王德威在《被壓抑的現代性：晚清小說新論》中重理世紀初的文學譜系，挖掘晚清小說中「被壓抑的多重現代性」線索，重新定位晚清文化並解釋新文學「起源」的範式，為中國文學發現另一種現代性，建構新的中國文學現代性論述。以王德威重審中國文學現代性的企圖，而對晚清文學「被壓抑的現代性」的挖掘與建構的思考，本論文擬以對台灣現代性三種向度的理解，以五、六○年代現代詩論戰為研究場域，挖掘其中隱而未彰的現代性線索，勾勒台灣文學現代性開展的迂迴並複雜的播散脈流，建構以台灣為主體的文學現代性論述。

In Depressed modernity: New Discussion of Late-Qing Novels, Wang Te-Wei reorganized the literature pedigree of the beginning of the century and unearthed clues of “depressed multiple modernity” in Late-Qing novels. He re-positioned the status of Late-Qing culture and explained the model of new literature “origin” to discover another modernity for Chinese literature and to construct a new modernity discussion of Chinese literature. In light of Wang Te-Wei re-examination of the modernity of Chinese literature, the investigation of Late-Qing literature “Depressed Modernity” and the deliberation of construction, this paper intends to explore concealed modernity clues, sketch the complicated trails of modernity development in Taiwanese literature, and construct a Taiwan-based literature modernity discussion from the interpretation of three aspects of Taiwanese modernity in a modern poetry polemic in 50s-60s.