“抒情传统论”的提出和延展过程中，有两个值得关注的政治背景：一是 1950 年代的冷战对峙和 1960 年代捷克斯洛伐克的政治文化变革，使普实克在不同时期关于“抒情”的讨论发生着从个人主义向现代主义的重点转换；二是传统、理想和生命是我国台湾地区“抒情传统论”中的三大关键词，三者与陈世骧、高友工的“抒情传统论”之间既有明显的继承关系，又存在一定的重点偏移，这种选择性的继承与偏移，回应着 1970 年代台湾地区的特殊文化意识和政治心理。通过以上梳理，可以得出两个发现：第一，“抒情”的“非政治”只是表象，“抒情传统”生成于明确的政治语境中，相关论述对历史、传统、生命、理想的召唤总是隐含着对于另一种政治状态的构想；第二，“抒情”的内涵不能被简化为个人主义或审美主义，其中的现代主义因素值得进一步开掘。

抒情传统, 普实克, 高友工, 现代主义

There are two noteworthy political contexts in which the “lyrical tradition theory” was developed and extended. Firstly, due to the Cold War confrontation in the 1950s and the political changes in Czechoslovakia in the 1960s, Průšek’s focus on the discussion of “lyricism” shifted from individualism to modernism.Secondly, tradition, ideal and life are three key words in the “lyrical tradition theory” in Taiwan region. These key words have an obvious inheritance relationship and a certain shift in emphasis compared with Shih-Hsiang Chen and Yu-kung Kao’s explanations of “lyrical tradition theory”. This selective inheritance and deviation respond to the special cultural consciousness and political psychology of Taiwan region in the 1970s. We find that the “apolitical” character of “lyricism” is only an appearance, and the “lyrical tradition” is generated in a clear political context. Moreover, the connotation of “lyricism” cannot be reduced to individualism or aestheticism, and its modernist elements deserve to be further explored.

lyrical tradition, Pr??ek, Yu-kung Kao, modernism