【作者】 黄乃江；

【导师】 汪毅夫；

【作者基本信息】 福建师范大学 ， 中国现当代文学， 2007， 博士

【摘要】 本论文以台湾诗钟为研究对象，通过钩沉辑佚，发掘出有关台湾诗钟的大量史料。在此基础上，通过对台湾诗钟社团、集著、刊物、理论体系、流派分野、代表作家等的考察与分析，再现了台湾诗钟接受、发生、发展、演化及与大陆诗钟交流的历史，展现了台湾诗钟的美学特征与艺术魅力，和不同于大陆诗钟的发展轨迹及区别于台湾击钵吟的文体个性，并重新建构了诗钟的格目体系与结构层次。本论文认为，诗钟在台湾社会文化生活中曾经产生过极其广泛而深刻的影响。清代末年，诗钟一经传入台湾，便迅速在台湾兴起，占据台湾诗坛的主流地位，并使台湾诗风为之一变。日据时期，台湾钟手以诗钟为载体，同声相应，同气相求，广泛开展社际联吟、区域联吟与全岛联吟，由此，台湾诗钟汇聚成声势浩大的诗海钟涛，掀起一股股反抗日本殖民统治、保存和延续中华传统文化的民族文化浪潮。光复之初，台湾钟手纷纷释放出长期被压抑的诗思与热情，台湾诗钟迎来了盛大的狂欢。1949年前后，随着一大批大陆钟手特别是闽地钟手的纷至沓来，台湾钟坛形成了大陆钟手与台湾钟手合流的局面，从而把狂欢中的台湾诗钟推到了顶点与极致。二十世纪八十年代以来，诗钟又成为海峡两岸文化交流的桥梁和纽带。然而，现有台湾文学史特别是台湾现代文学史的写作，大都把诗钟弃置在台湾文学的边缘，对诗钟文体的关注和重视还很不够，没有全面、真实地反映出台湾文学的发展生态。诗钟在台湾文学史上应有更高的地位。更多还原

【Abstract】 This thesis takes the focus on TaiWanese ShiZhong. It unearthed a lot of historicaldata on TaiWanese ShiZhong by textual research. Basing on the historical data, itinspected and analyzed the mass organizations, the collected works, the periodicals, thetheorial system, the branches, the representative writers, etc. of TaiWanese ShiZhong,reappeared the history of acceptance, occurrence, development, evolution and interchangeof TaiWanese ShiZhong with the Continental ShiZhong, displayed the aestheticcharacter and the artistic enchantment of TaiWanese ShiZhong, the developmental orbitthat differentiated with the Continental ShiZhong and the stylistic personality thatdifferentiated with TaiWanese JiBoYin, and reconstructed the form-and-item’s system andthe structure-and-level of ShiZhong.This thesis thinks that ShiZhong had produced extensive and profound affects to thesociety and the cultural life of TaiWan. At the end of the Dynasty of Qing, ShiZhongswiftly sprang up as soon as it spread to TaiWan, occupied the main stream of TaiWanesepoetry world, and made the style of TaiWanese poetry to produce an essential change.During the Period of Japan Occupying, the ShiZhong’s writers of TaiWan took ShiZhongas the carrier of communicating with poets, answered in echo and acted in unison, andextensively developed chants among mass organizations, chants among regions andchants of the whole island, then TaiWanese ShiZhong assembled into huge waves ofShiZhong and surged strand and strand of national culture’s tide that resisted the colonialrule of Japan and preserved and continued the traditional culture of China. At thebeginning of TaiWan Recovering, the ShiZhong’s writers of TaiWan numerously andconfusedly released poetic inspiration and enthusiasm that had been constrained for along time, then TaiWanese ShiZhong welcame a grand revel. Around 1949, following alarge batch of ShiZhong’s writers that came from the Continent especially FuJian keptpouring in, ShiZhong’s world of TaiWan formed a phase that the ShiZhong’s writers fromthe Continent collaborated with the ShiZhong’s writers of TaiWan, and it pushedTaiWanese ShiZhong in the revel to the acme and heyday. Moreover, ShiZhong became abridge and tie of cultural interchange between the two coasts of TaiWanese Channel since1980s. However, the histories especially the modern histories of TaiWanese literature thathad been written, mostly discarded ShiZhong on the edge of TaiWanese literature. Theyall not concerned and attached importance to the style of ShiZhong enough, and notcompletely and really reflected the developmental ecology of TaiWanese literature.ShiZhong ought to occupy higher status in the history of TaiWanese literature.更多还原