作為九○年代的身體意念詩人，唐捐以怪異不群、裝神弄鬼的詩風於文壇佔更一席之地，從自發到自覺，詩人經歷一段摸索時期，至第三本詩集《無血的大戮》後，已然奠定個人獨特語言聲色，與前人更了鮮明的風格區分。「身體」為個人對主體成立之思考起點，唐捐常將論述主軸移至常人避之唯恐不及的污穢領域，本文擬針對唐捐詩慣擅使用的「體液書寫」，結合「性器意象」兩大書寫板塊，進一步論述其詩身體意象，並探究唐捐如何百無忌「穢」操作「卑賤」之物，於形形色色的語言裂縫中，如何覓得重組知覺的道途、挖掘內裡的底蘊，藉著持續對主體自剖與自贖，內心對話交流，讓生命進程得以開啟新的可能。所欲探求有三:唐捐如何運用體液書寫結合性器意象，展現其詩意;其為何採此策略書寫;以及展現何種詩學面貌。

As the poet of body imagery in the 90s, Tang-Chuan plays an important role through his bizarre and ghostly poetry. After a period of exploration, the poet established his distinctive language style in the third poetry, "Massacre with No Blood." Tang-Chuan considers "body" to be one’s starting point of subject formation, and deals with filthy areas that people do not talk about. This thesis aims at the description of "body fluid" and "genital imagery" which Tang-Chuan often writes about, and further discusses the body imagery in his poetry. Moreover, it researches in how the poet daringly writes the "abjection" and how he explores the path toward awareness through discrepancies in language. By nonstop profiling the subject and talking to inner self, life can open new possibilities. There are three themes: How Tang-Chuan writes "body fluid" and "genital imagery" poetically; Why he uses this strategy; What it shows as a result.