本文以李黎旅行散文為研究對象，辯析作者旅行時望向外在世界的眼光中，站在何種主體位置來凝視風景？而隨著不同的主體位置轉換自我如何與他者對話交流？旅行的移動空間又將如何返饋、重構作者主體？來詮釋其旅行書寫由國族、母性／女性到無國界藝術的創作主題轉變。在李黎的旅行書寫裡，風景被自我召喚為一映現自我的鏡像，開啟一自我主體與他者客體共容的片刻，自我在與此一理想、陌生自我凝視的過程重新建構得更完整。我們在旅行書寫裡分別看到作者於中國行投影民族主義者的自我形象，以維繫保釣運動挫傷後四散猶疑的家國認同；歐陸的旅程力圖思辨生死的存在命題，並尋找超越個己悲痛的超我形象成為對自我未來的期許；近期的旅程則以無國界的美藝鑑賞來寄託自我，最終選擇在異國書房的創作為歸屬之所。

Regarding Lily Hsueh's travel writings as research objects, this essay tries to recognize which subjective position she stands to gaze at external landscapes while traveling. How does she converse with others as she transforms herself in keeping with her different subjective positions? How does the space movement of travel respond with and construct author's subject? Finally, this essay explains how the creation subjects in her travel writings transform from nationalism and motherhood/womanhood into borderless art. In Lily Hsueh's travel writings, the landscape is summoned by herself as mirror reflecting herself, initiating a moment of coexistence of the subjective self and objective others. She reconstructs a more complete self in the process of idealistic and alienated self-reflection. We can see the author projecting the self-image of nationalists during her travels in China, and she seems to maintain a nationalistic identification in the wake of the breakup of the Defense Movement of Tiao-yu Tai Islands Sovereignty following its setbacks. She ponders the question of life and death during her journey to Europe, and finds an idealistic image toward her future hopes that enables her to go beyond her personal pain and reach the self-transcendence of universal love. In recent journeys she has sought refuge in the boundary-less of art, and has decided to make art in a studio in a foreign land.