中國詩人蔣一談在2015 年推出「截句」一詞後，以詩人白靈為首的臺灣詩學季刊社將其重新定義：「一至四行均可，可以是新作，也可以是從舊作截取」，並自2017 年開始在網路文學社群中大力推行，在創作、出版、教學、研究面向上大量產出，短短數年內即建構出一個全新的「詩創作類型」。臺灣詩學季刊社以「文學集團」的姿態掌握學術與傳播資源，從與副刊合作徵文、擔任年度詩選守門人、舉辦學術研討會、學院教學與研究等各類管道，同步大力地推進截句。然而，在針對截句的質疑之聲未獲解答的情況下，產生以千禧世代詩人為首的「反截句」現象；雙方在立場、認知、討論層次無法接軌，造成美學觀與媒介的對壘。本文以新的視角再論截句沿革與體式定義，評述截句運動在各場域中的現況與疑慮，並統整「反截句」行動中「以截句反截句」與「單點式輕批評」現象，全面針對截句／截句運動進行探討；在完整梳理所有脈絡後提出五點意見，以期對當代詩／文學運動的發展有實際助益。

After the Chinese poet Jiang Yitan created “Jieju” in 2015, Taiwan Poetics Quarterly, led by poet Bai Ling, redefined it as a sub-genre: one to four lines in length; can be new works or truncations from old works. Jieju has been promoted through online literature communities since 2017, which has produced a lot of output in literary production, publication, pedagogy, and research. In just a few years, a new sub-genre has been instituted. As a literature group, the coterie of Taiwan Poetics Quarterly takes advantage of social media and academic resources, including cooperating with United Daily News, editing “The Best Taiwanese Poetry,” holding academic seminars, and teaching and researching in higher education. However, lots of problems for jieju are not solved, which resulted in an “anti-jieju” movement by millennial poets. In a different light, this paper attempts to reopen the definition of jieju and clarify the jieju movement, focusing on the creations, comments, and criticisms from the “anti-jieju” camp. Through the discussion, the paper tries to assess the current situation of the jieju movement. After contextualizing and reflecting on the jieju movement, I put forward five suggestions, in order to be of practical help to the development of contemporary poetry.