在這篇論文中我主張，在二十世紀末與二十一世紀初的台灣，同性戀是依據 一個看與被看的視覺典範生產出來的。更明確的說，這篇論文的論證，是環繞著 同志現身和同志曝光這兩個觀念間的張力而構築的。論文的前半眾焦於「曝光以 及對於同性戀媒體化的觀看，而在現下此刻，這種觀看是極具意義地透過電視。 藉著突顯電視媒體在呈現「同性戀」時的諸種運作，我意在探詢這種型塑同性戀 文化能見度的特定技術機制( technologies )。論文的第一部分仔細探討了同性戀 是如何透過電視的技術與文化機制而顯露，或是弔詭地揭發卻被說成是「躲躲藏 藏J '或是使之消失。在論文的後半，我則將閱讀邱妙津一九九四年出版的女同 志小說〈鱷魚手記> '思考這個文本如何在台灣這種特有的恐同境遇中一一也就 是將同性戀型塑為一種傷害性凝視的對象一一仍然能夠使同志現身的策略想像成 為可能。

In this essay I argue that tongxinglian in late-twentieth century and early twenty-first century Taiwan is produced according to a visual paradigm oflooking and being looked at. Specifically, the essay's argument is structured around the tension between the concepts of tongzhi xianshen and tongzhi puguang. The first part of the essay focuses on the relationship between puguang and a mediatized look at tongxinglian which, in the current moment, is indicatively televisual. By foregrounding the workings of television media in representing tongxinglian I aim to interrogate one of the specific technologies that organizes the cultural visibility of tongxinglian. This section asks detailed questions about how tongxinglian is made to appear--or is paradoxically exposed as "hidden," or is made to disappear--through the technological and cultural mechanisms of television. In the second part of the essay, I read Qiu Miaojin's 1994 lesbian novel The Crocodile's Journal,considering how that text enables the ima gining of tactics of tongzhi xianshen within Taiwan's specific regime of homophobia that constitutes tongxinglian as the object of an injurious gaze.