在畢夏的詩作中，自然、環境、地理與旅行一直是重要主題。本文旨在探討畢夏如何思索人與自然的關係，並指出畢夏詩中對於環境的關懷。詩人以「水際」作為人類文明到自然環境的過度場域，其對水岸的刻畫除了展現人與非人間的緊密共存外，也揭示了人在觀察與再現自然時的限制。畢夏並不試圖突破此限制，而是承認其存在，並以詩的語言作為重新審視自然的媒介。畢夏的環境關懷詩學體現科學觀察如何與美學體驗結合，進而提升人的環境意識。
本文第一章探討生態詩學如何為環境問題作出有效貢獻，以及畢夏的生態思想如何形塑她的詩作。第二章探討畢夏如何透過「水際」此域限空間處理人再現自然的限制，以及如水般順應與流動的思維方式如何化限制為省思。最末章探討畢夏的旅行與旅居經驗，總結出畢夏透過旅行，傳達自然作為人的居所與人旅居自然的現況。畢夏的生態詩學展現了富流動性的處世與思考方式，此反應自然、隨自然變化的模式使自然在其筆下更為鮮明。

This thesis aims to examine how Bishop mediates between man and nature, and argues that her poetry is environmentally conscious and understands the significance of human and nonhuman coexistence. The water’s edge appears as a poetic setting where Bishop shifts her concerns from civilized territory to nature’s domain. Her nature-oriented poetics demonstrate how scientific observations and aesthetic experience enriches each other, and thereby elevates man’s environmental awareness. Bishop delivers her concerns not by criticism or advocacy, but by demonstrating the sense of mobility that nature gives.
The first chapter defines ecopoetry, and investigates how Bishop's ecocentric belief shapes her ways of perception and description. The following chapter examines how Bishop positions herself between land and water, and how this liminal space contributes to her strategy of dealing with the limitations of human perception of nature, as well as the promises of an adaptive consciousness. The last chapter probes into Bishop’s Brazil poems and sees her travel experience as an active reflection and readjustment of the man-nature relationship. Bishop’s natural imagery—empirical, impersonal, and restrained—aims to reduce human presumption and intention towards nature. Her ecological concerns lie in acknowledging the confrontations between man and nature, freeing nature from man’s utilitarianism, and challenging man to see nature in a new light by breaking preconceptions and reestablishing associations through poetic artifice.

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