現實主義、本土論述與台語詩：向陽一九七○年代詩史論述

Realism, Indigenism and Taiwanese Poetry：Xiang Yang’s Discussion of the History of Poetry in the 1970s.

本文透過分析向陽如何論述1970年代之新詩發展，追索其論述的三個面向：現實主義、本土論述、台語詩。首先探討向陽兩篇探討1970年代新詩發展的專論，展現出其1970年代詩史論述的兩個面向：一、現代詩論戰與新興詩社倡導的現實主義詩潮，二、「笠」與本土論述，分別代表1970年代主流與潛流的詩潮，兩文合而觀之，能對1970年代新詩發展有更全面性的了解。另一方面，向陽也試圖從戰後台語新詩發展、回顧1970年代台語詩萌芽，逐步地將台語新詩納入鄉土文學論戰背景下論述，從而呈現出1970年代新詩論述的第三個面向：台語詩。不同於其他詩史論者，向陽除了是詩史撰寫者，本身也是詩史參與者。他站立在戰後世代詩人與現實主義、本土論述、台語詩這三個脈絡當中，當他看待1970年代時，以多元脈絡的視角提供了1970年代詩史論述的廣度。

By analyzing how Xiang Yang discusses the development of poetry in the 1970s, this paper traces the three aspects of his discussion: realism, indigenism, and Taiwanese poetry. First, it will discuss Xiang Yang’s two monographs on the development of poetry in the 1970s, showing two aspects of his discussion of the history of poetry in the 1970s: The modern poetry polemics and the realist poetry trend advocated by emerging poetry societies is the mainstream poetry trends, and ''Li'' and indigenism is the undercurrent poetry trends of the 1970s. These two articles can provide a comprehensive understanding of the development of poetry in the 1970s. On the other hand, Xiang Yang also tried to review the development of Taiwanese poetry after the war, review the budding of Taiwanese poetry in the 1970s, and gradually incorporate Taiwanese poetry into the context of the debate on“Native Taiwanese Literature”, thus presenting the third aspect of the discussion of poetry in the 1970s: Taiwanese poetry. Unlike other commentators on the history of poetry, Xiang Yang is not only a writer of the history of poetry, but also a participant in the history of poetry. He stands in the three contexts of postwar poets and realism, indigenism, and Taiwanese poetry. He provides a breadth of discussion of the history of poetry in the 1970s from the perspective of multiple contexts.