英文摘要 |
As a poet of the cross-language generation, Chen, Chien-Wu(陳千武) has lived through two different eras, experiencing first-hand the pressures of survival that accompany colonisation, war and prolonged martial law. In particular, after the war, he was trapped in a state of isolation and boredom due to the disabling of his Japanese language and the shackles of the authoritarian system. The 'dense forest' is not only an important scene for him, but also an important symbol of his youthful death and sorrow, as well as his immediate post-war existence. However, Chen, Chien-Wu(陳千武) does not confine himself to the constraints of the time, but overlays his desire for 'life' on the realities of the world, using it as a means of expressing and overcoming the compulsions of 'death' and 'existence', and then elevating this emotion to 'love', especially in relation to the fate of 'women' and the female deity Mazu (媽祖) . Later, this imagery was gradually transformed and developed into a series of 'pan' political poems, and at the same time, a complete imagery group of 'A-Ma' and its metaphorical system was established. With the reform and opening of the 1970s, Chen ,Chien-Wu(陳千武) gradually broke away from the shadow of historical trauma and reexamined the trajectory of the past, recognising that as a 'survivor' of historical trauma, he should actively recreate Taiwan's historical memory and record his own life experiences. As a result, his poetic art has been shaped by a clearer view of 'what to write' than 'how to write', and together they have constructed Taiwan's historical consciousness since the 1970s and established his own poetic style, making him one of the most representative poets in Taiwan. |