| 摘要: | 傳統詩社的社員透過共同擁有的象徵符號─「詩」，在許多事件或場合裡，以正式或非正式的合作關係，形成如組織般的權力網絡。故可藉由析解傳統詩社的歷史沿革、文學活動、實踐文化權力的策略，來還原其組成與運作時的多樣符碼。因此，詩社社員是如何取得或敘說自己的文化資本？又將之置於社會關係中，其權力展現的原因與方式為何？而傳統詩社又將如何保持自己的文化象徵符號與權力滲透的活力？是以，本文除承接學界過去討論傳統詩社議題時，所善用的歷史與文學書寫模式，深刻地梳理桃園吟社、以文吟社的發展歷程與文學表現，更運用布迪厄「場域」理論與之相映照，期望在取鏡於社會學理論之下，觀看詩社社群投資和動員各式資本時，其權力秩序或顯或隱的變動過程，用以描繪日治時期桃園吟社、以文吟社在文學/文化/社會實踐中，展演「詩」權力網絡的樣態。 因之，就本文研究結果而言，主要有七。(一) 已知與未知─桃園地區傳統詩社概況：本文例證桃園地區自清代即有傳統詩社成立的史實，並發現十一個學界未曾深究的詩社個案。然倘若將研究時間軸線延伸於戰後，且將文中所提的未刊詩稿予以專論，對此議題當更有所啟發。(二)承繼與深耕─日治時期的桃園吟社、以文吟社：藉由與桃園吟社、以文吟社相關之徵詩、課題、擊鉢、瀛桃竹三社聯合會、中壢以文楊梅昭和聯吟、五社聯吟、全島詩人聯吟大會等的探究，可將桃園吟社之所以為北臺灣詩脈的承繼者與以文吟社文化權力深耕之因，做一脈絡性的理解。(三)簡易與挑戰─「詩」的文化資本的取得與強化：隨著詩社活動的平民化，取得「詩」文化資本的困難度已逐漸降低，想要不斷地累積資本，以便獲取場域中較高位置的競爭力卻隨之增強。是以，擁有「詩」文化資本的生產者，因為詩會文化的日益普及，而使得其中社群的權力關係更為緊張。(四)合謀與競勝─「詩」的象徵資本之於政治、傳媒、文教場域：無論是詩人接受日本政府所賦予的職務、撰寫與政治相關的詩作、或對詩會的涉入、還是參與文教刊物的發行、甚且是詩會活動中伴隨孔教宣講儀式的進行，隱藏在這些與桃園吟社、以文吟社相應的文化權力實踐，皆強調「詩」象徵資本的重要性。(五)接納與排斥─傳統詩社與日本政府的關係：不宜僅就官方資料來解讀，應回歸於細繹詩人的生命歷程或思想(如：未刊稿、日記之類的私人文件)，才能如實呈現傳統詩人/詩社看待日本政權的心理本質。(六)名牌與時尚─人們積極擁抱「詩」的象徵資本：除了詩社社群外，不具社員身分的人，也透過提供詩會賞品、贊助詩稿發行等作為，換取進入「詩」權力網絡的機會；也可以發現社員、非社員將自己的事業公告於《詩報》末頁廣告欄的現象。此等更加確立「詩」的象徵資本的確有著文學特質以外，而使人為之風靡的魅力。(七)凝止與流動─若有還無的閩、客傳統詩社疆界：南北桃園傳統詩社在擊鉢吟進行流程、詩題取向方面較無差別；而經由祖籍認同邏輯的催化下，比較明顯的特徵是，北閩南客的社員組成、吟唱的語言與曲調、及聯吟對象的選擇，尤以最末者所表達族群因素對於傳統詩人網絡的影響，最為清晰。 Traditional poetry society’s members form a power network resembling an organization in many incidents or occasions, by formal or informal collaborations, through their common shared symbol – “Poetry”. Thus, by analyzing traditional poetry society’s history, literary activities, strategies to realize cultural power, the multi-codes and symbols composing its organization and operation can be derived and returned to its original forms. Therefore, how do the poetry society members obtain or illustrate their cultural capitals, with which they place in the social relations, why and how does the inherent power demonstrate itself? And how will the traditional poetry society maintain its cultural symbols and power penetration energy? By which, in addition to clearly stating the development history and literary performances of Taoyuan poetry society and I-Wen poetry society by using the popular history and literary writing modes previously adopted by academic fields in discussing traditional poetry society, the article furthermore uses Bo-Di-Ur “field” theory, expecting to reflect the power order or variation procedure of appearance or concealment when the poetry society members invest or mobilize all kinds of capital, in order to illustrate the “poetry” power network displayed by Taoyuan Poetry Sociery and I-Wen Poetry Society in Literature/culture /society realizations in Japanese Occupation Era. Thus, the research hereby concludes 7 points: (1) Known and the unknown - The general picture of traditional poetry society in Taoyuan district: The article proves the historical fact that the traditional poetry society in Taoyuan district was founded since the Ching Dynasty, and also found 11 poetry society cases that academic field has never been studied. Yet, if the research timeline is extended to post-war and give individual study and analysis on the unpublished poetry mentioned in the article, this topic will be more enlightening. (2) Inheritance and enroot – Taoyuan Poetry Society and I-Wen Poetry Society during Japanese