「基隆」，自身總在言說，基隆漢詩的「在地言說」，是由於在地住民，基於住地共感，所產生出來的，言說的同時，亦即現身，都可視爲意向性的書寫，將「基隆」納入意識之中，成爲基隆漢詩，這樣的書寫，開展在《詩報》等相關書寫中，通過反覆意象的語言掌握，以「此地此時」爲核心的特殊性，便突顯出來；其中，現象學概念的援引，有助於對詩的把握，因此，理解漢詩時，有現象學視角的加入，對於複雜的殖民話語，能夠有撥除遮蔽的效果。 再者，日人所執行的現代化舉措，將時間空間，納入殖民語境，如農業的節氣，人與自然間，以和諧的方式共處，詩人則通過「居」的現象，以及日常生活敘事，建構詩學空間，此詩學空間與現代時間，成爲並行於基隆漢詩的體驗中，而詩的多義與歧語，使此時空的建構，成爲可能。

The beginning of this article is concerning my own experience of leaving away from my hometown and the attempt to recall my memory via poems. Keelung, a place that it always tells its own stories. "The local stories" in Keelung Han Poetry (基隆漢詩) come into being because of the local residents' common feelings to their living lands and surroundings. When telling a Keelung story, the image of Keelung shows up. This writing style can be regarded as intentional. It is the consciousness of Keelung that Keelung Han Poetry grows up. This kind of writing styles developed in Shi Bao (詩報) and its relative writing works. Through controlling the language of images over and over again, it shows the center spirit of "right here-right time". The application of the concept of phenomenology is helpful for understanding a poem. Thus, it is positively affective to know better Han poetry written in complex colonial language usages when assisted with the view of phenomenology. Moreover, the modernization measures that Japanese enforced brought "time" and "space" into the language context, for instance, the agricultural solar terms and the harmonious living ways between human beings and Nature. Poets construct an artistic conception of poetry via being a being and living in their daily lives. The artistic conception of poetry and modern time then become a kind of experiences in Keelung Han Poetry. The various classifications of a poem and uncertain explanations to it make it possible to construct a certain space-time.