| 簡介說明 | 策展緣起
現代主義源於十九世紀末到二十世紀初期，對應於城市文明發展造成現代生活快速變遷而興起的思潮。在這個世界性、跨領域價值和信仰變動的歷史時刻，臺灣並未缺席。在冷戰將世界一分為二的時代，美國現代主義伴隨著各種軍事、經濟援助進入戒嚴時期的臺灣社會，在肅殺、沉悶的年代，引領戰後臺灣社會和文藝思潮往現代化的方向發展。本展由國立臺灣文學館與二二八國家紀念館合辦，透過展覽揭示臺灣當時世代學思養成的社會背景與文藝氛圍，探討現代主義如何形塑知識分子的世界觀，以及臺灣如何在國際交流中發展出自己的特色和價值，進而在吸收、學習、模仿與創新的探索過程中，逐漸綻放出屬於臺灣現代主義自己獨特的樣貌。
The Story behind the Exhibition
Modernism arose during the period from the late 19th century to the early 1900s in response to ideological shifts caused by urbanization and the rapid social changes that came in its wake. Taiwan was also involved in this momentous era when beliefs and values crossed boundaries around the world. American modernism entered Taiwan via military and economic aid during the Cold War, when the world was divided into two camps. Suppressed by martial law, the trends of post-war Taiwanese literature, art, and society were led towards modernization by American modernism.
This exhibition is co-organized by the National Museum of Taiwan Literature and the National 228 Memorial Museum, highlighting the social, literary, and artistic climate which nurtured a generation, exploring how modernism shaped the worldview of the Taiwanese intellectuals, while also providing deeper insight into how modernism came to gain unique characteristics in Taiwan–through absorbing knowledge, imitation, and innovation, Western modernism in Taiwan evolved and blossomed into the new independent movement known as Taiwanese modernism.
現代主義與美國文化的影響
1950年之後，臺灣開始接受美國的軍事和經濟援助。伴隨著美援而來的，是美國文化遍及臺灣社會生活的各個層面，深深影響了臺灣社會的藝術文化發展，美國新聞處（United States Information Service, USIS, 簡稱美新處）即扮演了引介歐美現代思潮進入臺灣的關鍵角色。
在1979年臺灣開放出國觀光之前，想要獲取國外的藝術文化資訊，除了出國留學，便只能透過報章雜誌上的藝文介紹文章獲取相關訊息。在這樣資訊貧乏，藝文愛好者又求知若渴的年代，美新處的圖書館（圖書室）成了重要文化據點。
The Impact of Modernism and American Culture
Taiwan began receiving military and economic aid from the United States in 1950. Along with this aid came American culture, which soon spread throughout all aspects of Taiwanese society and deeply impacted the development of Taiwanese art and culture. The United States Information Service (USIS) came to play a crucial role in introducing modern European and American modernist trends to Taiwan.
Before Taiwan opened its borders for overseas tourism in 1979, information of foreign art and culture was obtainable through only two means: studying abroad or reading newspaper and magazine articles on such topics. In a time when thirsting art and culture enthusiasts pursued further in a social landscape barren of this field of knowledge, the library in the USIS thus became a significant cultural hub for the Taiwanese people.
