本文以澳門劇作家兼小說家李宇樑的兩部長篇小說，即《上帝之眼》（2008）和《血色迷宮》（2019）作為研究對象。通過文本細讀、脈絡化的論述分析，以及與新自由主義、社會監控論等理論的扣合及對話，所欲企及的目標有三。其一是梳理並解讀貫穿李宇樑長篇作品的環狀敘事策略，體現為文本內部人物、情節、對話及物件等諸般元素的設計，也表現為「角色／地域」象徵系譜的建立，以及「上帝之眼」和「屠房法則」這兩個核心意象的多重解讀可能。其二，則是探討以賭興家的澳門，其特殊的地方感、空間與產業結構，如何被收束進文本的敘事之中，呈現為掌控權力的「賭場／全控機構」與「賭城／屠房」的一方，以及將弱肉強食的「法則」內化，在其中備受宰制的勞動、逸樂、加害或受害之軀體的另一方。最終，也期望藉由本篇論文，使澳門文本得以踰越此蕞爾小島的物理侷限，擁有超越「血色迷宮」的發聲舞台，以及在「上帝之眼」的監視範圍外，言說與展演自身的可能。

This paper takes Macao dramatist and novelist Lei I-Leong’s two novels, Eye of God (2008) and Scarlet Maze (2019), as research objects. Through close reading, contextual investigation, and engagement with theories of neoliberalism and social monitoring, there are three goals to be achieved. The first is to interpret the circular narrative strategy that runs through Lei’s novels, as reflected in the design of various elements such as plot and dialogue. This strategy also manifests in the symbolic network of “character/region” and the two core imageries—“eye of God” and “law of slaughterhouse”—that can elicit multiple interpretations. Secondly, I will analyze how Macao’s special sense of place and industrial structure can be contained in the narrative. On one hand, a dual structure of “casino/total institution” and “gambling city/ slaughterhouse” exerts controlling power. On the other, there are those bodies that internalize capitalist ideology, being ruled from the inside. In the end, through my analysis, I hope that the fictional works of Macao will be able to furnish a vision in overcoming the island’s physical limitations, to have a possibility of speaking and performing themselves, on a stage greater than the “scarlet maze” and beyond the monitoring of “eye of God.”