風車詩社與臺灣現代詩的跨文化實踐：從超現實主義到戰後現代主義的詩學轉向

The Le Moulin Poetry Society and the Transcultural Practice of Taiwanese Modern Poetry: From Surrealism to the Poetic Turn of Post-War Modernism

本文深入探討日治時期風車詩社，在殖民地語境中的超現實主義詩學實踐。分析楊熾昌、林修二等詩人如何透過日本中介，將法國超現實主義本土化，創造獨特詩風。風車詩社的作品不僅是形式創新，其對夢境、潛意識與語言解構的運用，更蘊含了對殖民統治的文化抵抗，為臺灣現代詩奠定重要基石。
研究風車詩社與戰後紀弦所倡導的現代主義詩學之間的對話。透過比較兩者詩學理念，揭示臺灣詩學從殖民時期到戰後的轉變。風車詩社代表日治時期文化交織下的超現實主義探索，而紀弦則反映戰後受英美現代主義影響的理性詩風。這種「超現實主義—現代主義」的轉向，深刻體現了不同歷史背景下臺灣詩人對現代性的多元詮釋。

This study examines the Surrealist poetics practiced by the Le Moulin Poetry Society within the colonial context of Japanese-ruled Taiwan. It analyzes how poets such as Yang Chi-chang（楊熾昌）and Lin Hsiu-er（林修二）localized French Surrealism through Japanese mediation, forging a distinctive poetic style. The works of Le Moulin transcend mere formal innovation; their deployment of dreams, the subconscious, and linguistic deconstruction inherently encapsulates cultural resistance against colonial domination, thereby establishing a foundational cornerstone for modern Taiwanese poetry.
The research further investigates the literary dialogue between the Le Moulin Poetry Society and the modernist poetics championed by Chi Hsien（紀弦）in the post-war era. By comparing their poetic ideologies, this study reveals the evolution of Taiwanese poetics from the colonial period to the post-war epoch. Le Moulin embodies a Surrealist exploration emerging from cultural confluence during Japanese colonialism, whereas Chi Hsian epitomizes a rationalist poetic style shaped by post-war Anglo-American modernist influences. This ''Surrealism-to-Modernism'' transition profoundly demonstrates the diverse interpretations of modernity by Taiwanese poets across distinct historical contexts.