本文試圖呈現「物質流變―詩意轉換」相互牽動的軌跡，從而對於臺灣現代詩史上極重要的「現代派運動」提出一種兼顧文藝思潮與物質文化的新解釋。作為現代派運動的領導人，紀弦（路易士）「從上海到臺北」的跨場域體驗，意義非凡。我們發現：他早年在上海，曾經深受現代都市文化的衝擊，起先他極力排拒機械與噪音，認為它們破壞了「詩情」。但隨著體驗的深化與詩學的成長，他逐漸建立出一套立基於現代新事物的詩學，從中獲取一種新的「感性模式」與「表現方法」。他以「詩想」來闡釋工業時代的詩歌本質，從械械與噪音中建構「非協和」的美學，啟迪了不少年輕詩人。本文藉由較充份的文獻考掘，一方面批判性地重讀他的詩與詩論，一方面也從中發現一種立基於詩史的美學意涵。進而解釋了那些看似平淺的詩、充滿漏洞的詩論，為何能在文學運動現場中發揮關鍵的作用。

This paper attempts to present the correlation between the development of the physical world and the transformation of poetic ideas, and to further provide a new interpretation of the modernist poetic movement, which is crucial in Taiwan’s poetic history. As the leader of Taiwan’s modernist poets, Ji Xian, or Lu Yi-Shi, displays great significance through his experience from Shanghai to Taiwan. He has been shocked by Shanghai’s urban culture him in his early years there. At first he strongly resists machines and noises because he believes these things break the sentiments in poetry. But with more experiences of poetry, he finally establishes a new form of poetry based on modern things with a new emotion pattern and a new way of presentation. He expounds the nature of poems in industrial time as poetic ideas, establishes an unharmonious aesthetics from machines and noises, and enlightens numerous young poets. This paper critically rereads Ji’s poems and poetic theories, excavates their aesthetic meaning, and explains the reasons why they seem shallow and full of faults but are still important in a literary movement.