南朝樂府民歌，以清商曲辭中的聲歌和西曲歌為主，二者在內容上有一共同點，就是幾乎全屬情歌，且十之七八出自女性口吻，凸顯出歌西曲在魏晉南北朝「個人自我之覺醒」的學術思想氛圍中的特殊意義。歌西曲上承《詩》《騷》本色天然的民歌精神，由女性自覺而發聲，大膽熱烈地歌頌男女戀情，這在文學史上是前所未有的現象，尤其歌詞中率性任情的質樸語言，在南朝奢華浮靡的時代，大大撼動人心，展現出熱情奔放的生命力量。因此本文針對歌西曲中發自女性的聲音，或以女性為主題的文學書寫現象予以研究分析，企圖建構出歌西曲中女性書寫在愛情觀、女性形象與社會文化現象等方面的特徵，探究歌西曲在文本之外另一個足堪省思的可讀性視角。

The folksongs of Yuefu in the Southern Dynasties consist primarily of Folksongs of Wu (Wu Sheng Ge) and West Melody (Si Qu Ge), both of which belong to Ching Shang Qu Ci. Mainly love song in nature, the lyric of these two types of songs are sung by women. This noticeable fact has much to do with “individuals’ self awareness” heralded in the Wei-Jin and the North-South Dynasties period. The Folksongs of Wu and West Melody follows the folksong tradition of both “the Book of Songs” and “Li Sao”, but stands out with their female speakers’ conscious voicing for amorous love between men and women, and with great passions. This is an unprecedented phenomenon in the history of Chinese literature. In the Southern Dynasties, a time of sumptuousness and debauchery, these folksongs’ plain, yet unrestrained expression stirs great sensations. Both Wu Sheng Ge and Si Qu Ge witness ardent vitality of life. This paper analyzes women as speakers and characters in these folksongs. It brings out the characteristics of this écriture feminine in its concept of love and representation of female image, and discusses their socio-cultural meanings.