本文旨在微觀一九七０年代台灣新詩中的身體經營。處理的文本集中在白萩、余光中、杜潘芳格、洛夫、楊光中、楊牧、管管、羅門等八位同代詩人的詩作。以這八位詩人為核心，本文期待探看一九七０年代詩作中的身體文化。 本文預設的討論對象，乃在肉身、神識、體制這三個綜攝面上，把握了三個要件，以範圍詩作。其一，描述的對象以個體為主，時或涉及奔馳的想像。其二，以具體事實來點染個體的特徵。其三，除了純粹的肉體素描以外，有時加入冥想、回憶、展望或批判。就此而論，一九七０年代台灣新詩中的身體即以三種面貌呈現：展示的身體、習慣的身體與隱喻的身體。 論文分三個主軸進行。首先，回溯歷史脈絡中的身體文本，理解一九五０年代以至一九七０年代的政治社會與經濟背景、文化藝術的特色、身體書寫的概況。其次，論述詩作中的身體觀、特殊的寫作成規和在地色彩。其三，以三個層次上的詩作對舉互映、比較，以見身體文化與精神層面的交融互涉。

The paper begins with the body management on Taiwan Modern Chinese Poetry in the seventies, proceeds through poetry from 8 poets (白萩、余光中、杜潘芳格、洛夫、楊光中、楊牧、管管、羅門), and ends with body culture in the period. The paper, detailing three main points, aims to discuss fresh, spiritual consciousness and system. First of all, the description is based on solid object, partially including expressive imagination. Secondly, that using concrete facts can present individual characteristics. Thirdly, in addition to fresh, meditation, retrospection, perspective or criticism will be mentioned. Taiwan’s Modern Chinese Poetry in the seventies, therefore, shows three aspects: illustrative body, habitual body and metaphoric body. The paper proceeds with three subjects. Firstly, in retrospect, it reveals the politics, society, economics, art, culture and body writing in the period 1950-1970. Furthermore, it describes aspects of bodies, special writing rules and local characteristics in the poetry. Finally, it compares the poetry to present the interaction between body culture and the spiritual aspect.