凌煙（1965～）的《失聲畫眉》（1990）作為再現歌仔戲班女同志生態的重要文本，在1990年代初期獲獎出版，卻因各種爭議受到壓抑、忽略，陷入「失聲」的狀態。本文認為這與其所再現的女同志模式有關。因而文中挖掘其受到的爭議與批評，分析各方論述與權力運作的軌跡，探討其失聲的因素；並藉由文本 的重新閱讀，讓被壓抑的底層鄉土女同志身影得以被看見與理解。文章將從以下三面向探討：一、鄉土論述的脈絡，二、酷兒論述與認同政治的角度，三、美學批評與鄉土女同志文化翻譯的面向。本文首先肯認《失聲畫眉》 與鄉土論述交鋒的時代意義，闡明其在台灣同志文學（史）上的重要性，認為《失 聲畫眉》因女同志再現所引發的爭議，讓同志與鄉土、國族論述間的矛盾首度浮出檯面，反映出當時台灣社會在「逝去的鄉土」與「消失的國家」間的雙重焦慮。繼而探討《失聲畫眉》書寫底層女同志且略帶悲情的寫實手法，為何不受酷兒／同志論述和主流文學批評所喜愛。文中反省同志認同政治與主流文學批評中 的美學政治，分析小說中的鄉土女同志有別於都會酷兒菁英的另類性身分操演和實踐，如何豐富同志文學、酷兒論述的內涵，拓展鄉土與國族的想像與思考。

Despite winning a prestigious prize and getting published in the early 1990s, Ling Yan's Silent Thrush, an important representation of the lesbian life in a Taiwanese Opera troupe, was suppressed, ignored, and silenced in waves of controversy. By looking into the controversies that the novel aroused, and tracing different discourses and politics behind the scenes, this paper identifies the representation of lesbianism as the reason of being silenced of Silent Thrush. Rereading the novel, this paper also aims at revealing and understanding the subaltern native lesbians. The paper discusses Silent Thrush from three perspectives respectively: first, the discourse of native literature; second, queer discourse versus identity politics; third, aesthetic criticism and the cultural translation of native homosexuals. The dispute between Silent Thrush and the discourse of native literature is an important incident in the history of Taiwanese queer/homosexual literature since it was the first outbreak that unveiled the contradiction between homosexuality and the native-national discourse triggered by representation of lesbian representation in Silent Thrush. It reflected the dual anxieties between the ＂lost nativity＂ and the ＂disappearing nation＂ of Taiwanese society at that time. Besides, this paper also traces the sad tone, a realistic writing technique, of the subaltern lesbian text criticized by the queer/homosexual discourse and mainstream literary criticism. It examines the limit of the homosexual identity politics and the aesthetic politics of mainstream literary criticism, and explores the alternative sexual identity performativity and its practice of the native lesbians against the urban-elite queers, which may enrich the contents and spirits of homosexual literature, queer discourse, as well as the imagination of the native-national discourse.