興起於一九二○年代的德國新即物主義，原來只是一個藝術的小流派，透過日本現代主義詩派的輾轉管道被引進台灣，成了笠詩社主要的詩學主張，這或許是由於「美麗錯誤」的誤認；惟不可置疑的是，新即物主義現今已成為台灣新詩多元發展中不可或缺之一部分。笠詩人中則以杜國清所提出的論述與評介最具全面性與系統性，代表了笠詩人對於新即物主義的認知與論點。本論文即分從起源、說、特徵說，以及詩作的實際批評三個方面，予以撿視杜國清的說法，並認為其受到里爾克實存意識的影響，而有向表現主義靠攏的傾向

The new objectivity emerged as a small distinct art movement in Germany of the 1920s. It had been indirectly introduced into Taiwan by way of Japanese modernism school, and then had become the important poetics of Lih society. Undoubtedly, the new objectivity was devoted to develop the poetry-writing in Taiwan since the 1960s. Du Guoqing's argument about new objectivity seems reasonable to be considered the main formulation in Lih society. His several articles have been devoted to the study of new objectivity thus far. Du's argument about new objectivity can be roughly divided into three following aspects: (1) the origin; (2) the characteristics; (3) the practical criticism. This article will examine the above argument, and show further that his inclination toward expressionism resulted from the influence of Rilke