在既有的華語語系論述中，視覺文本內語言與聲音的多元，被視為具有去除單一國族霸權、許諾地方文化主體的可能。然而在當代華語語系的文本中，卻呈顯出一旦聲音被視覺化，那麼國家機器對聲音的收編就更為容易。尤其像是在台灣小說家平路的《何日君再來》中，具有文化中國身體象徵的鄧麗君，畢生致力於跨國多語演唱的追尋，卻仍必須回頭與其有視覺生意義的國族身體進行協商，聲音的視覺化與身體化彷彿提供了新的出路，但最終鄧麗君仍是死於民族國家對於聲音器官的重重禁錮。而中國作家麥家的小說《風聲》及其電影版中，民族國家的情感認同正是建立在多元聲音及性慾取向的收編與淨化，小說中原本暗自角力的日本軍部、共產黨與國民黨特務，還有扮演最終關鍵解謎的「台灣」，在電影中完全消音，甚至轉被收編為共和國的主旋律敘事。本文的目的，便在於指出民族國家對於聲音收編（襲擊）力量的無所不在與無所不能，特別是華語大眾文學的再生產過程中，由於必須進入資本主義市場競逐，而必然會經歷的聲音視覺化過程，更強化了此一收編路徑的有效性。雖然單純作為文學文本的《何日君再來》，其結局暗示著唯有解放聲音與視覺的既成關係，甚至是將聲音徹底捨棄，主體方能獲得真正的自由。然而《風聲》透過影像化，展示出聲音符號與身體的縫合過程中，所產生的若即若離微型張力：無法完全壓抑的性慾差異取向，在民族國家的愛國呼告中，找到逃逸的路徑，並重新連結起原作中既有的台灣在場，創造聲音視覺化的新模式，也為華語語系文本與台灣性，開發新的論述方向與可能。

In existing discussions regarding Sinophone Studies, the diversity of language and voice in visual text is considered having the possibilities of removing the mono-nation hegemony and building the local culture. However, the contemporary Sinophone texts show that once the voice is visualized, it is actually easier to be incorporated by the state apparatus. Especially in When Will You Come Again?(何日君再來) by Taiwanese novelist Ping Lu(平路), it mentions that despite the lifelong pursuit of cross-border multilingual singing, due to the body symbolization of Chinese culture, well-known singer Teresa Teng(鄧麗君) eventually had to negotiate with her visually significant national body. It seems that the visualization and embodiment of the voice provide a new way out, but in fact, Teresa Teng finally died of the multiple incarceration on her voice organs imposed by the nation-state. Moreover, in Chinese writer Mia Jia's novel The Message (風聲) and its film adaptation, the emotional identity of the nation-state is built on the incorporation and purification of diversified voices and sexualities. The Japanese military, Communist and Kuomintang(KMT, 國民黨) that secretly compete with one another in the novel, as well as Taiwan that plays the crucial key to the mystery, are all completely muted in the film and even incorporated as the ideological narration of the republic. The purpose of this study is to point out the omnipresent and omnipotent power of the nation-state over the incorporation (assault) of voice. In particular, in the reproduction process of Chinese popular literature, the inevitable visualization of voice when entering the capitalist market to compete has further strengthen the effectiveness of this path of incorporation. Although the end of When Will You Come Again? implies that the only way for the subject to achieve true freedom is to liberate the existing relationship between voice and vision or even completely discard the voice. However, through the visualization, The Message presents the subtle micro-tension generated in the process of suturing the voice symbol and the body together: in the patriotic appeal of the nation-state, the incompletely suppressed different sexualities find a way out and reconnect with the existing presence of Taiwan in the original work, creating a new model of voice visualization as well as new discussing possibilities for Sinophone text and Taiwaneseness(台灣性).