经过一百年的发展，中国新诗形成了独特的发展方式和诗歌传统，在新诗百年之际，我们有必要对当下最活跃的自媒体新诗进行探讨和研究。本文试图在总结梳理前人对网络诗歌的相关研究的基础上，进一步探讨自媒体新诗在传播机制、美学风格与文化特征等方面的特点，并探讨它作为一种新的诗歌现象在新诗史上的意义与局限。文章分为五个部分。 第一部分为绪论，总结梳理了前人对网络诗歌、新媒体诗歌以及自媒体诗歌的相关研究，学界对这一新兴话题的态度完成了由略微排斥直至主动纳入学术讨论的转变。 第二部分梳理了诗歌传播媒介的发展和演变，并对自媒体概念进行了辨析。文章重点分析了博客、微博、微信等最具代表性的自媒体平台。自媒体新诗具有以往任何一种传播方式所没有的交互性、即时性和共享性。 第三部分，文章探讨分析了自媒体新诗由创作到发表与传播，再到阅读与评论，最后到出版与再传播这一生产和消费路径所形成的特点。在这样一个被拉长了的链条中，发表的去编审化与随意化、传播的开放性与及时性显得尤为突出，对整个过程产生了重要的影响：自媒体新诗的创作主体更加多元和草根化，主题更加注重实效性，创作的反馈更加即时化；读者面对着浩瀚无边的新诗文本，陷入了一个阅读的广泛性和有限性的矛盾之中，评论也变得更加大众化和扁平化；而自媒体新诗的集结出版作为一种遴选机制，暴露出自媒体新诗与生俱来的弱点，同时这也昭示着自媒体新诗未来的经典化之路。 第四部分，文章分析了自媒体新诗在美学风格和文化特征上的新特点。自媒体新诗最初是民间写作最大的平台，因此逐渐形成了口语化的倾向以及反讽的修辞，而自媒体开放包容的特点也使得平台上的新诗出现了分立的诗学观念。作为与互联网联姻产生的新事物，自媒体新诗还携带着大众文化的基因，诗人、诗歌作品以及诗歌本身都被作为消费品消费着，在这种风潮影响之下，自媒体新诗体现出去深度化以及同质化的特点。自媒体平台的虚拟性使得诗歌创作主体逐渐隐退在屏幕之后，任何人都有权力发表诗作和评论，与此同时，相同身份的诗人会形成聚合的圈子，自媒体新诗就在平权化与圈子化这两大趋势的拉扯中不断前进。 第五部分，文章试图总结自媒体新诗的价值和局限。在新诗百年的发展历程中，诗歌与自媒体的结合，是一次新的尝试与可能，给诗歌带来许多新气象，拓展了新诗展示和传播的途径，也重新引发了各界对新诗的关注和参与。但是另一方面，新诗与新技术的结合也使得新诗也过于依附于互联网技术的革新，自媒体新诗本身缺乏相应的标准和规约机制，导致自媒体新诗良莠不齐，而且没有形成良好的自我经典化路径。

After one hundred years of development, Chinese new poetry has formed a unique way of developing and its own poetic tradition. At this time, we need to discuss and study the most active ‘self-media poetry’ of the moment. This paper attempts to summarize the previous researches on online poetry and explore the characteristics of the new poetry in the transmission mechanism, aesthetic style, etc., and explore its significance and limitations as a new poetic phenomenon in the history of new poetry. The article is divided into five parts. The first part is the introduction, summarizing the previous researches on network poetry, new media poetry and self-media poetry. The attitude of the academic community to this emerging topic has changed from being slightly repelled to being actively included in academic discussion. The second part analyzes the development and evolution of poetry media and the concept of self-media. Self-media poetry is the most cutting-edge mode of transmission of new poetry. The article focuses on the most representative self-media platforms such as blogs, Weibo, and WeChat. Self-media poems have the interactivity, immediacy, and sharing that none of the previous modes of communication have. In the third part, the article discusses and analyzes the characteristics of the production and consumption of new poetry：the creation of the media,publication and dissemination, reading and commentary, and publication and re-dissemination. In such an elongated chain, the openness and timeliness of published declassification and randomization, and dissemination are particularly prominent, and have an important impact on the entire process: the creative subject of new poetry in self-media is more diverse and grassroots. The theme has paid more attention to practical results, and the feedback of creation has become more immediate; readers are faced with a vast array of new poetry texts, and have become trapped in the contradiction of a wide range of reading and limited, and the comments have become more popular and flattened. The collection and publishing of new poetry in self-media, as a sort of selection mechanism, reveals the inherent weaknesses of the new poetry of the media. On the other hand, this also indicates the future of the classical poetry of the new poetry in self-media. In the fourth part, the article analyzes the new aesthetic characteristics of the new poems in self-media. Because it is different from the production and consumption mechanism of traditional media poetry, new poems in self-media have formed a distinct and unique aesthetic style that is different from traditional poetry. Since the new media poems were the largest platform for folk writing at first, they gradually formed the tendency of colloquialism and the rhetoric of irony. Since the openness and inclusiveness of the media, the new poetry on the platform has also developed a discrete concept of poetics. It is the source of vitality of the new poems in self-media that makes new poems in self-media richer and more diverse. As a new thing created by marriage with the Internet, the genes, poets, poetry, and poetry of the mass media culture of the new poetry in self-media have been consumed as consumer goods. Under the influence of this trend, new poems in self-media have been embodied in depth and The characteristics of homogenization. Since the virtual nature of the media platform gradually makes the subject of poetry retire behind the screen, anyone has the right to publish poetry and commentary. At the same time, poets with the same identity will form a convergent circle, and new poetry in self-media will be centralized and The centralization of these two major trends continues to advance. In the fifth part, the article attempts to sum up the values and limitations of new poetry in self-media. In the development of new poems over a century, the combination of poetry and self-media is a new attempt and possibility. It has brought many new meteorological conditions to poetry, expanded the way in which new poems are displayed and disseminated, and has rekindled the attention of all walks of life to new poetry. On the other hand, the combination of new poetry and new technology also makes new poetry attached to the innovation of Internet technology too much. The new poetry itself lacks corresponding standards and norms, resulting in a variety of new poems in self-media, and it has not formed a good statute mechanism and standardization path.