本論文以加斯東．巴舍拉於《空間詩學》中的論述為主，探討法國當代詩人伊夫．博納富瓦的晚期四本詩集《雪的開始與結束》、《彎曲的船板》、《長錨鏈》與《當下時刻》中所呈現的詩意空間；在此架構中，我不僅呈現博納富瓦自身詩學的不斷革新，也加以論證此詩意空間的延展與動態建構，實是詩人自身的存有之展。
我假設此詩意空間為各物質、場所、事件與情感的集合體，它有其深度及厚度，同時因詩人之想像主體的活動而有其動能；在詩人以不同詩意象回歸特定母題時，此架構中的物質特性、乃至詩人情感皆不斷更新，連帶也調動此詩意空間之不斷建構與形變。本論文雖以巴舍拉論述作主調，但要強調的是巴舍拉是以幸福空間為研究主幹，相比之下，博納富瓦的空間詩學所處理與涵蓋的空間型態要來的更加廣泛，其中不乏空乏、靜滯、或敵意空間。因此，本論文可視為巴舍拉空間研究之另一切入。
本論文主要三章節，分別以「空間之誘惑」、「空間內冒險」、「於廣袤中建立信心」為論述主軸。第一章分析《雪的開始與結束》（1991），前半著重詩人如何在詩及散文中建立空間感、並在地方與空間的經驗中來回置換；後半以巴舍拉的動態想像，論述「雪」意象的動態性及詩意。第二章以《彎曲的船板》（2001）為分析對象，以石頭、水、家屋、船等詩意象的雙重性帶出巴舍拉想像哲學的動態辯證，說明詩人的力量意志如何在靜滯空間、無空間、甚至是敵意空間中前行；我辯證此動能即是此詩意空間不斷形變的根本原力。第三章分析兩詩集，《長錨鏈》（2008）與《當下時刻》（2011），強調詩人對自己詩學恆持的信心；此章節著重想像主體與客體間的相互關係，與詩人詩學中所呈現的「回歸」，以帶出此詩意空間之動態形塑與詩人的存在實為不可劃分、且呈相互辯證與消長之關係。

This thesis explores four of contemporary French poet Yves Bonnefoy’s (1923-2016) late writings Beginning and End of The Snow (1989), The Curved Planks (2001), The Anchor’s Long Chain (2008), and The Present Hour (2011) to demonstrate the constructing process of the poet’s poetic space through the reading of Gaston Bachelard’s theoretical discourse proposed in The Poetics of Space (1958). By closely examining these four volumes, I not only demonstrate Bonnefoy’s evolving attitude toward his poetics but also indicate plainly how such poetic space is made possible.
I propose that this poetic space is a collective unity of distinctive matters, events, places, and sensations; it possesses its verticality and profundity, meanwhile is capable of shaping and reshaping itself with the subject’s imaginative faculty: the poet’s returning to particular poetic themes along with his different stances have endlessly renewed this poetic space, bringing about its endless formations. Though my proposed structure of poetic space has its roots in Bachelard’s discourse on space’s poetics, the two are not entirely identical; Bonnefoy’s poetic space exceeds Bachelard’s in the poet’s inclusion of positive and negative spaces, spaces that are and are not.
This thesis is divided into three chapters, each has its particular theme to pursue, namely temptation, venture, and confidence. Chapter One probes into 1991 volume Beginning and End of The Snow to demonstrate the transformation of Bonnefoy’s placial and spatial experiences from geographically concrete to poetic and imaginative; with Bachelard’s discourse on dynamic imagination, I demonstrate how Bonnefoy contours his poetic space with plentiful performances of the snow image. Chapter Two continues the discussion of imagination’s dynamism with Bonnefoy’s 2001 volume The Curved Planks, focusing particularly on its workings in negative and even hostile contexts to show how poetic space still possesses its potential to grow and expand. Chapter Three examines The Anchor’s Long Chain (2008) and The Present Hour (2011) to present the dialectical relationship between imagining subject and the imagined image, and how the two co-constitute the immensity which points to the depth of the being. I see the dialectical co-constitution of the two as the completion of Bonnefoy’s poetic space: it constitutes the roundness of this structure in which the poet ceaselessly returns to and dwells.

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