| Acknowledgements | 第4-5页 |
| Abstract | 第5-6页 |
| 摘要 | 第7-9页 |
| Introduction | 第9-19页 |
| Chapter One Openness: Free Choice of Subjects and Avoidance of Order | 第19-31页 |
| 1.1 Inclusiveness | 第19-26页 |
| 1.1.1 Subject Matters from Street Gossips to Sensitive Issues | 第19-22页 |
| 1.1.2 Colloquial Language | 第22-24页 |
| 1.1.3 Chinese and French Elements | 第24-26页 |
| 1.2 Disorder | 第26-31页 |
| 1.2.1 Automatic Writing of Recording Illogical Consciousness | 第26-27页 |
| 1.2.2 Fragmentation both in Form and Content | 第27-31页 |
| Chapter Two Conversation: Interaction and Collaboration | 第31-43页 |
| 2.1 Coterie Writing | 第31-36页 |
| 2.1.1 Group Game with Other Poets and Readers | 第31-33页 |
| 2.1.2 Painterly Poems Collaborated with Abstract Expressionists | 第33-36页 |
| 2.2 Artistic Intermingling | 第36-43页 |
| 2.2.1 Adoption of Music into Poetry | 第37-39页 |
| 2.2.2 Connecting Films and Opera with Poetry | 第39-43页 |
| Chapter Three Personism: Ambiguity of Presence and Absence | 第43-55页 |
| 3.1 Confessional Style | 第43-47页 |
| 3.1.1 Various Images of Self | 第44-46页 |
| 3.1.2 Address and Audience | 第46-47页 |
| 3.2 Detached Observation | 第47-55页 |
| 3.2.1 Anxiety of Being Absent | 第47-50页 |
| 3.2.2 Art as a Weapon to Fight against Death | 第50-55页 |
| Conclusion | 第55-57页 |
| Works Cited | 第57-61页 |
| AppendixⅠ | 第61-73页 |
| Appendix Ⅱ | 第73-83页 |
| Appendix Ⅲ | 第83-84页 |
