陳大為詩作中「女性形象」構圖策略研究

Poetic Writing Strategy of“Female Image”

陳大為的歷史敘事詩作素負盛名，相關研究亦夥。本文以其女性形象書寫為主題，旨在探討相關研究較少關注的面向。研究發現，陳大為的詩，對女性形象的刻劃鮮明，具有雙重視野，顯現詩人幽微的書寫策略。對於親情的構圖，陳大為以代表聖母、賢慧之女的「洪水」形象，描繪堅韌、慈愛的面容；對於想像王國的女性，陳大為以代表情意視域的「魅影」形象，刻劃其陰柔的形態。在雙軌並行的創作企圖中，陳大為對於父權語言在龐大社會情境脈絡中的制約，以自己的書寫風格作出反諷；雖然整個社會對於女性應有形貌、體態、人格的特質皆已定形，詩人卻能從限制中走出，憑藉多變的語言視野，轉化、調整女性形象書寫的構圖，予人耳目一新之感。

Historical poems by Chen, Ta-Wei are quite well-known. In this article, female image is taken as the topic in order to explore and analyze the aspects that received relatively less attention by previous research. The results showed that the poetic works by Chen, Ta-Wei had vivid illustrations of women, containing perspectives from two sides and expressing the illusive writing strategy of the poet. In terms of the image of family affection, Chen, Ta-Wei took“flood”to represent the image of a loving mother or wise woman and to illustrate their firm and kind faces. As for women in an imaginary kingdom, he chose the image of“phantom”that can express affective vision to create their gentle forms. In the attempt of paralleled creation, Chen, Ta-Wei, with his writing style, made his own version of irony towards the restrictions of patriarchal language in a large social scenario context. Although the entire society has a stereotypical impression for women’s appearances, shapes, and personalities, the poet could go beyond the limitations and transform as well as adjust the structure of female image writing with his changing linguistic vision, thereby granting people new perspectives.