AbstractThis thesis centers on Gu-Cheng’s poetry in later stage, then dissects the implicitly conscious depth of inner cracks in his poetic language. In fact, by observing the capricious dimensions, its common extendable “dedans ”space life lines drew out, and the cracks result from the transformation of “I” in poetic different stage lead us to find out the transformation of the “extreme” language and its final expression, that is, the concept of “The Aimless ’I’ ”.
Actually, the concept stated above takes an important role in his later stage, and further is extremely different with the creative consciousness in early stage. To be more exact, it suggests the spiritual extension and powerful motivation of poet himself that forms into the distinctive “Style” during his poetry-life. Then, I would refer to the specific concepts of Deleuze’s “Prolific Transformation”( sujectivation ) and more, such as Nomad Subjectivity ,Fold, Body without organs , but not only confined in his philosophical texts, instead, from this to extend the research field of poetry and to show more intact interpretation of Gu’s ideology and poetry in his later age.
To speak of, the idea such as “ The Aimless ’I’ ── A non-self ”, points out the fabulous performances of Gu-Cheng’s poetic language, words in his later stage, though it also indicates his traumatic psychology, dispersed color and the schizophrenia syndrome of subject’s consciousness. Besides, imaginations, images provide sensory feelings, poetic world, and turn out into a daydreaming nomadic roam and the power of subject’s transformation.
Based on the theory and poetic experiences of Gaston Bachelard, Gilles Deleuze, Michel Foucault, Maurice Merleau-Ponty, etc. , and going a step further to interpret Gu-Cheng’s poetry in his later stage, I then first show my motivation and reference’s review, and take twisted phenomena of subject in Gu’s works to reflect the folds concept in Deleuze’s “Baroque── Poetics of Labyrinth ”. Hence, the “Fold of the Subjectivity” poet owns accidentally adds with Bachelard’s Poetic of the Dream, Deleuze’s Nomadic Thinking, and Schizoanalysis then creates a triple distinctive “Daydreamer－Nomadic－Schizo” decoration of subject.
To summarize, other chapters separate into three discussion of specific poetry in terms of phenomenon in different subject. Such as the “waking in dream roamer” ： Gu’s sensory pattern and natural imagination in Songs of the world 《頌歌世界》, the offbeat reality of nomadic subject : Gu’s flee in writing and nomad of word in Mercury《水銀》. The shelter of Shizo in its way: the “traumatic image” and “dispersed labyrinth” in Gu’s Ghost into the town 《鬼進城》,town《城》. Finally, the last but not least is the conclusion and expectation for the poetic research.
|Date of Award||2010|
|Supervisor||Man-Han Yung (Supervisor)|