Abstract
Abstract Unlike the common practice of thesis writing, this dissertation expresses my thought on Hsia Yu's poetry with the manner of self-indulging and self-destruction. It does not come with a literature review section and ground itself with theories. Even the conclusion is also very dubious. Under this kind of post-modern condition that everything is abandoned and not picked up again, I wholeheartedly investigate the poetic variation and revolution in Hsia Yu's poem and persistently write down the aesthetic blueprint and imagination in Hsia Yu's another poem. Thus, three unintended and self-enclosing pseudo-poetic terminologies appear: broken musicality, translatedness, and virtual onceness. I use these three pseudo-poetic terminologies to witness straightforwardly on the unceasing thinking about production institute of poetics behind Hsia Yu's astonishing form performance. Keywords: Hsia Yu, form, broken musicality, translatedness, virtual onceness