這篇論文的靈感來自一段閱讀邱妙津日記的經驗，但並不直 接分析日記文本，而是藉由參與邱妙津相關研究，思索文學研究 對身份的討論，希望細緻化身份政治及獨一性理論之間的關係。 文章將參考儂曦、阿岡本等人的提法，將身份定義為獨一性彼此 曝現一種臨界的存有；認同，也將被理解為個體相互「在一旁顯 現」彼此的獨一性，而非服膺特殊性－普遍性的對換辯證邏輯。 本文並將以figure（暫譯為「賦形」）作為行文串場工具，以賦 形在不同層次感知經驗的運作──包括以譬喻（figure of speech） 或具象化過程（figuration）輔助想像的延展、以視覺意象 （conceptual figure）模造概念、或為特定族群標舉代表性人物 （exemplary figure）──點出我們在傳述身份時不得不憑靠語言 的事實，亦即透過各種與身份論述相牽扯的賦形呈現，省思我們 之為語言存有物的事實，並探討這個對語言媒介與語言條件的自 覺，如何能夠疊映到上述獨一性曝現的主題。以賦形這個看來十 分文學修辭的語彙出發，最終目的是將討論帶回文字的層次：既 然賦形突顯了感知經驗成形時的語言介面，於是，要在文學中探索身份問題，勢必得碰觸文學本身的身份、以及文學本身的獨一性。賦形的提法，也因之是以文學的問題深化我們對身份問題的討論，在不同層次的賦形堆疊中，面對文學的獨一性與一位作家的獨一性之間的碰撞。

Inspired by Chiu Miao-chin’s writing and available Chiu scholarship, this essay seeks to unsettle the doxa of identity by way of Jean-Luc Nancy’s and Giorgio Agamben’s propositions of singularity. But instead of cancelling out the category of identity outright, the essay proposes that we revamp it by installing the figures of exposure and the limit. Breaking with the representational logic and the particular-general dialectical scheme of identity politics, the reworked notion of identity translates as the exposure of our finitude; identification, by the same token, will now be conceived of as a “showing alongside” or mutual exposure of singularities. The exposure of our finitude, further, will be manifested in the fact that we are linguistic beings: language constitutes and exposes our limit. To attend to the significance of such a conceptualization of identity, this essay advances a reading strategy around figure, looking at the multi-layered working of figure in our literary experience. This thesis of figure is intended to bring to light language as the limit, on the one hand, and the singularity of the literary, on the other.