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題名：現代詩與視覺藝術之關連
作者：江雅玲
作者(外文)：River Ya-ling Chiang
校院名稱：淡江大學
系所名稱：英文學系
指導教授：紀秋郎
學位類別：博士
出版日期：2003
主題關鍵詞：立體主義；未來主義；抽象表現主義；超現實主義；多重性；文字遊戲；流動性；抽象或不透明性；Cubism；Futurism；Abstract Expressionism；Surrealism；Multiplicity；Wordplay；Flux；Abstraction/Opacity
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現代藝術理論當中之立體主義、漩渦主義、未來主義、抽象表現主義及超現實主義，與現代詩當中之多重性、文字遊戲、流動性及抽象或不透明性有其相關連處。現代詩裡肢解破碎之意象與交錯重整之言辭，予人波動、謎樣甚或隱晦之感覺。繪畫則穿梭並置了色彩與平面，模糊了空間的板塊與觀者的眼。現代詩具備繪畫性，因為詩人意欲在空間佔有一個時空之融合，引領讀者或觀者去用心伸探晦澀、跌宕變化與虛實之妙。
本論文於第一章探討現代詩如何在意象與遊戲文字當中呈現其視覺與空間感。而退至一個角落處時，個人的孤獨渺茫感呼應於那曠大淒涼的紛擾世界，亦解釋了為何詩人善用空間的圖示於其詩中。因此，第二章藉著現代詩多重性的特質，探討詩與繪畫當中的並置、共時性及拼貼。第三章則探討詩人如何藉重複與轉變來凸顯立體主義畫家的同時性視覺與透明重疊，進而達到虛實互轉之境。極簡主義畫家的簡約以及賦予觀者自由聯想之空間亦可解釋現代詩人之意欲。第四章中漩渦主義與未來主義的動態及互相貫穿的持續形象，呼應了現代詩的飛躍和舞蹈，與詩人急欲解放大地於人心與時局之惡瘤中。第五章則探討現代詩如何如同抽象表現主義或超現實主義作品，引動純粹的心靈自動作用。讀者或觀者奮力掙脫理智的桎梏與美的規範的同時，雖然產生極不安定之感覺，卻也能因觀看位置之差異，藉自由聯想而達到反轉之動感與心靈流動。
現代詩當中的意象，亢奮了讀者血液呼吸之脈動。讀者該如何在詩所給予的不安定感當中，不受限於物象，而潔癖於其思想與感情的變動？詩人給了無限的想像空間，然而這個想像空間卻是依讀者或觀者的感動與心的律動而無涯。
The theories of modern art, such as Cubism, Vorticism, Futurism, Abstract Expressionism and Surrealism, engaged some of Modernist poets’ experiments with the particular features, such as multiplicity, wordplay, flux and abstraction/opacity, in their creation of poetry. The broken images and the dislocation of words and sentences in Modernist poetry suggest the fluid, enigmatic, and sometimes indeterminate while the color or plane areas that interpenetrate and overlap in paintings suggest the blurring edges and indistinct eye’s path. Modernist poetry is picturesque because the breaks with the conventional narrative forms call back the reader-viewer’s delight in the opacity and oxymoron, repetition and variation, visible and invisible.
The dissertation begins with intellectual correlation between Modernist poetry and visuality in Chapter One, and it also explains how Modernist poetry, by the showing of images or word games, becomes multi-dimensional and yields multi-layers of meaning. Besides implying the sense of isolation characteristic of both the real world and the mental state, the implications of the split and multiplicity of images are many and various. Therefore, Chapter Two is developed according to the feature of multiplicity, such as juxtaposition, simultaneity, and collage, applied in both Modernist poetry and paintings. Chapter Three further explains how Modernist poets’ use of repetition and variation takes on a Cubist intensity of perspective and facets that also echo and contrast with one another at the same time, how their use of diagrammatical orders in sentences, like assemblage art, introduces a wide range of materials and forms into the poetry, and how Minimal art corresponds to the technique of Marianne Moore. Chapter Four then reveals why and how Modernist poets regard fluidity as a desirable and innovative feature, and coincide with the characteristics of Vorticism and Futurism. Chapter Five analyzes how Modernist poets allow the unconscious a more dominant role and work the drive of abstraction toward opacity up into their poetry by the antirational strategies of Abstract Expressionism and Surrealism. Chapter Six then traces all the features revealed in Modernist poetry and art to highlight the visual elements in Modernist poetry, and the importance of the reader-viewer’s position and his/her sensibility of viewing and comprehension.
By marking a major division in a sentence, and indicating what follows may be an incompletion or implication, Modernist poets direct their reader into a state of uncertainty. How is the reader to fill in the blanks? These poets need to make visible the inherent complexity and incompleteness in their poetry because when transposed to such a visual representation, fantasy or psychic association is shaped simultaneously. Fantasy is, in particular, the property and province of the reader-viewer, rather than that of the poets themselves.
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