天安門作為中國歷史上最著名的建築在歷史變遷中被附著了不同而多變的政治內涵，使其成為了一個政治空間。然而在現代詩中對於天安門的描寫卻將天安門看作一個被鬼魂佔據的空間。本文對1926年三一八事件，1949年開國大典以及1989年六四事件這三個發生在天安門的歷史事件及因此誕生的相關詩作進行考察，通過對幽靈蹤跡的探詢，對幽靈回歸的邏輯的體認和幽靈承受的歷史之重的揭示，勾勒出一個發生於天安門的現代漢詩的幽靈學譜系。

This paper focuses on a specific space, Tiananmen, in modern Chinese poetry through the lens of spectrality. Because of its inextricable connection with a series of historical events in the twentieth century, Tiananmen is widely regarded as a political space. However, in modern Chinese poetry, it is displaced, misinterpreted, and reinvented as a haunted place. This paper begins with the uncanny experience aroused by the "invisible-visibility" of Tiananmen in the poems of Zhou Zuoren and Luo Jialun. Then a spectral genealogy is developed in the entanglement between three historical moments and relevant poems: Wen Yiduo and Rao Mengkan both focused on Tiananmen, rather than the real massacre locale, to express a paradoxical attitude towards the March 18 Massacre in 1926; Hu Feng's naive conjuration of ghosts in "Time Has Begun" to celebrate the establishment of the PRC counterproductively rendered Tiananmen an eerie place that contrasts the jubilant atmosphere on October 1, 1949; in memory of the June Fourth Incident in 1989, poets redefined "Tiananmen" as a spectral agency in the lexicon of vernacular Chinese and highlighted the materiality of specters. This paper argues that poets are in tension with the political connotations of Tiananmen; the desire to deconstruct and reinvent Tiananmen is also coupled with aesthetic pursuits that continuously contribute to the multi-layered hauntedness of Tiananmen in modern Chinese poetry.