「風車詩社」的座標──論其於日治時期的非主流存在

The Position of Le Moulin Poetic Society: To Discuss with Alternative Existence in Taiwan during the Japanese Colonial Period (1926-1945)

談及臺灣現代詩的發展，學界普遍認同陳千武的「球根說」，而「風車詩社」出現於1930年代，以超現實主義及追求文學藝術性為理念的社團，並發行《Le Moulin》風車雜誌，當時文壇以寫實為主流，風車詩社的影響並不顯著，但其作為引進超現實主義的文學先鋒，在臺灣現代詩的發展歷史中，仍具標誌性地位。
本文著眼於三個主要問題：一、探究「風車詩社」創立的時代背景，以及與寫實主義之間的關係。二、臺灣日治時期的主流詩人如何看待、評價風車詩人群，近代學者又持何種看法？三、「風車詩社」在台灣文學史上的定位及意義，對現代詩的發展又有哪些影響和餘波？透過三個問題的探討，梳理其在臺灣現代詩史上無可取代的地位與影響，且有助於建構較完整、系統化的「風車詩社」面貌。

When it comes to the development of modern poetry in Taiwan, researchers tend to endorse ''Bulbs Theory'' (The roots of new poetry in Taiwan with its “twin flower bulbs”) by Chen, Chien-Wu. The “ Le Moulin Poetic Society ”(風車詩社) was established in the 1930s, with surrealism and artistic of literary pursuing as its concept, and published “Le Moulin” magazine. At that time, the realism was the mainstream of literary scene, so the influence of the “Le Moulin Poetic Society” was not significant, but as a literary pioneer of surrealism introduction, it still has a landmark position in Taiwan modern poetry phylogeny.
This article focuses on three main issues: 1. To research the background of the “Le Moulin Poetic Society” establishment and its relationship with realism. 2. How did the mainstream poets in Japanese colonial period view and evaluate the “Le Moulin poets” and what views do modern scholars hold? 3. What the position and significance of the “Le Moulin Poetic Society” in the history of Taiwanese Literature, and what the influences and aftereffects on the development of modern poetry? Through the discussion of three issues, it sorts out its irreplaceable position and influence in the history of Taiwan modern poetry, and helps to construct a more complete and systematic “Le Moulin Poetic Society”.