《學生英文雜誌》18卷2期，1969年美新處發行的英文雜誌。
Student Review, vol. 18, no. 2. 1969. Issued by USIS
「現代」文青養成所：美國新聞處
1946年，美國設立駐臺北領事館，一開始附屬於大使館的新聞處，肩負臺灣的文化宣傳活動任務，目的是傳達當時的美國外交政策，使所在地國民認識美國、了解美國並進而產生好感。其後，陸續於臺中、高雄、臺南、嘉義、屏東設置美新處。1958年，臺北美新處遷移至南海路54號(即今日二二八國家紀念館)，由於美新處圖書館藏書豐富，同時設置林肯中心，也經常舉辦美國電影欣賞、繪畫、舞蹈、音樂會等藝文展演，因此成為當時許多中學生、大學生課後的重要活動場所。三十年來，台北市南海路五十四號一直是年輕藝術工作者的希望所在。在這裡他們可以暢所欲言，為藝術而藝術。
USIS: The Literary Education of the "Modernist" Youth
In 1946, the United States established the American Consulate at Taiwan in Taipei. The USIS, initially a subsidiary of the U.S. Embassy, was tasked with promoting cultural activities to broadcast U.S. foreign policy and familiarizing the general public with the country in order to create a more favorable impression. USIS offices were later set up in Taichung, Kaohsiung, Tainan, Chiayi, and Pingtung. In 1958, USIS Taipei moved to No. 54, Nanhai Road (now the National 228 Memorial Museum). The ample collection of books in the USIS library and the establishment of the Abraham Lincoln American Center made it a fitting place to host frequent cultural events featuring American films, painting, dance, and concerts. The USIS thus became an important after-school hub of activity for many
high school and college students.
美國文學在臺灣
《今日世界》的誕生
在美國國務院(U.S. Department of State)經費的挹注下，1949年《今日美國》(America Today)由香港總領事館新聞處發行，介紹美國生活方式以及各種資訊給華文讀者，而後為了因應時局瞬息萬變，欲將世界各地實況納入報導而更名為《今日世界》。1952年「今日世界社」和「今日世界出版社」在香港設立，以便生產中文出版品並宣傳至東南亞。
American Literature in Taiwan
The Founding of World Today
With funding from the U.S. Department of State, American Today was launched in 1949 by the USIS in Hong Kong to introduce American ways of living and other information to readers of Chinese. The publication was later renamed World Today in order to report global current events in a rapidly changing world. In 1952, World Today Press and World Today
Publishing (both entities, though different, have since been referred to as “World Today Press”)were established in Hong Kong to produce promotional Chinese publications for readers in Southeast Asia.
《今日世界》第241期，1962年，由香港今日世界社發行。
World Today, no. 241 1962. Published by World Today Press.
《今日世界》中的美國文學
今日世界出版社集合了1950-60年代臺港兩地最重要的譯者，翻譯美國文學與現代主義的著作。由林以亮（宋淇）主持，夏濟安、張愛玲、余光中為主要翻譯者。譯介過的作者包括愛倫．坡（Edgar Allan Poe）、馬克．吐溫(Mark Twain)、亨利．詹姆斯(Henry James)、威廉．福克納(William Faulkner)、厄尼斯特．海明威(Ernest Hemingway)、費茲傑羅(F. Scott Fitzgerald)等，廣泛影響臺港、東南亞的創作者與普通讀者對於美國文學和美國現代主義的接受。
The American Literature of World Today
World Today Press gathered the most prominent translators in Hong Kong and Taiwan during the 1950s and 1960s to translate American literature and modernist works. The publication was presided over by Lin Yi-liang (Sung Chi); T.A.Hsia (Hsia Chi-an), Chang Ai-ling (Eileen Chang), and Yu Kuang-chung served as the main translators. Authors translated include Edgar Allan Poe, Mark Twain, Henry James, William Faulkner, Ernest Hemingway, F. Scott Fitzgerald, and others. These writers had an extensive impact on writers and readers in Taiwan, Hong Kong, and Southeast Asia, shaping their understanding and reception of American literature and American modernism.
《美國現代七大小說家》
1967出版，由威廉·范·俄康納主編，介紹伊德絲．華頓、辛克萊．劉易斯、費茲傑羅、威廉．福克納、厄尼斯特．海明威、湯姆斯．吳爾夫、拿撒奈．韋斯特等七位美國小說家。
Seven Modern American Novelists
1967.Edited by William Van O'Connor, ntroducing Edith Wharton, Harry Sinclair Lewis, F. Scott Fitzgerald, William Faulkner, Ernest Hemingway, Thomas Wolfe and Nathan Weinstein.
