本文探討臺灣在1970 年代「唱自己的歌」運動的生成條件。藉由吶喊的現象學（phenomenology of the scream）──包括德勒茲的吶喊與拉康的語音概念，闡述當時社會文化脈絡中難以察覺的情感力量與吶喊。本文試圖論證，李雙澤作為運動的重要推手，其創作行動不僅在回應時代情調之存在狀態與認同問題，其作品與精神更如幽靈般等待著未來的心電感應。

This article addresses the development of the “Singing out Our Songs” movement in 1970s Taiwan. Drawing on the phenomenology of the scream, specifically on the Deleuzian concept of the Scream and the Lacanian concept of the Voice, this paper focuses more attention on the mapping of intangible affective/resistant power in the context. Regarding Li Shuangze as the leading figure of the “Singing out Our Songs” movement, we argue that the act of his creation deploys the very way of answering the social condition as well as the urgent issue of identification at that time. Moreover, his compositions as a silent tomb show the historical significance in calling the spectre for a telepathetic link towards the future.