乩童是閩南及台灣、乃至東南亞華人區重要的民俗現象，代表神人鬼之間重要的橋樑，唐捐的詩文在在透露其父親是鸞生（即一名武乩），而他不斷給父親「鸞生化」且向外拓展，他想要傳達的意義是什麼？其究竟要表達何思想？這使其詩的符碼特色與其他詩人有別。對唐捐而言，身體這個道場這個肉身就是幻土。他的形神遊走和幻土追索，是用卑鄙、污穢、體液、肢解來做各種展演。唐捐對父親過逝心中很愧疚，在其象徵域中有未完成的缺陷和「尊嚴」，唐捐用書寫幫父親完成。本文由拉康的精神分析和紀傑克的視差轉換理論切入，探討人的左右大腦與此神秘的乩童意象的對應關係、以及一位詩人創作美學和思維內涵的精神底蘊

In Fujian and Taiwan, as well as Chinese communities in Southeast Asia, Shamans (Dang-gi) is important folk phenomenon that represents a bridge between God ghosts and human beings. Tang Juang's verse reveal his father is in the phoenix raw (ie, a martial mediums). And he kept his father ＂to become shamans＂ and outward expansion, this makes his poems codes characteristics different from other poets. For him, the physical body is the temple of the magic land. He used despicable, filthy, body fluids, dismembered way to do all kinds of performances to show his body and spirit and illusion land walk recourse. When his father passed away Tang's heart feels very guilty, in its symbolic domain have defects and unfinished ＂dignity＂, Tang uses writing to help his father completed. This article uses the Lacanian psychoanalysis and Zizek's the parallax view, to explore the relationship between people around the brain and this mysterious shamans imagery, as well as a poet, how to explore creative aesthetics and spiritual heritage of thinking connotation