美新處與文壇、藝壇的交會
臺灣文學史上的黃金年代
《文學雜誌》與《現代文學》被文學史論者視為臺灣文學史上的「黃金時代」，也是戰後臺灣最重要的引介美國現代主義文學的刊物。而這兩個前後接續的學院刊物，都曾經獲得臺北美新處的支持。
《文學雜誌》(1956-1960)的主編是臺大外文系教授夏濟安，他所揭櫫的「現代小說」概念，對於後來臺灣的現代主義文學發展影響甚鉅。該雜誌實際上是臺北美新處支持的隱蔽（unattributed）中文月刊，臺北美新處總是「以特別折扣」每期購買兩千本發送其他九個海外的美國新聞處。
USIS, Modern Literature, and Literary Review
The Golden Age of Taiwanese Literature History
The circulation of Literary Review and Modern Literature is regarded by literary historians as the golden age of Taiwanese literary history. They are considered the most important periodicals which introduced American modernist literature in post-war Taiwan. Both academic publications received support from USIS Taipei.
Hsia Chi-an, a professor in the Department of Foreign Languages and Literatures at National Taiwan University, served as editor-in-chief of Literary Review (1956-1960). Hsia's declaration of the concept of modern fiction greatly influenced the development of modernist literature in Taiwan. The magazine was an unattributed monthly Chinese periodical supported by USIS Taipei. USIS Taipei would purchase 2,000 copies per issue at a "special discount" and have them sent to nine other overseas USIS offices.
Modern Literature (1960-1984) was in circulation from March 1960 and founded by students of the South North Society from the National Taiwan University Department of Foreign Languages and Literatures, including Pai Hsien-yung, Wang Wen-hsing, Ouyang Tzu, and Chen Jo-hsi. The magazine systematically translated and introduced American modernist literature. Among the published works, fiction featuring stream of consciousness and existentialism greatly resonated with the younger generation.
《文學雜誌》1卷3期
Literary Review (1956-1960)
《現代文學》25期
Modern Literature (Quarterly), no. 25
臺灣文學外譯的基石
美新處對臺灣文學還有一個非常重要的貢獻，就是臺灣文學外譯。透過美國現代主義的翻譯與譯介，臺灣作家也在創作上回應美式現代主義的影響，發展出屬於自身的特色，其具體展現在Heritage Press系列叢書。Heritage Press系列是美新處譯書計畫的運作項目之一。首先以美方為計畫主持人，再由當地的作家、翻譯家形成一個聯絡網，最後交由在地出版社（臺北Heritage Press）出版。
當時的英譯當代文學成果出版了《中國新詩選》、《中國新小說選》、《綠藻與鹹蛋》、《招魂：五篇台灣小說選》等出版品，不僅是臺灣文學的第一次輸出、展現了現代主義文學在臺灣的特色，包括譯介中國來臺、臺灣本土詩人及作家的作品，甚至也出版了以女性作家為主的《八個故事：中國女性作家小說選》（黃娟、潘人木、陳若曦、林海音、歐陽子、張愛玲、侯榕生、聶華苓）。這個計畫成果充分呈現出現代主義在臺灣既是一種橫向移植，但也帶有強烈創新精神的特色，可以說臺灣文學的外譯工作，是從美新處時期就已打下的基礎，也一步一步將臺灣文學推向世界舞台。
The Cornerstone of Taiwanese Literature in Translation
The USIS made crucial contributions to Taiwanese literature by translating Taiwanese works. As they took in American modernist literature, Taiwanese writers responded by incorporating its characteristics into their own works. This can be seen in the literature featured in the Heritage Press series. The Heritage Press series was a joint operation project by the USIS Taiwan Book Translation Program involving project coordinators in the United States, a network of Taiwanese writers and translators, and local publishers (Heritage Press in Taipei).
Stream of consciousness was the most common writing technique in the Heritage Press series, so much so that it has since become a fixed writing method. By using a "present-past-present" trajectory, the protagonist's memories throw their consciousness into the past to a specific scene or experience. Writers utilized this technique to break from traditional chronological structures and instead create complex, overlapping timelines through the depiction of a character's thoughts and mental processes. The result is a more three-dimensional sense of time and space.
