現代主義和跨語的交涉連動：戰後台灣泛視覺詩的起點──以林亨泰的符號詩與錦連的電影詩為中心

The Linkage between Modernism and Language Crossing: The Starting Point of Pan-Visual Poetry in Post-war Taiwan──Focusing on Lin Heng-tai’s Concrete Poetry and Jinlian’s Film Poetry

在台灣現代詩史的建構中，如何處理日治時期與戰後中文詩壇的銜接與轉換，始終是個棘手問題。本文以林亨泰、錦連的泛視覺詩為例，探究其對於日本前衛思潮的跨語轉接、泛視覺詩與跨語活動間的連動關係、及此類詩作在跨語活動發揮的作用與運作機制。論文首先處理1950年代林亨泰強調「視覺性」的符號詩及相關詩論，探究「漢字」、「視覺」與「主知」在「跨語文學活動」發揮的作用及其運作機制；接著聚焦於錦連，論電影詩的影響源、「斷片化」及「蒙太奇」的美學特性及與跨語活動之關係。這兩個案例，既是銀鈴會詩人對於日本前衛詩潮的跨語轉接，同時也向後播種，開啟了戰後台灣「泛視覺詩」的系譜。

In the construction of Taiwan's modern poetry history, how to deal with the connection and transformation between the Japanese colonial period and the post-war Chinese poetry world, has always been a thorny issue. This article attempts to advance the research topic proposed by Lin Chi-yang, taking the pan-visual poetry of Lin Heng-tai and Jinlian as examples to explore their cross-lingual transfer of Japanese avant-garde thoughts, the linkage between modernism aesthetics and cross-lingual activities, and the role and operating mechanism of pan-visual poetry in cross-lingual activities. The paper is divided into two parts. First, it deals with Lin Heng-tai's concrete poetry and related poetic theories in the 1950s that emphasized ''visuality'', and explores the role and operation of ''Kanji（漢字）'', ''visuality'' and ''intellectualism'' in ''cross-lingual transfer'' mechanism; then focusing on Jinlian, discussing the source of influence of film poetry, the aesthetic characteristics of ''fragmentation'' and ''montage'' and its relationship with cross-lingual activities. These two cases are not only the cross-lingual transfer of the Japanese avant-garde poetry trend by the Silver Bell Society poets, but also the seeds that opened the genealogy of ''pan-visual poetry'' in post-war Taiwan.