錢新手且認為，((莊于》理想的用言方式是一種遊牧的表演，而其所以如此，並非只是語言遊戲，而是對「道」的本體論的模仿，因為宇宙本體本身即為，回常的無限的辯證的「物化」過程。本文一方面在此理解架構中闡明此說，一方面則又遊牧於此理解架構的邊際或串串隙，關切閱讀活動中的主體遊牧與遊牧主體，另以RosiBridotti提出的女性 主義「遊牧主體」的觀念，將性別差異作為一種遊牧的策略，並對錢新祖戶身闡釋的《莊子》用言方式與道的關係作戲仿的表演，在表演中，讓變動不居的展現自我解構去中心的物化過程，跳出為她者，她者則在「無」的位所，放棄了所有對於穩定因著的想法、慾望，或者鄉愁。於是，本文的書寫就在閱讀主體的性別差異上，表演了錢新手且所闡釋的《莊子》遊牧物化的用言方式。

This is a feminist study of Chuang Tzu by way of Edward Ch'ien's interpretation_ According to Ch'ien， the ideal mode of language use in Chuang Tzu is itself a kind of philosophically nomadic performance_ However， for Chuang Tzu， alterity is not just a grammatological principe， it is also an ontological principle_ Chuang Tzu envisioned his "play"的a cosmic drama which acts out not only in the linguistic theater of human signs but also on the ontological stage of the Tao as the ultimate reality_ Based on Ch'ien's theoretical framework， this paper aims to elaborate further on the topic concerning the notion of "nomadic performance." Yet this paper also means to set itself as another example of effective parodic nomadic styl巴， by making a nomadic shift from the center of such a framework to its boundaries or interstices. With this in view， I shall deal with the nomadic subjects or nomadic traveling in the act of reading. Moreover， following Rosi Braidotti's feminist notion of the nomadic subjects， I propose to mark sexual difference as a nomadic strategy， and then to render a parodic mode of performances with regard to Ch'ien's interpretation of the relations of the mode of language use and The Way in Chuang Tzu. Through such a parodic performance， the ontological status of the Way displays itself in the processes of constantly self-disrupting and self-erasing transformation， and most importantly， become the other in the nomadic state. From a feminist perspective， this alterity is rather a figuration for the kind of subject who has relinquished all idea， desire， or nostalgia for fixity.