女性在國家論述中長久地處於「邊緣」的位置上，這種位置使得女性詩人在傳達對國家、歷史的批判意識時，多半傾向間接想像的隱喻方式。本文以海的意象作為主軸，探討女性對於自身與島嶼處境之反省批判所使用的間接隱喻方式。觀察台灣現代女性詩作，凡寫及波浪、潮汐等海洋「線條特徵」的作品多半具有兩大特徵：(1)具有「邊綠」性：此邊緣特徵所指涉的主體，或指女性主體本身，或指稱台灣島嶼的邊緣處境。(2)具有「時間空間化」的性質：此為斷裂的「多元時間」意識的呈現。並且深究其內在意義，可發現其「邊緣」處境與「多元時間」觀其實是一體的兩面。不論是「時間空間化」還是「多元時間」的特徵，均是有別於「線性」歷史意識的時間觀照，是女性與島嶼被排除於中心完整時空感受之外的邊緣處境的折射。在海洋「線型空間」的「多元時間」與「多元範疇」的交替中，可以看出女性、島嶼、海洋三者之問相互牽繫的隱喻關係，以及島嶼處境與海洋空間不可分割的歷史觀照。

Women always in the edge position of civil discussion. Such position makes poetess use the imaginary metaphor when they express their criticized consciousness for the nation and history. This paper endeavours to pursue the sea image as a major theme, which explores the indirect metaphor methods that reflect poetess on the position of women and island. On investigating Taiwan modem-female poems, we find the poems that describe in the "linear space" of sea (e. g.wave, tide) always have two features. One is the feature of edge describes the subject for position of female and island. Another. one is the feature of "spatial time": this is the consciousness for "multiple time" perception. Investigating the intemal meaning of these two features, we find that the "edge position" and "multiple time" perception are the two faces of one thing. Both of "spatial time" and "multiple time" perception are in consciousness that are different from the "linear history" consciousness, and they reflected the edge position that are discharged from complete space-time continuum. The "linear space" of sea that interacts "multiple time" and "multiple domain" can be read as the metaphor feature between women, island, and sea, and the unified history perception between island position and sea space.