Occupation Era : By research in the Taoyuan poetry society and I-Wen poetry society related poems, topics, chi-bo, In-Tao-Chu alliance association, for Chun-Li, there was alliance association of Wen-Yang-Mei-Chua-He alliance chant, five association alliance chant, and island poets alliance chant association, from which can be derived the reason explaining for Taoyuan poetry society being the predecessor for North Taiwan poetry society and I-Wen poetry society being the solid root of cultural power. (3) Simplified and challenge – Obtaining and strengthening of “poetry’s” cultural capital : With the civilization of poetry society activities, the difficulty of obtaining cultural capital of “poetry” has been increasingly declining. On the reverse, the expectation to continuously accumulate capital so as to gain the competitiveness at higher position of the field has been rising. Thus, for the producers with cultural capital of “poetry”, the power relations hip within its society has become tenser due to prevalence of poetry society culture. (4) Strategic alliance and competitive winning advantage – The symbolic capital of “Poetry” relative to politics, media, and cultural education fields: Whether it’s the poet undertaking obligations from Japanese government, writing poems related to politics, the involvement in the poetry society, or participating in the cultural educational publication issuance, or even the poetry society’s activities accompanied by Confucius educational speech rituals, of which the inherent cultural power practice corresponding to Taoyuan Poetry Society and I-Wen Poetry Society all emphasize the importance of the symbolic capital of “poetry”. (5) Acceptance and Rejection –the relationship between traditional poetry society and Japanese government: It’s not adequate to simply analyze the official information, the study shall return to examine the life experiences or thoughts of poets (ex. unpublished drafts, personal documents such as diaries) to truthfully present the psychological origins of the way traditional poets/poetry society viewed Japanese regime. (6) Brand and Fashion: People proactively embrace the symbolic capital of “Poetry”: In addition to members of poetry society, those without member identities can also exchange for the opportunities to enter “poetry” power network by offering awards for poetry society gatherings or sponsoring poems publication issuance; it can also be found that both members and non-members post their business in the advertisement column on the last page of “Poetic Newspaper”. This has furthermore confirmed that the symbolic capital of “poetry” does have its charm in addition to its literary distinctions. (7) Static and mobile- paradoxical existence of boundaries between Min-nan (Hokkien) and Hakka poetry societies. South and North Taoyuan poetry societies do not have large differences in the procedure of Chi-Po-Chant, poetry themes’ directions. With the catalyze of ancestral identification logics, the more apparent features are the north- Min-nan (Hokkien) and south-Hakka member composition, the language and tune of poetic chant, and the choice of choric chanting counterparties, of which ethnic factor presented by the last one has especially most clear influence on traditional poets network. |
