本文首先探討1930年代上海報刊場域中，詩人致力於新詩形的演練，進而溝通西方科學知識、新詞語、新事物與文藝實踐，孕生一種反映摩登都會現場的詩意生產模式。以譯介美國現代詩在報刊文化圈展露頭角的徐遲（1914-1996）深諳此道，在上海時期（1933-1937）發表的詩文卻因抗戰後的左傾立場而受到忽略。他的第一本詩集《二十歲人》充分表現新舊體驗的融合，也直接的運用西方流行思潮的詩歌技巧，建立出一套應合施蟄存所提出的現代派詩形，體現了上海都會世界豐富而複雜的視覺文化。接著，關注他的戀愛主題雜文，這些訴求清澈純粹、「初戀般」愛情的作品，上接五四之後、廚川白村以來的戀愛論，又與當時新感覺派引領流行的摩登戀愛觀不盡相同。這批作品主要見於郭建英、李青主編時期的《婦人畫報》，徐遲繞開了感官與形貌，深入男女戀愛的精神層次，又隨著時局轉變而導向一種批判社會性別角色的方向。本文從1930年代的上海文藝圈重探其文藝實踐活動，凸顯一位浸淫於混雜、多元都會風景中，並以「二十歲人」一語為自我詰辯的詩人，如何參與報刊與出版業蓬勃的龐大結構，也由此照見這一時期上海文藝圈尚待深掘的一角。

Xi Chi was representative of translating Ameican modern poetry during 1930s in Shanghai. After Second Sino-Japanese War, he committed to reportage. However, his first work Twenty-Yeard Old Man published in 1936, was a remarkable case which illuminated the modernity of metro life in Shanghai. This study seeks to revisit the meanings in his poetry in 1933 to 1937. Part I indicates science material and concepts in Xu Chi’s poems, including transparency and Geology, revealing a modern form of the sources of poetry. Part II points out that most of his works in Fu Ren Hua Bao( 婦人畫報) were impacted by visual culture; therefore, they represent modern poetic form. Part III analyzes how Xu Chi construct his theory of love by contributing several essays and conté ( 掌篇小說). These aspects are the crux of Chinese modernity in 1930s.