在中國新詩百年歷程中,顧城與海子已經演變為當代記憶文化中不可或缺的文化符號,兩者都具有一些記憶的共同點,持續地影響著后來讀者的閱讀興趣,因此沒有在碎片化的信息時代中被遺忘。然而他們身處文化記憶幻象中,并逐步成為新詩消費化、娛樂化的表征。同時,由于這種被楊·阿斯曼稱之為"凝聚性結構"的象征體系的形成,使得兩者詩文本與文本之外的因素混雜在一起,從而難以分辨,影響了大眾的判斷和接受。假象的被接受不等同于深層認同。顧城與海子所形成的"凝聚性結構"亟需被整理并突破,從而贏得一種精確的闡釋。從詩歌文本的有意抬高到日常生活的神化,文學與日常生活經驗互相滲透,詩人形象被不斷演繹。以文化記憶為視角切入兩人文化記憶共同點的內部從而"去魅",有利于讀者對于兩人的認識回歸到詩歌本體層面,從而真正讓海子和顧城回歸到地平線。

In the history of Chinese new poetry since a century ago,Gu Cheng and Hai Zi have become a cultural memory symbol indispensable to contemporary culture. Their similarities in people’s memory continue to affect later readers’ interest,which gives them an enduring position in the age fragmented with information. However,being in the cultural memory illusion,they gradually reveal how new poetry becomes an object of consumerism and entertainment. At the same time,because of the function of the symbol system called"condensed structure"by Jan Assmann,factors within and without their poetry are mixed together and indistinguishable,which affects the popular judgment and reception. Due to the intentional elevation of their poetry and the deification of their daily life,literature and life experience merge into each other,and the image of the poets is continuously reinterpreted. Acceptance of illusion,however,is not equivalent to deep-rooted identification. The"condensed structure"of Gu Cheng and Hai Zi have to be reinvestigated for an accurate interpretation of their poetry. From the perspective of similarities of cultural memory,there must be"disenchantment"to bring readers back to their poetry,and to bring the poets back to the world.