本文以時間的向度切入閱讀夏曼．藍波安關於海洋的書寫。回憶支配了夏曼的書寫，其寫作明顯地被某種雙重的時間攫住。同時，作者將自身及其作品的角色刻畫為「游牧者」，建構了特殊的文本結構與主體構成。本文將主要闡明此一游牧運動所展現的時間通道。本文認為，作者的書寫創造一個過去與當下交會的時分，透過回憶或說故事，過去被帶到當下，兩者並構成如影像般的效用表面，讀者因此目睹時間自我演化的幻影，而作者及其作品中的主角，則在其重複的運動中標定了個人與集體的歷史性；將自身開放，形構一個前個人、並與自然宇宙共振的生存領域。從這一角度看，夏曼的書寫並非僅僅再現了蘭嶼千年的歷史與傳統，相反地，在此一時間的辯證運動中，個人與集體的時間性重新被生產，書寫本身同時見證一個屬於當下的永恆。

This paper looks into the composition of time in Syaman Rampoan’s writing on the sea. It is well known that memory dominates Syaman’s writing so that his works are heavily haunted by the past. More significantly, Syaman constantly characterizes himself and the protagonists of his works as “the nomad,” which in turn constitutes a unique narrative structure and subjectivity. This paper pinpoints this particular aesthetics exhibited by the nomad, arguing that the author through his writing creates a time passage where the past and the present converge; it also produces an effect surface where time displays itself as phantasm of history. In other words, the author and his protagonists are engaged in a repetitive movement by which the self is open to a preindividual existential territory corresponding to the natural environment. Seen in this light, Syman’s memories of the sea should not simply be considered as re-presentation of the cultural tradition of his tribe, but rather singularization of an individual and re-production of collectivity.