藝術治療師喬伊‧沙維瑞恩（JoySchaverien）在〈代罪羔羊與「泰利斯曼」〉一文，對藝術的「泰利斯曼」（talisman）現象作了很多樣的探討，他認為許多創作者的作品，其實是一種轉移的作用，希望透過「代罪羔羊」（a scapegoat）的方式，為自己解厄除難。本文依此論述，以鍾理和的作品為例，析論其作品的「泰利斯曼」（talisman）現象。鍾理和因「同姓之婚」及肺病所苦，不見容於家庭、社會，亦無法獲得好工作，一生窮愁撩倒。他以自我揭露（self-disclosure）的方式，不斷在作品中重述自己遭受不公的待遇，身處重重的困境，這些作品成為他的「代罪羔羊」（a scapegoa） ，成為他向世人展示傷口的工具。本文分析鍾理和期望藉這些創作，獲得世人的同情與諒解，期望改變現況，不再受命運的撥弄。可惜直到去世，都沒有達到願望。

　　Art therapists Joy Schaverien, in his article “A Scapegoat and Talisman”, had done many diversified discussions about the “talisman” phenomenon of arts, and he thought that many works of creators were actually displacements, wishing to relief self hardship and calamity by means of “a scapegoat”. Based on this dissert, this paper used the works of Zhong Li-He as an example, analyzed the “talisman”phenomenon of his works. Zhong Li-He had been suffered from his marriage of the same surname and lung disease over his whole life, he was not accepted by his family and society, could not even get a good job, either. Thus had been penniless and frustrated over his whole life. By using “self-disclosure” method, he continuously repeated his being encountered with unfair treatments, and situated in multiple predicaments, all of these works had become his “a scapegoat”, and a tool to show his wounds to people in the world. This paper analyzed that Zhong Li-He expected to gain sympathy and understanding from people, wished to change the present situation, and no more being poked by destiny. But unfortunately, his wish was not accomplished even till his passing away.