論覃子豪的象徵主義詩學 及其詩作實踐;Chin Tzu-Hao ′s Symbolist Poetics and His Poetry Practice

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Title:	論覃子豪的象徵主義詩學及其詩作實踐;Chin Tzu-Hao ′s Symbolist Poetics and His Poetry Practice
Authors:	蔡賢儒;hsien ju, tsai
Contributors:	中國文學系
Keywords:	覃子豪;象徵主義;頹廢;Chin Tzu-Hao;symbolism;decadent
Date:	2021-10-25
Issue Date:	2021-12-07 11:06:52 (UTC+8)
Publisher:	國立中央大學
Abstract:	象徵主義起源於十九世紀末的法國。其最初的核心理念，在於改變舊有浪漫主義的格律模式，且詩作內容總與「頹廢」掛勾，在歷經了演變之後，系徵主義的內容逐步著著哲思化靠攏，並衍生出暗示的創作手法，同時強調詩作中蘊含的音樂感。覃子豪早期接觸象徵主義時，因對象徵主義的理解不足，乃排斥其頹廢的風格，而在經歷了論戰之後，遂逐步加深對象徵主義的認識，並將象徵主義的創作手法進一步於詩論中推廣。覃子豪在詩論上特別重視表現技巧的部分，尤為強調「暗示」和「交感」，後期則有哲思化的傾向。而在詩作方面，《向日葵》延續早年詩集雄渾健偉的風格，《畫廊》則有關於哲思化內容的應用。;Symbolism originated in France at the end of the nineteenth century. The original core idea was to change the old romantic metric model, and the content of the poems was always linked to "decadence". After the evolution, the content of philosophical thinking gradually moved closer, and hints were derived. At the same time, it emphasizes the musical sense contained in the poems. When Chin Tzu-Hao came into contact with symbolism in his early days, he rejected his decadent style due to his insufficient understanding of symbolism. After experiencing the controversy, he gradually deepened his understanding of symbolism and further promoted the creation of symbolism in poetry. . Chin Tzu-Hao pays special attention to the part of performance skills in poetry, especially emphasizes "suggestion" and "sympathetic", and later tends to be philosophical. In terms of poetry, "Sunflower" continues the majestic and majestic style of early poem collections, while "Gallery" is about the application of philosophical content.
Appears in Collections:	[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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