本研究以華語現代詩的閱讀理解為核心，探討詩歌語言意義的生成是否具有可被讀者追索的內部符號秩序。論文以三個研究問題為核心：當現代詩中的關鍵詞被刪除時，讀者的答案是否會呈現語義收斂，而非完全發散？刪除不同的關鍵詞是否會影響讀者推論詩意的方向？若在作答前提供詩歌解碼提示，是否能使學生更接近文本內部結構所預設的語義方向？
研究以 Michael Riffaterre 的封閉文本（closed text）與母型（matrix）理論視角作為切入點，結合 Eco 對詮釋邊界的討論、Peirce 的詮釋項觀念，以及新批評的細讀方法，設計新詩語義填空測驗。研究對象為臺灣高中生，共取得 128 份有效答卷。研究結果顯示，學生答案並非隨機發散，實驗結果呈現不同程度的語義收斂，說明詩文本內部結構確實具有引導解碼的力量。其中，具體意象、可視覺化事件或明確物件關係較容易促使學生接近原詞或相關語義場；相對地，抽象情緒、詩性動作轉換與高度依賴文化背景的符號，則較容易造成答案分散或語義偏移。研究亦發現，文化語義場既可能協助讀者進入文本核心，也可能因背景知識不足而形成理解限制。此外，教學提示對具體線索與可視覺化意象具有一定幫助，但對抽象詞與文化負載較高的符號效果較不穩定。
本研究嘗試以符號語言學理論出發，探索華語現代詩語義解碼過程。研究結果除了驗證封閉文本在詩語言語義生成中的作用，也進一步指出語義生成邊界可能受到的限制。未來可依據相關結論提出更有效的新詩教學法，以提升學生或新詩讀者對現代詩的理解能力。

This study centers on the reading comprehension of modern Chinese poetry and explores whether the generation of meaning in poetic language contains an internal semiotic order that can be traced by readers. The study aims to observe whether readers’ responses still show semantic convergence, rather than complete divergence, when key words in modern poems are deleted. It further examines whether the deletion of different key words affects the direction of readers’ inference of poetic meaning. Finally, it investigates whether providing decoding guidance before the task helps students move closer to the semantic direction presupposed by the internal structure of the text.
This study takes Michael Riffaterre’s theories of the closed text and the matrix as its theoretical point of departure. It also incorporates Eco’s discussion of the boundaries of interpretation, Peirce’s concept of the interpretant, and the close reading method of New Criticism to design a semantic cloze test for modern poetry. The participants were Taiwanese senior high school students, and a total of 128 valid responses were collected. The results show that students’ responses were not randomly dispersed. Instead, the experimental results revealed different degrees of semantic convergence, indicating that the internal structure of poetic texts does possess the power to guide decoding. Among the results, concrete imagery, visualizable events, and clear object relations were more likely to help students approach the original word or a related semantic field. By contrast, abstract emotions, poetic transformations of action, and signs that highly depend on cultural background knowledge were more likely to cause response dispersion or semantic shift. The study also finds that the cultural semantic field may help readers enter the textual core, but it may also become a limitation when readers lack sufficient background knowledge. In addition, instructional guidance showed a certain degree of effectiveness for concrete clues and visualizable imagery, but its effect was less stable for abstract words and culturally loaded signs.
This study attempts to explore the semantic decoding process of modern Chinese poetry from the perspective of semiotic linguistics. The results not only verify the role of the closed text in the generation of meaning in poetic language, but also further point out possible limitations on the boundaries of semantic generation. Based on these findings, future studies may develop more effective teaching methods for modern poetry, so as to improve students’ and readers’ ability to understand modern poetry.

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Lin, W.-C. 林薇晨 (2019, November 12). 第十五屆林榮三文學獎．新詩獎三獎：粵語課 [The 15th Lin Rongsan Literary Award, third prize in modern poetry: Cantonese class]. 自由藝文網.
https://art.ltn.com.tw/article/paper/1331282