當代華文作家，常須面臨離散與跨境情狀，異文化的視域和內涵，激發、代入個人的感知表述。諾貝爾文學獎得主高行健嚮往（創作）自由，落腳法國不再歸返祖國，長篇小說《靈山》的語言嘗試，尤能體現多層次跨境的混融：文本地域、文學理論、主體視角、實際國境。文學作為特殊的語言展演，有其社會生活的土壤，更有評議、理論的空氣，意義乃屬協商的產物。新的語言環境和試驗，指陳不同符徵（signifier）、符旨（signified）關係──當語言的展演能量歷經鍛造與質變，中介物或即載體，蛻變為意義本身，語言可能換位成主體，透顯身體性。本文扣連敘事學（narratology）、語言相關理論，耙梳《靈山》的文本實踐可能達致的觀／我合一、言／意無間之境。

Contemporary Chinese writers often encounter the issues of the circumstances of diaspora and cross-border, where the perspectives and connotations of diverse cultures stimulate the writer and become integrated into their personal expressions of perception. One of these writers, Gao Xingjian, awarded the Nobel Prize in Literature in 2000, yearns for freedom (of creative writing) and has settled in France, instead of returning to his homeland. The linguistic experimentation in his novel Soul Mountain demonstrates the multi-layered fusion of cross-border elements: geographical context, literary theory, subjective perspectives, and actual national boundaries. From Soul Mountain, it can be seen that literature, as a primarily linguistic presentation, takes root in the soil of social life and is nurtured by various literary criticism and theory. The meanings of certain literary works are the results of different negotiations. Both novel linguistic milieu and experimentation demonstrate variations in the relationships between signifiers and signifieds. As the performative power of language undergoes forging and qualitative transformation, the intermediary substance or medium can evolve into the meaning itself. As a result, the language may become the subject within the text, revealing its corporality. This paper adopts narratology and language-related theories to analyze the textual practice of Soul Mountain, which may achieve a state of oneness between observation and oneself and between language and meaning.