本篇論文從華裔美籍男同志小說與旅美臺籍作家小說裡觀察華裔男同志的服裝策略與文學再現，探討華裔男同志如何透過服裝展現特有的男性氣質。文學常以服裝紀錄了彼時時尚的社會意義。本文認為服裝是男同志標新立異的符碼，透過穿在身上的服裝強調他們身體與主流異性戀男性的不同。本文將分析炫耀式消費，藉由追求顏色鮮艷與高價西方（尤其歐美）服裝品牌來突顯高社經地位的男同志身體，對其他相較邊緣的性少數主體的壓迫。此外，論文亦會探討華裔美籍男同志在返回亞洲後，因國內對美國的崇尚，利用美式穿著來展現美式風格視覺符碼，並以此作為能動性的例證，成為另類男性氣概與異國情調的主體。

This thesis investigates Chinese/American gay men’s sartorial practices and literary representation of sartorial items in Pai Hsien-Yung’s “Tea for Two” and Russell Leong’s “Phoenix Eyes”. This thesis considers that representations of sartorial items work as metaphors in literature designate identifications of gender, race, and class, showing gay men’s socioeconomic status and demonstrate various kinds of masculinities. Similar to white gay communities, there are many kinds of Chinese/American gay men, such as effeminate gay men, straight-acing gay men, and hyper-masculine gay men. Chinese/American gay men deploy sartorial items to strategically demonstrate various kinds of masculinities. Chinese/American gay men also use wen masculinity to pass as straight and conceal their homosexuality. As metaphors in literature, representations of sartorial items are deployed by authors to construct a character’s traits of gender, race, and class. I would argue that representations of gay men in Pai Hsien-Yung’s “Tea for Two” and Russell Leong’s “Phoenix Eyes” all portray gay men as overachievers of socioeconomic restraints. Their flamboyant clothes and hipster lifestyle celebrate certain homonormative and successful images and such celebrations of successful images would repress other marginal gay subjects.

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