中國第三代詩歌崛起於對朦朧詩美學的裂變，其中以李亞偉為代表的莽漢詩歌儼然成為其中一支典範。由於莽漢詩歌在創作風格和行為理念上，跟美國垮掉派有諸多相似之處，故本文借用比較文學的影響研究方法，從跨掉派作品在中國的傳播過程與文化損耗、原典的誤讀、莽漢詩人的創作理念及風格形成，到李亞偉的前衛語言實驗，深入檢視被草草掩埋入垮掉派陰影底下的莽漢詩歌，進而展開一場中西詩歌跨文化影響的辯證，找出李亞偉跟垮掉派之間「可能最高」的一種影響過程，最後將之定義為：美國垮掉派文學對中國影響之下的一項「在地化」創作成果。

Li Ya-Wei’s Mang-Han poetry had become the canonical study in the rise of Mainland China’s third generation poetry towards the fission of obscure poetry. Mang-Han poetry has many similarities with America’s The Beats on various aspects such as the writing style and behavior in concept. This article will inspect the Mang-Han poetry which had been hastily buried into the shadow under The Beats using the comparative literature’s method of influence study. By examining the propagation process, cultural loss, misread of source contexts, writing concept and formed style by Mang-Han’s poet from the works of The Beats in Mainland China till Li Ya-Wei’s experimental avant-garde language, we will conduct a cross-cultural poetry dialectic between Chinese and Western poetry in order to find out with the "highest possible" influence in between Li Ya-Wei and The Beats. We will then define it as: The localized creation from the impact of America’s The Beats towards Mainland China’s literature.