近年来,媒介在中国就像一个初出茅庐的喜剧演员一样,一直没能充当上喜剧的角色。经过长期性的冷落与孤独之后,她开始受到了暧昧的青睐。媒介一直与人类处在共同成长中,只是处在“媒介诗学”中而没有自知,深层生存的色调,已成为媒体诗学观察把握生活的重要手段。但这一提法并没为广大研究者所认同。本文以张邦卫的《媒介诗学》的定义出发,主要从四个方面力证“媒介诗学”存在的合理性。 In recent years, the media in China, like a fledgling comedian, has not been able to act as a comedy. After long-term neglect and loneliness, she began to be favored by the ambiguous. Media has always been in the common growth with mankind, but in the “media poetics” without knowing, the color of deep existence, has become an important means of media poetics to observe and grasp life. However, this reference has not been accepted by the majority of researchers. Based on Zhang Bangwei’s definition of “media poetics”, this paper tries to prove the existence of “media poetics” from four aspects.