近幾年崛起於香港的斯里蘭卡裔專欄作家紐利．維大奇(Nury Vittachi)，在其所著的英文偵探小說《風水偵探南行記》(The Feng Shui Detective Goes South, 2002)
中，塑造了一個由中國移民至新加坡的風水大師兼私家偵探黃大師，從新加坡南行
至澳洲，以國際觀光客的身分卻在雪梨調查一起跨國犯罪案。然而，他在雪梨歌劇
院這個著名的國際觀光景點，脫離了遊客參觀的規定路徑，擅自違法闖進遊客禁入
的歌劇院頂，這高度危險的舉動使得他的觀光客凝視，變成了違法的個人與非官方
式的空間實踐下的觀看視野。在雪梨四處竄動的觀光客人潮裡的追蹤與調查罪犯
過程中，他的身份已然從國際觀光客轉變成了跨國偵探/罪犯。除了跨國綁架/蓄意
謀殺案的真相外，風水偵探在他的觀光客凝視之下，還能從雪梨的景點與地標建築
中找到何種真實面相呢?
這本維大奇小說之討論架構，主要運用了列菲伏爾(Henri Lefebvre)「空間生產」
與遊客觀看的「本真」(authenticity)之相關論述，以及烏利(John Urry)的「觀光客凝
視」(tourist gaze)以及他所強調的有關官方為提振觀光產業所建構的觀光景點「舞
台化的本真/失真」(stage authenticity/inauthenticity)的理論來詳細說明小說中的空間
實踐與觀光客凝視之議題。本小說中，雪梨歌劇院被維大奇的風水偵探再現為導致
澳洲國家經濟成長停滯與政治不安的破碗狀壞風水建築。風水偵探的東方氣場流
動空間的風水運行推理，在澳洲要如何與西方世界的空間論述做整合？空間實踐
與國際觀光客或是與跨國偵探/罪犯間有何關聯？這些議題又要如何與當今全球化社會中和資本主義建構下的現代性做連結呢？

In The Feng Shui Detective Goes South (2002), Sri Lankan Hong Kong writer, Nury Vittachi, describes a Singaporean (a Chinese immigrant) Feng Shui
master/detective,master Wong, who travels to Australia for a transnational investigation
of crimes. When he comes to the Sydney Opera House as many international tourists do,
he deviates from the visiting route and transgresses the law by climbing up to the roof of
the Opera House. Accordingly, his “tourist gaze” turns into an “illegal way of seeing by
his personal and unofficial spatial practice. During his tracing and investigation, his
identity turns from an international tourist to a transnational detective/criminal in a
massive moving crowd in Sydney. Besides the truth of a transnational
kidnapping/intentional murder case, what sort of truth/authenticity can he detect under
his tourist gaze upon the scenery and monument buildings in Sydney?
Lefebvre’s theory of the production of space and argument of the “authenticity” for
tourists is mainly applied to the discussion of spatial practice and tourism in this novel.
Besides, Urry’s thoughts on the “tourist gaze” and “stage authenticity/inauthenticity”
conveyed by official tourist guides for boosting tourism industry are also applied to
expound the tourist in a globalization world. In this novel, the Sydney Opera House is
“represented” as a broken-bowl-shaped bad Feng Shui that brings stagnation of economic
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growth and unrest of social order to Australia. How can an oriental Feng Shui
master/detective in Australia integrate his Feng Shui principles of “flow of ch’i” with
occidental spatial practice? What is the relationship between the spatial practice and a
detective (an international tourist? or a transnational criminal?)？ How are they related
to the construction of capitalistic modernity in our contemporary global society?