本論文以王小波〈黃金時代〉、〈革命時期的愛情〉為主要分析文本，旁及其雜文及相關小說，探討王小波的身體書寫，究竟是一代人無可迴避的集體記憶表述，或是個人特殊的成長背景使然？其背後隱藏的文化立場與精神取向，經歷了何等變遷？同時經由文本細繹，筆者所意圖思考並解決的問題是：王小波為何會以狂歡書寫革命時代？藉由狂歡語言，王小波表達出的文革情境為何？復次，革命與性愛有何關聯性？而藉由革命時期的性愛，王小波又意欲表現出什麼樣的身體與文化意涵？本文希望經由上述提問，透顯王小波對於革命時期身體、性愛書寫的特殊性與深意。

After the Cultural Revolution, the normal writing style paralyzed. Writers of the 1960's such as Su Tong and Yu Hua turned to express personal and collective traumas in a cold way. However, another group of writers such as Wang Xiaobo (1952-1997) and Yan Lianke (1958- ) described the Cultural Revolution in a carnivalesque way, forming a different style of trauma writing. In the article, I will focus on Wang Xiaobo's The Goden age and Love in the Time of Revolution with reference to his other works when necessary. I want to know whether Wang's body writing expresses the collective memory of a generation or originates from his individual special background, and what kind of changes the cultural standpoint and spiritual orientation behind it undergoes. I will try to answer the following questions: Why does Wang choose a carnivalesque way to describe the Cultural Revolution? What situation of the Cultural Revolution is expressed by the carnivalesque language? What is the relationship between revolution and sex? What kind of physical and cultural meanings does Wang intend to display by sex during the Cultural Revolution? By answering the above questions, I show the speciality of Wang's writing of body and sex during the Cultural Revolution.