長久以來從「西方」給定的框架中將台灣現代主義視為同一且連貫的整體而進行論述的方式，使得各個詩人或作家在現代主義的實踐中所呈顯的差異往往遭到忽略。因而在如此的問題意識底下，本文嘗試以單一的創作者作為探討台灣現代主義的切入點，而以跨語言詩人林亨泰為考察對象，並將討論焦點置於詩人在異語言和異文化的交匯中，如何轉而從自身的歷史條件與場域位置來重組現代主義的概念。本文也指出，詩人正是在語言轉換的困境中找到現代主義作為他的跨語策略，並藉由前衛運動的破壞性來翻轉主流的文學觀點，進而為自身所欲建立的美學理念尋求合法性。文中亦透過林亨泰的語言技術與「主知」概念，追溯詩人如何在現代主義的挪用與重組中參與了台灣「現代詩」的建構與想像。

The “western-centered” vision of modernism has long been adopted as a paradigm for Taiwanese modernist literary study. By doing so, Taiwanese modernist literature is often perceived as being homogenous. But this is not the case. The stylistic and thematic differences of individual poet are often overlooked. By focusing on a single poet, Heng-tai Lin, this article will demonstrate the inadequacy of this view. I will examine how Lin reconstructs modernism by employing his own multi-cultural background, and show how he turns the apparent disadvantage imposed by Taiwan’s turbulent history to his advantage by exploiting modernism’s aesthetics, employing translingual strategies, and by using the theories of the avant-garde movement, thus challenging the position of literature dominant at the time.