolonial/postmodern'. 'Multiple nativism' (thought) effectively incorporates many language skills (avant-garde), and resolves the contradiction and differentiation of aesthetic ontology and methodology between postcolonial and postmodern thoughts. On the other hand, 'multiple nativism' not only makes Xiang-Yang successfully integrate the internal composition of realism and modernism, but integrate post-colonialism (the reconstruction of Taiwanese subjectivity and the hybridity of multiple ethnic groups, languages, and cultures) and post-modernism (anti-essentialism, anti-realism, de-centrism, subversion of Truth), which appears the synthetic sense of 'nativism and localization."