本文檢索六類二十本選集－《中國當代十大散文家選集》(1977)、《現代中國小說選Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ》(1989)、《天下散文選Ⅰ Ⅱ Ⅲ》(2001-2004)、《台灣飲食文選Ⅰ Ⅱ》(2003)、《中華現代文學大系（一）1970-1989 Ⅰ Ⅱ Ⅲ Ⅳ》（散文卷）(2003)、《中華現代文學大系（二）1989-2003 Ⅰ Ⅱ Ⅲ》（小說卷）(2003)、《五十年來台灣女性散文Ⅰ Ⅱ》(2006)，觀察選集蒐錄之作品，如何運用廚房作爲敘述空間並寄託情感。研究採分析文本並描摹外緣社會環境，發現60年代左右抒寫美文的女作家，歌誦田園與書房，鮮少描摹廚房。而解嚴前後國族想像驅之不散，擅以食物作懷鄉隱喻，食物中介地區文化而非廚房空間，也造成廚房空間書寫匱缺。但80年代中產階級主婦興起，廚房空間成爲劃分家庭主婦與職業婦女的地區。90年代後，經歷一波性別觀念轉折的洗禮，加上飲食文學盛行，一方面美食散文內鋪陳廚房是溫情角落，但另方面則有更多將廚房視爲心智女人禁區的文本出現。

This paper explores the gender issues involving narration of the kitchen space in the post-1960s literary works selected from twenty anthologies: Anthology of Ten Major Contemporary Prose Writers, Anthology of Modern Chinese Novels (I-V), Collection of Prose by Tianxia (I-III), Literary Writings on Taiwanese Food ( I and II , 2003), Anthology of Modern Chinese Literature 1970- 1989 (Volume One, I-IV)-Prose Collection (2003), Anthology of Modern Chinese Literature 1989-2003 (Volume Two, I-III)-Novel Collection (2003), and Fifty Years of Prose Works by Taiwanese Women. This article analyzes the selected works with reference to contemporary social circumstances in order to understand how the kitchen has been used as a space of narration and emotional expression. My study found that in the 1960s female writers wrote about natural sceneries but paid little attention to the kitchen. In the late 1970s when the island was still obsessed with Chinese nationalism, many female writers used food to express homesickness for mainland China. While food was sometimes used to represent local culture, the kitchen was still ignored. In the 1980s, with the emergence of middle-class women, the kitchen became a space that distinguished a housewife from a working woman. The early 1990s saw a new wave of change in ideas regarding gender and saw the appearance of culinary literature. The kitchen was presented as a place of affection in articles on gourmet food; it was also treated as a forbidden zone for women of intellect in numerous works.