The essay illustrates Chinese modern poet Mudan's love poem "discovery" Through the perspective of "body in the love". It makes clear Mudan's great creativity in love poem that he learned from western modernist literature tradition and rooted the individual life experience. The poem "discovery" enriched our thinking about love and provided a special solution of understanding body and hear desire and soul， individual and other in the love.
The national identity， which has been shown in Chinese films， has been prolonged the same as the history of Chinese films， as well as it is closely related to Chinese classical cultures that have been inspired into Chinese people by government and education. Chinese famous for poetry denotes that the poetry has deeply acted on erecting country or national identity. To maximize national destiny and tragic sensation esthetically， the 'Yijing'， classical esthetic is introduced.
The movie BaShanYeYu(1980) sutures the tragic history elated to the victims in Great Proletarian Cultural Revolution and converges into new age and national system regardless of race and region， based on the image of [夜雨寄北].
The movie Farewell My Concubine(1993) shows that the esthetical values of traditional art named Peking Opera is continuously performed in spite of such historical confusions， under the name of immutable cultural tradition. The cultural and mental aspects identifying the Peking Opera with the country are not in the opera itself， but in the poetic 'Yijing'. Chinese arts and literatures expressed history and life as uncertainty for thousands of years， and it is a esthetical space that China imagines.
The movie The Hero(2002) skillfully identifies the uncertainty of the unlimited space shown in 'Yijing' with the sublime of imperialism. In order to attain '大音希聲' ego should be '坐忘' and '喪我'. 'Yijing' is esthetical space expanded widely from physical space. Thus， the imperialism cannot be communicated with the 'Yijing'.
The fact， which cultural difference or ideological difference is diluted， is easily shown in the preceding Chinese movies. The establishment of China， which completed cultural symbolism， was perfected by the poetry. Writing and reading poetry have leaded the construction of national ideology and its deconstruction. Writing and reading poetry has been permeated into the Chinese movies， thus， Chinese films are imaginable solutions for establishing national image.
The main aim of this paper is to offer an comparison of the novel Eagle-shooting Heroes with the film Ashes of Time. This paper is roughly divided into four; the introduction(Chapter1)， the deletion and transcendence of modernity(Chapter2)， the oblivion and transcendence of chivalric world(Chapter3) and between reproduction and the reinterpretation(Chapter4).
Wangjiawei inserts Huangyaoshi's narrative as Outangfeng relates reminiscence， reinterpretates Eagle-shooting Geroes with strong authorist's method， and write up the sorrow of knight-errants' disappointed love in the postmodern imaginary world. As Jinyong's Eagle-shooting Heroes was adapted for TV dramas and movies， it also became one of the cult objects and cultural phenomena. Through this paper， we could find how the modern subjects that Eagle-Shooting Heroes's characters pursued was adapted for the movies in the modernity's deletion and transcendence aspects. As Jinyong's former period novel's China vs foreign country's dual opposition structure transfer to the latter period novels' unitary Sinocentrism structure， Jinyong's writing motive became more apparent. And we could find the comparative aspects of the motive and social allegories that Eagle-Shooting Heroes was adaptated for Ashes of time.
Eagle-shooting Heroes has strong absorption force that leads to the world of fiction and fantasy but has more of hotmedia elements than coolmedia elements. Eagle-shooting Heroes， the novel and video， therefore， set much value on genre itself， but Ashes of time is based on authorism.
I regret， however， that the Hongkong's knight-errant novels' adaptation for dramas and movies don't reflect Hongkong's modernization through chivalric world as Eagle-shooting Heroes any more， but loses its sincerity in 1950's.