現代主義包含了不同個體的主觀傾訴，不同軌轍的想像奔馳，不同架構的形式追求，台灣現代主義真正風起雲湧，鼓動思潮，蔚為一時風尚的，應該是紀弦「現代派」成立之始(1956)，至乎七○年代現代詩論戰、鄉土文學論戰漸入尾聲之際，現代主義也因而稍為做其鋒芒。換言之，西方蓬勃將近一百年，送次新興不同主義的現代派，卻以相互交疊的姿態，壓縮在台灣輝煌二十五年(1956-1980)，這二十五年間，如果以白荻詩與詩論的大量出籠加以對照，竟然完全疊合，白荻的出現見證台灣現代主義的特質與始末。本文從「異化」的觀點切入，探索白荻詩作的形式主義的實驗、表現主義的語言，以象徵主義的孤雁、存在主義的孤岩深入固結白荻詩與台灣島的焦急

The significances of modernism lie in the different viewpoints of the individual, the different ways of imagination , and the pursuits of different structuring of forms. The rise and vitalization of Taiwan's modernist literary movement, which greatly inspired the writers' minds and then turned into a literary trend in literature, started with the formation of Chi-Hsüan's ＂School of Modernist Literature＂ on 1956. By the 1970s, Taiwanese intellectuals' debates on modernist poetry and on nativist literature had come to an end, with the result that the modernist literary movement was slightly declined. In other words, the explosion of western modernism, which presented different literary theories and trends in one hundred years, could be seen in the progression of compressing and overlapping different literary theories and trends in 25 years of Taiwanese modernist literature between 1956-1980. If we compare such a progression with the abundant publications of Bai-Chiu's poetry and poetic theory in these twenty-five years, we are able to see the total match, which indicates Bai-Chiu as a witness of the development of Taiwanese modernism. This paper is to examine Bai-Chiu's poetic works through a viewpoint of ＂alienation,＂ and analyze the experimental formalism and the language of expressionism utilized in his poetry, which presents Bai-Chiu as the one poet, who alone believed in symbolism as well as existentialism that explains the strong anxiety of Bai-Chiu's poetry and the inland Taiwan