| 摘要: | 摘 要 近年來，台灣區域文學發展迅速，地方積極投入各類藝文活動，期能灌注文學的、文化的養分，讓台灣這塊土地產生更美的地方律動。花蓮文學在地方文學的區塊中有著相當特殊的風情，山與海的交織互動，激盪出歷史與人文的回音，獨立且包容的二元存在，是其迥異於其他地方文學的特色，而花蓮作家群的複雜則顯露出花蓮文學的多重結構，因此，透過閱覽花蓮的文字書寫，是進入這片後山神秘淨土的最佳途徑。 陳黎，他是花蓮作家群中最「在地的」花蓮作家，除了大學四年及服役期間曾離開家園外，花蓮是他半世紀的生活居所，陳黎用他的熱情、活力與源源不絕的創作，哺育著花蓮的莘莘學子們。花蓮的大山大水、街坊小道、人情故事，他一一用心咀嚼，吐出人文花蓮的芬芳。筆者由陳黎的文本出發，參考相關期刊報紙與研究論文之論述，由後現代、後殖民主義，空間與地方理論一探陳黎現代詩與散文中洄瀾（花蓮）書寫的風貌。 陳黎接受西方文學洗禮的文字，洗鍊得炫目而引人，詩的意象呈現多樣多變的風貌，是他一直站穩台灣中生代詩壇的秘密武器。散文的書寫則平實帶著真情，平凡中的瑣碎事物，在他筆下每每成為一種不平凡的感動，陳黎現代詩與散文的創發理念，以本土精神摻合西洋文論的概念，相融卻不顯扞格。 在島嶼的邊緣，陳黎是個耽溺花蓮母親的孩子，他寫故鄉的自然與人文，真實地描繪它的美與不美；在花蓮，陳黎是個針砭現世的評論者，在回顧花蓮、台灣建構的過程中，思索島嶼存在於世界的意義。花蓮是陳黎文字播演的重要舞台，他從島嶼邊緣去構築台灣歷史，對應世界脈動，邊緣（花蓮/台灣）與中心（台北/世界）的隔閡在陳黎的筆下無形，我們看到的是更寬闊的宏觀文學。 陳黎，文字的魔術師，白色方帕下，他將揭起洄瀾夢幻的、驚奇的書寫空間。 Abstract In recent years, regional literature in Taiwan has been developing rapidly. Local governments have been actively devoted to various literary and cultural activities in the hope that, by instilling such nutriments, Taiwan can become a land with more touching rhythms of the local and the native. Hualien literature plays quite a peculiar part in the regional literature of Taiwan. Its echoes of its history and culture (interwoven with elements of mountains and ocean) and its co-existence of independency and compatibility are the distinctive features which make Hualien literature stand out from other local literature. Besides, the complicated backgrounds of writers of Hualien bring about the pluralistic structures of Hualien literature. Therefore, reading works about Hualien offers the best access to the mysterious paradise of the so-called “back mountain”. Chen Li is one of the most representative writers of Hualien, where he has been living for half a century, and where he nurtures and fosters his students with his passion, vitality, and everlasting creativity. He chews over the grand mountains and rivers, small streets and alleys, and touching stories of common people, and then gives forth the fragrance of localism of Hualien. In this thesis I attempt to discuss the various facts of Hualien writing in Chen Li’s poetry and prose by referring to relevant journals, newspapers, research papers, and drawing on viewpoints of post-modernism and post-colonialism, and the theory of space and region. Under the baptism of Western literature, Chen Li’s language is polished, outstanding, and appealing. The imagery in his poetry, which exhibits rich variety and diversity, is the secret weapon he possesses to establish himself as one of the most prominent contemporary poets of Taiwan. His prose style is plain but sincere. He has the talent of transforming trivial daily incidents into extraordinary touching stories. The spirit of regionalism and western literary concepts are well blended in Chen Li’s poetry and prose. At the edge of the island Chen Li, a child indulged in his mother’s love, writes about his hometown’s nature and culture, truthfully depicting its beauty and imperfection. In Haulien, Chen Li is a critic who hammers on the mundane world. While looking back on the history of Taiwan and Hualien, he ponders over the significance of this island in this world. Through writing, he vividly bridges the barrier between the edge (Hualien卅Taiwan) and the center (Taipei卅world), and offers his readers a much broader perspective of literature. Chen Li, a magician of words, exposes under his white handkerchief a fantastic and amazing writing space of Huelien. |
