吾身，吾詩︰顏艾琳與台灣女詩人之身體詩學

Abstract

本文論點為女性創作的詩歌從「吾身，吾詩」的宗旨出發，爭取對女性身體的發言權，為女性身體詩作之效力辯護。本文也主張以身體入詩的女性詩歌在文學史中不應歸為另類肉慾詩派，應就其審美價值論斷。在台灣女詩人中，以身體為詩的題材顏艾琳是先驅者之一，《骨皮肉》（ 1997）詩集中展現的個人女性主義坦率誠實面對女性慾望與身體，同時關注對女性身體的剝削。顏艾琳之相關詩作詳繪驅力的自發性移動、停滯與賤斥，亦描寫艾蓮‧修娃特所稱的「雙聲論述」，在顏艾琳的詩中此論述與男性及女性傳統維持辯證關係。

With the tenet of ＂my body, my poetry,＂ this paper argues that poetry written by women claims the right to articulate the female body and champions the validity of their poems about the female body. Rather than being denominated in literary history as an alternative school of carnality, women`s poetry about the body should be judged by its aesthetic value. A pioneer among Taiwanese women poets on the subject of the body, Ai-lin Yen in Bone, Skin, and Flesh (1997) advances a personal feminism which is frank and honest about female desire as well as the female body, and about the exploitation of the female body. Yen`s poems expand on the motility and stases of the drives and abjection, and sketch what Elaine Showalter calls a ＂double-voiced discourse＂ in dialectical relationships with both male and female traditions.