本文主要討論台灣現代女詩人朵思的寫作特色，以傳記分析、美學方法與女性主義文學批評，參差對照，希望兼顧其詩人與女詩人的身分，闡發朵思個人的詩歌藝術。正文分四部份論述：一、論朵思的創作意識與女性意識：由此可見朵思自覺式的寫作與女性意識的覺醒；二、朵思詩歌中的聽覺意象及其美學：朵思擅用聽覺意象，而其中的沉默文本也不容忽視；雙聲陳述是詩歌敘述美學之一，於女性詩歌美學又更有深意；三、朵思詩歌中的身體書寫及其美學：朵思以觸覺為基準，建構其獨特的身體美學，也藉由行動的開展，建構其女性主體，呈現自由自主的世界觀；四、朵思詩歌中的自我形象及其美學：朵思由自我的追尋與掙扎，逐漸進入女性自我的完成，並用「一株冬日傾斜的櫻樹」來體現女詩人的自我之美。由本文分析可知，朵思的作品在詩學與女性審美上，都具有相當的成就。

　　　　　Duoo-Sy (朵思) (1939--) is a senior and famous poetess in Taiwan. This paper will describe some characteristics of her poetry while with feminist criticism and aesthetical analysis. There are 4 topics to discuss： (1) writing consciousness and feminine consciousness: they both push Duoo-Sy to write harder and write as a feminist poetess. (2) audition images and the aesthetical arts: Duoo-Sy is good at describing audition images, but there is a large silent text waiting for hearing in her poetry. The silent text is more meaningful by reading with feminist criticism. It symbolizes that the female subject is bounded by love and marriage. (3) body-writing and its aesthetical arts: Duoo-Sy is good at describing touching images. It is a base to set up her body-writing and body aesthetics. She has made an independent of thinking. That is a feminist gaze upon the world. (4) self images and the aesthetical arts: she always felt painful when she was young. So these portraits were full of suffering for subject-struggling. But she became peaceful, leisure and graceful in nowadays. She drew a beautiful image of her self: living as s slope cherryblossom in winter's sunshine which means an independent subject. Facing the feminist criticism, this paper will say that more theories more writing arts to be found while we look at a poetess like Duoo-Sy.