江文瑜《阿媽的料理》圖像詩中的食物意象

植物或食材對於人類的生存有重大關係。《詩經》是中國最早的詩歌總集，內容有許多對花草樹木的描繪，讓意象更豐富、意境更悠遠。《詩經》之後各朝代，甚至現代，仍不乏有文人雅士藉著植物或食材書寫心中塊壘。《阿媽的料理》是江文瑜的第二本詩集，不同於其第一本詩集以前衛風格書寫濃烈的兩性情慾，而是集中阿媽（女人認同、女人歷史）與日常生活的種種面向。本文擬以《阿媽的料理》中的圖像詩為研究對象，嘗試以法國哲學家加斯東．巴舍拉（Gaston Bachelard, 1884-1962）提出的「迴盪」（retentissement）作用，藉著詩人圖像詩的造型，及還原食材文字原義中，尋找隱藏在圖像或文字中的意象，再進一步探討詩人如何透過料理／食物意象彰顯有關女性之相關議題。

關鍵字

詩經；江文瑜；圖像詩；食物意象；巴舍拉

並列摘要

Plants or food ingredients have a major connection with human existence. Book of Odes, the earliest collection of Chinese poetry, contains many descriptions of flowers and trees, adding to the rich imagery and conception between the lines. In later Chinese dynasties or even modern times, there have been many poets who sought to vent their depressed feelings by writing about plants and foods. Grandma's Cuisine is the second poetry collection by Chiang Wen-yu. Different from the avant-garde elaboration on the strong sexual desires between the sexes in her first poetry collection, Grandma's Cuisine delves into various aspects of women's identification and women's history as well as grandma's daily lives. Focusing on the concrete poetry in Grandma's Cuisine, this essay draws on French philosopher Gaston Bachelard's (1884-1962) concept of retentissement to dig out the hidden meanings behind the images or words and further explore how the poet uses cuisine/food imagery to highlight women-related issues, by reviewing the contour of the visual poetry and tracing the etymology of the culinary terms.