铁凝的《玫瑰门》《大浴女》对女性身体进行了书写。借助梅洛-庞蒂的“在世存在”的身体观及埃莱娜·西苏“返归女性躯体写作”理论对其进行分析，可以发现这些身体书写展现了女性逐步建立起能够正视自己的有生命、非中心身体的身体观的过程。从《玫瑰门》到《大浴女》，铁凝呈现了女性寻找主体身份和位置的一个序列：从臣服和内化父权规训地回避、厌弃自己的身体，并饰演男性身体和身份，到接受自己的身体但实质无法摆脱男权枷锁地聚焦性器官与性欲，最终不再向外控诉而返归自己非中心的身体，在自然感知中回归内心的花园。铁凝通过这两部作品中的身体书写从身体观角度探寻和展示了一条女性解放的道路。

Tie Ning’s “The Rose Gate” and “The Bathing Women” write about the female bodies. Analyzing these depictions of female bodies with the help of Maurice Merleau-Ponty and Helene Cixous’s theories about body, this thesis upholds that, Tie Ning shows the process by which women face up to their living and non-centered bodies. From “The Rose Gate” to “The Bathing Women”, Tie Ning presents a process of the female’s quest for her identity through the body: at first, the female internalizes patriarchal discipline, abandoning her body and identity to perform the male ones, and then she accepts her own body, but focusing on its “sexual” features due to the influence of patriarchy, and finally she returns to her complete and decentralized body, establishing her identity as an independent female. Tie Ning attempts to find new possibilities for women’s emancipation through the bodily writing in these two works from the perspective of body view.