本論文的目的是希望透過吳晟、向陽、路寒袖三位詩人，來看七十年代台灣詩壇台語詩的特殊性，探討七十年代台語詩在台灣文學史上的樣態和脈絡。緒論說明台語詩在七十年代重新崛起有其時空背景，為了解戰後新世代的台語詩創作變化歷程擇定吳晟、向陽、路寒袖三位作為研究對象。第一章說明早期台灣地區文學深受大陸影響，直至日治時期才略有本土意味，但處於高壓統治下未能產生自我特色。第二章說明日治時期與今日時空背景相異，以作品舉例說明日治時期的台語詩不宜視為今日台語詩前承。第三章以「現代主義」對文學從事者的影響為主，書寫本土意識出現的原因。第四章書寫二次戰後本土詩人成長環境及其產生文學創作的背景，進而說明作品產生語言轉向的轉捩點。第五章、第六章將三位詩人的創作歷程及台語詩的萌發作更進一步的闡述，利用三人的寫作經驗和作品，建構七十年代台語文壇吸收、蛻變的方向。第七章結論，探討以台語作詩的優點與窘境，對台語詩的走向提出觀察後的心得。 The study intends to discuss the style and sequence of Taiwanese poetry in 1980s. By comparing the three poets: Wu Sheng, Xiang Yang and Lu Han-Hsiu, the study shows the uniqueness of Taiwanese poetry at the time. The introduction explains that in 1980s, the rising of Taiwanese poetry has its special reasons. In order to understand the sequence of poetry writing in post-war generation, the study aims to discuss the three poets: Wu Sheng, Xiang Yang and Lu Han-Hsiu. The first chapter talks about the literature of Taiwan which was under great influence of Mainland China. The works were not original and native until Japanese colonial period, though they still could not express distinguishing features under the strict supervision. The second chapter claims that it is not suitable to say the Taiwanese poetry in Japanese colonial period became the modern ones we have nowadays, as the time and place have changed and become different. The third chapter states the reasons of the rise of local consciousness due to the influence of modernism. The fourth chapter talks about the environment of the poets and how it affected their writing after World War II. It also explains the turning point of reversing languages of the poems. The following two chapters combine the poets’ writing experience and works to explicate their creating processes and the beginning of Taiwanese poetry, stating the sequence of Taiwanese literature in 1980s. The seventh chapter is the conclusion. It discusses the advantages and disadvantages of writing poems with Taiwanese and also expresses opinions on the tendency of Taiwanese poetry.