新批評
愛荷華寫作班提倡以「新批評」（細讀）的方式分析學員的作品，而這一套文學評論方式影響後來臺港作家的創作、評論和教學。保羅．安格爾的作家創作坊教室，是在愛荷華河邊搭建的簡陋營房，在課堂上，大家熱烈討論「不具名」的學員作品，辯論熱烈，毫不留情。
New Criticism
The Iowa Writers' Workshop advocated the analysis of student works through the lens of New Criticism (or close reading). This style of criticism went on to influence the creation, commentary, and teachings of later Taiwanese and Hong Kong writers. The simple classrooms of the Iowa Writers' Workshop built along the Iowa River were the setting for passionate discussions of student works with the names of authors being withheld temporarily and fiery debates.
用西方的技巧•說自己的故事
整體而言，1950年代中期之後，臺灣現代主義受到美國現代主義影響，而且是全面性的深化，包含繪畫、舞蹈、音樂等其他藝術形式。以文學而言，不同的現代主義作家追求「現代主義」的來源、方式和途徑雖然各有不同，但大部分作家的共同點是：對於語言的創新，對於寫作技巧的模仿和嘗試，成為大部分臺灣作家對於美國現代主義文學的認識與接受。
"Use Western Techniques to Tell Your Own Story"
Taiwanese modernism was broadly influenced by American modernism after the mid-1950s and underwent extensive development in areas such as painting, dance, music, and other art forms. For literature, although modernist writers each pursued different sources, methods, and channels of modernism, they all exhibited innovative language and engaged in the imitation and experimentation of various writing skills.
《家變》
1973年出版，王文興著。王文興透過語言實驗和改造小說內部組織，描寫一個現代知識青年在成長期間所遭遇的精神衝突，並觸及家庭社會議題。
Family Catastrophe
1973 Written by Wang Wen-hsing. Wang Wen-hsing described the spiritual conflicts encountered by a modern intellectual youth during his growth through language experiments and reformed the inner structure of the novel, and touched on family and social issues.
結語：現代主義與知識分子的內在自創
在冷戰的年代，臺灣知識分子透過美新處，汲取來自美國和西方的現代主義思潮；尤其今日世界出版社的美國文學譯作，已成為人文學科學生學習和創作的啟蒙書。
西方現代主義的興起，在於反思西方現代化所帶來的人類困境，透過作品的形式和內容，顛覆和挑戰過往的藝術形式和創作內容，重新認識西方現代文明的基礎。而戰後現代主義進入戒嚴時期的臺灣，成為孕育一個世代創作的共同養分，不同創作者選擇現代主義不同的技法或主題，融合自身的經驗和對創作的理念，孕育出屬於臺灣在地的現代主義文學。
臺灣的現代主義並非高度現代化社會而發展出的現代主義，而是冷戰反共下的現代主義。他們用西方的技巧（在很大層面上就是美國的）來講臺灣的故事，而這就是臺灣的現代主義。
Closing Words: Modernism and the Self-Creation of a Scholar
During the Cold War era, Taiwanese scholars drew on modernist trends from the United States and the West through the USIS. World Today Press and World Today Publishing have both greatly contributed to the dissemination and widening sphere of influence of American literature and modernist thought particularly foundational for humanities students to learn and create.
Western modernism arose from reflections on the human dilemma triggered by modernization. Through literary form and content, modernism subverted and challenged past art styles and creative content and re-examined the very basis of modern Western civilization. After World War II, modernism entered Taiwan during the martial law era and became the fodder for a generation of creatives. While different creatives pursued different techniques or topics in modernism, they all incorporated their own experiences and ideas about creation and cultivated a modernist literature that was unique to Taiwan.
Taiwanese modernism did not emerge from a highly modernized society, but rather from the modernism that arose during the Cold War in response to communism. They used Western (largly American) techniques to tell the stories of Taiwan, and in a sense, the story of Taiwanese modernism. |