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The Field of Ruin in Ya Hsien's New Poetry
|關鍵字:||瘂弦;廢墟空間;創傷敘事;歷史意識;精神託寓;Ya Hsien;field of ruin;trauma narrative;historical consciousness;spiritual allegory||出版社:||臺中市：國立中興大學中國文學系||Project:||興大中文學報, Volume 34, Page(s) 101-138.||摘要:||
Ya Hsien's new poetry examines the appearance of existence through the field of ruin and wanderings. It depicts world scenery with carvings of Eastern and Western cultures. This paper adopts ideas from the writings of ruin by Walter Benjamin and Christopher Woodward. It uses ＂trauma narrative＂ to demonstrate ＂the irresistible forms of decay＂ in Ya Hsien's poetry; by looking at the ruin’s style, it analyzes ＂the ruins in the realm of substances＂ in the poetry; it describes the plight of ＂history＂ confronting ＂eternity＂ in the poetry with the help of ＂historical consciousness;＂ and, it concludes with the ＂attempt of rebirth＂ in the poetry through the lenses of ＂spiritual allegory.＂ The field of ruin is where the author and the trauma narrative meet and the exchange of life experience in ＂the elimination of time＂ takes place. Through rhetoric, imagery, metaphor and allegory, body, space, history, and zeitgeist could be restored. The field of ruin in Ya Hsien's poetry visits and ponders on the past of individuals, cities and countries. All of this begins with unfortunate events. The field of ruin reveals the presence of beings with others and the world. Ya Hsien's poetry uses ＂negative narrative＂ to expose the disorder and deformation of the living space. It shows the cleavage of subjective thoughts, reveals that the world is full of painful reality, and performs misplaced cultural identities which extend into deeper historic disorders, richer contexts, and more tensed dramas. Therefore, this paper tries to analyses the narrative aesthetics and social practices in Ya Hsien's poetry through the field of ruin. It discusses the poetry's referent of existence and its spiritual allegories by aspects of trauma narrative, ruin style, historical consciousness and spiritual allegory. Finally, it provides a new path towards our understandings of Ya Hsien's new poetry.
|Appears in Collections:||第34期|
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