1997 年後大量行旅的李昂，因意識到「全球化」的流動性，促使她重 新思索身分與認同的老問題。身分，大抵可分為性別和家國二者，這也是李 昂長期關注的兩個焦點。她耗時七年寫下《七世姻緣之台灣／中國情人》， 選擇以兩岸戀情為發展軸心，將之置於中國民間故事「七世姻緣」的框架： 男女相愛但不得結合的戀情。在男性／中國、女性／台灣的指涉下重新看 待地球村世界形成後的兩岸議題。將《七世姻緣之台灣／中國情人》這部 作品置於她整體的創作脈絡下觀察發現，有別於她慣有的統獨二元的固定 身分以及向來大膽露骨的性愛實寫，由全球化的空間流動與神祕靈異的情 慾虛寫，提出流動虛級化的家國想像，一再從男女累世僅能相戀無法結合 指涉中國與台灣僅能保持交流卻無法合為一體的兩岸關係。最後，小說安 排男性死亡並不再落入輪迴，表示男女雙方終能結束七世姻緣的關係，由 此隱喻唯有在斬斷中國與台灣間長久以來的紛擾糾葛後，台灣才有實質獨立 自主的可能。此作除了有實指空間，還有七世輪迴和冥界的虛化空間，本文即試圖從全球化的流動與虛實的不同空間切入，探討李昂如何展開虛寫的國族想像。

Through her many travels after 1997, Li Ang grew conscious of “globalization’s” mobility, which made her revisit the old problem of identity and acknowledgment. Identity can be separated by gender and home country; both are topics in which Li Ang has held long-term focus.She spent 7 years writing “Marriage in Seven Lives: Entangled Love Affairs of Taiwanese Mainlander”, choosing the theme of a cross-strait romance written under the framework of the Chinese folklore “Marriage in Seven Lives”. The story of two lovers who cannot be together revisits the cross-strait issues in a global village. By putting “Marriage in Seven Lives: Entangled Love Affairs of Taiwanese Mainlander in the creative pulse of her works, it differs from her usual style of rigid identities of independence or assimilation and bold, explicit depiction of sex. She utilizes the spatial mobility and mysterious, supernatural literary depiction of lust to propose a virtualization of mobility of the home country, utilizing the ability of lovers to share a romance yet unable to be together to shed light on cross-strait relations, in which Taiwan and China maintain exchanges but cannot unite. This work includes actual space along with seven reincarnations and the world of the dead. The literary work attempts to utilize the mobility of globalization and cut into the topic to explore Li Ang’s development of imagining her home country through literary imagination.