本篇論文試圖勾勒當代台灣文學中被認為不具同志主體意識的同性戀呈現，尤其是將同性戀國族寓言化的相關文本，這些文本分別將同性戀呈現為共產黨（姜貴《重陽》）、資本化（陳映真〈趙南棟〉）、以及本土受到外來壓迫關係的象徵（李昂〈彩妝血祭〉），也就是把敵人在性方面異己化的污名書寫策略。然而這同時也是一種具有意義霸權的詮釋傾向，其例證可明顯見於對白先勇《孽子》、以及香港九七前後幾部以同性戀為主題的電影（如《霸王別姬》、《春光乍洩》、《愈快樂愈墮落》）的政治寓言。論文後半則探討了李昂的《迷園》、〈禁色的愛〉、乃至〈彩妝血祭〉中較具性別政治前進意義的國族敘事，如何吸納同志成為國族打造的主體，以及頗為曲折地出現在《孽子》、朱天文的《荒人手記》、以及朱天心的〈古都〉中較具同志主體意識的國家想像。

Long before the bourgeoning of Taiwan’s queer literature in the 1990s, homosexuality already figured in literary representations, but did so mainly to serve an allegorical function. This textual phenomenon is most intriguingly found in narratives of nation-building or nationalist struggles, which enlist homosexuality as symbols of, say, Communist evil (Chiang Kuei), capitalist decadence (Chen Ying-chen), and colonial/neocolonial domination (Li Ang). At the same time, this national allegorization of homosexuality also exists as a hegemonic regime of interpretation, as is acutely evident in the political “decoding” of such homosexual classics as Pai Hsien-yung’s Crystal Boys. An even more telling case of which lies in a group of homosexual-themed Hong Kong films that appeared around the 1997 handover and thus have been read accordingly as allegories of this predominant political situation. However, there are still national allegories which, instead of appropriating homosexuality instrumentally, seek to incorporate it into the agenda of national-building, for example in Li Ang’s works of progressive sexual politics. This essay will conclude with a brief look at the possible queer counter-strategies of reinscribing the nation that can nevertheless be distilled from several ambivalent texts.