Abstract: The rhetorical features and cultural spirit of Guan Guan’s poetry is studied from modern theoretical perspectives including Lacan’s psychoanalytic semiotics. Guan Guan’s surreal aesthetics is often integrated with the carnival style，posing an impact on the originally divine signs in an absurd and humble way. The subversive potential of degradation toward absurdity and body in Guan Guan’s poetics is observed based on Bakhtine's carnival theory. Guan Guan’s practice of a constantly sliding and jumping speech strategy demonstrates，with a diachronic surreal displacement，the eternal change of the signifier.Lacan’s theory on metonymy and desire helps readers to appreciate how Guan Guan’s use of anadiplosis deconstructs the order of signs. The subjective destitution in Guan Guan’s poetics is，to a large extent，the re-embodiment of traditional men of letter’s unrestrained attitude and self-mockery，a mapping of the classical wild image onto the post-modern subject. The game spirit in his poetry，being a feature of naivete on the one hand，must be interpreted as an everlasting dialectics between traumatic experience and the endeavor to signify it. The poetic language of Guan Guan is an adventure，a breakthrough from an impasse.

Key words: Guan Guan, Taiwan poetry, surreal aesthetics, rhetorical feature, game of significance