Аннотация:The paper explores how “anti-absorption” centered strategies operate in modern Chinese poetic text, and how experimental poets structure their work with respect to language. This is exemplified by a study of two avant-garde authors – Yang Lian and Gu Cheng – who share a common poetics despite using different creative methods: careful intellectual analysis and “automated writing” accordingly. What is achieved thereby is the creation of the special aesthetics of “purified” language. In the works of Gu Cheng and Yang Lian poetry aims at zero, and poetic text does not appear as a finished product, but rather as some product in-the-process-of-creation. Thus the reader becomes a poet’s creative partner in redefining the function of language and thus merging the boundaries of philosophy and literature.
