江文瑜的圖象詩風格有異於純粹戲耍的創作策略；除了形式上具有圖象效果外，也以展示圖象符號作為女性與文化、政治、社會之間關係的隱喻。本文關注的正是江文瑜的詩作如何透過圖象詩作為開展女性議題的媒介，以及詩裡的女性如何與自我、外部社會產生對話關係。圖象符號在文字被開創前作爲溝通的自然媒介，屬於最原始的敘述方式。江文瑜以此文學形式來透露女性處在父權文明中心下的自我精神與哲思，展示了陰性書寫力量，體現了為揭露隱藏在官方史冊外的女性「心聲」之目的。對此，本文擬以江文瑜的詩集《男人的乳頭》以及《阿媽的料理》為研究對象，探討詩人如何透過圖象詩來展現對各年齡階層女性的關懷與想像，發掘詩人圖象詩中所彰顯的女性意識與意義

This paper focuses on how Wen-Yu Chiang's concrete poetry writing embodies her to expose the female ＂voices＂ in Taiwan society. Wen-Yu Chiang, a Taiwanese female poet, started to write concrete poetry since the mid of 1990's. Chiang's concrete poetry writing style is different from the purely playful poems writing strategy. Her experiments with concrete poetry covered several aspects, including the arrangement of linguistic elements like letter arrangements as well as shaped poetry writing to enhance the meaning of her works. Thus, the typographical effect of Chiang's concrete poetry is more important in conveying meaning than verbal significance. Interestingly, as she claimed herself as a feminist, her concrete poetry writing displays the link of relationships between Taiwanese feminism and the cultural and social politics in Taiwan society. Chiang's concrete poetry which is treated as a medium for carrying out female issues indicates how women ought to be in dialogue with inner-self and external patriarchal society. For the further discussion, this paper intends to discover how Chiang's concrete poems which were published in Men's Nipples and Grandma's Cuisine, reveal the micro-history as well as women daily voices in Taiwan