民間失立場：從世紀之交的詩歌論爭透視中國90年代詩歌研究

The Absence of the Popular Standpoint: Rereading the Studies of China's Poetry Written in the 1990s Through the Lens of the Turn-of-the-Century Poetry Polemic

程光煒雙重的開拓者身份──既是挑起世紀之交詩歌論爭的批評家，又是破天荒為90年詩歌研擬歷史敘述的詩歌史家──是為本文意欲透視「論爭」與「90年代詩歌」之間糾葛的起點。這場論爭的慣常稱法，是知識份子寫作與民間立場的論爭（1998－2000），但程光煒是在其2003年出版的《中國當代詩歌史‧90年代的詩歌‧90年代詩歌略述‧世紀之交的詩歌論爭》裡，表明了自己的身兼二職：詩歌史家程光煒正在書寫那他以詩歌評論家之姿所編輯之《九十年代文學書系‧詩歌卷‧歲月的遺照》所觸發的論爭往事。當這冊90年代詩選之編選原則，是值得爭議的，則程光煒的編輯身分相對於歷史之建構，是耐人尋味的。除了歷史敘述外，令程光煒之雙重身份加倍耐人尋味的是，時至今日，這樣的身份從未遭遇其他90年代詩歌研究者的質疑。由是，本文從〈世紀之交的詩歌論爭〉出發，以《中國當代詩歌史‧90年代的詩歌》為終點，並輔以《歲月的遺照‧緒言》，觀察程光煒如何經手這個可以明修棧道、暗渡陳倉的機會。而在理解到前人對程光煒雙重身份皆不置可否之際，同時會發現，程光煒在《歲月的遺照‧緒言》裡所推舉之90年代詩人及其詩論，幾乎是這些前人研究裡不變的骨幹。那麼，在論爭中與程光煒之觀點相抗衡的提案──民間立場──是怎麼被消失的？以此，本文開展思索論爭與90年代詩歌之間糾葛的另一翼。為此，在《中國當代詩歌史》之外，本文亦以另外兩冊當代詩史、四本研究專著，以及又一冊的90年代詩歌選集為依據，揭開90年代詩歌論述馴順表面之下的操作、誤解和不尋常。

While the Turn-of-the-Century Poetry Polemic (1998-2000) was triggered by literary critic Cheng Guangwei's appropriation of the notion of poetry of the 1990s for a specific kind of poetry through his compilation of the anthology Portrait of Years Gone By: Literature of the 1990s, Poetry Volume, published in 1998, Cheng also acts as the literary historian firstly granting the 1990s a place in the history of China's contemporary poetry, specifically, in his A History of China's Contemporary Poetry, published in 2003. Cheng's role in triggering the Polemic makes his historical narrative of the 1990s intriguing. However, this matter is hardly considered an issue by the authors of the studies of poetry written in the 1990s published after Cheng's History. Accordingly, the present study is dedicated to the rereading of Cheng's historical narrative of the 1990s through the lens of the Polemic. It compares Cheng's designation of poetry of the 1990s in Portrait and History. Meanwhile, as previous studies' neglection of Cheng's dual roles becomes evident, their authors' particular emphasis on the poets and the poetics highlighted by Cheng in the introduction to Portrait becomes intriguing as well. Thus, the present study also contemplates these authors' assessments of the two rival propositions of poetry of the 1990s in the Polemic and compares their assessments with their representations of poetry of the 1990s. Therefore, aside from Cheng's History, seven other publications are included here, namely two other histories of China's contemporary poetry, four research monographs on poetry written in the 1990s, and another anthology of poetry of the 1990s. Analysis of these histories and monographs demonstrates the arrangements, misinterpretations, and extraordinariness underlining the seemingly united discourse on poetry of the 1990s.