在十九世紀西歐感覺論中，嗅覺在視覺優位的感覺階級中被貶低到下層，但類似狀況在日本也能看見，且西歐近代退化論（degeneration）的說辭，也深刻地反映在自然主義與象徵主義文學的嗅覺表象當中。日語裡頭，味道（smell）與香味（scent）的感覺被差異化，前者普遍地被賦與負面價值。除此之外，前者被解釋為帶有公共意涵，而後者有時會被賦予私人、隱私文脈。關於前者的「味道」，在明治初期都市公共衛生中與惡臭有關的問題裡面，被焦點、言論化。當然的，私與公的分節系統，在文藝領域裡頭出現了動搖。視覺中心主義的感覺排列中，被下層化的嗅覺如何能透過文學賦予它的語言，來挑戰支配言論空間的視覺規範呢？本論文將從二十世紀初以來種種日本近代詩的實驗表現中，摸索探討這項課題的線索。 In the 19th century European discourse of sensibility, the sense of smell was degraded in the order of visualism. Similar phenomenon could be seen in Japan. Besides, the discourse of degeneration in modern Europe was deeply reflected in the smell representation of naturalism and symbolism literature. In Japanese, the sense of smell and of scent was differenced. The former was regarded negtive generally. Besides, it was explained with a public meaning, and the later was read in a personal, privite context. “Smell” was focused, and discoursed in the stench problem of metropolotan public health in the beginning of Meiji period. Inevitably, the frame that differentiate between private and public was loosed in literature and art field. In the order of visualism, how did smell challenge the predominated visual displine through literary language? This is what I try to answer in the thesis by researching the varible experiment of Japanese modern poetry after 20th century.