網路空間被視為可以隱藏或彰顯個人認同的虛擬場域；同時，女同性戀的議題也在這個場域中找到可以思考自白出櫃或是討論性別、社會甚或醫學等觀點對女同性戀的衝突。而網路的超文本作品中對於女性身體形象之再現以及不可靠的敘述手法，更提供了女同性戀寫作的新世紀。本論文將從這些難得的女同戀自傳超文本之書寫，進行其中敘述書寫與視覺影像美學之探究，撿視的對象為兩位從事網路超文本創作的女性藝術家／作家之作品，包括獲得二○○一年電子文學學會文學首獎的凱特琳費雪（Caitlin Fisher）的《女孩們的波浪》These waves of Girls，以及一九八九年第一位進入古板根漢美術館從事網路藝術計劃的華喬女性藝術家鄭淑麗的（Shu-Lea Cheang）的《布蘭登》Brandon。本文的挑戰性在於整合了性別研究、網絡女性主義、以及書寫／藝術形式中的科技運用，筆者希冀以研究女同性戀之超文本書寫／藝術為標的，並試圖加速台灣在研究網路女性主義此一區塊的發展。本文的理論涉及網絡女性主義、後現代主義以及性別研究等面向的探討。
Cyberspace is considered a virtual zone that allows one to either hide or reveal their identities within this environment the issues of lesbianism find their contact area in cyberspace wherein deliberation takes place on confessions of coming out of the "closet", also raised are conflicts among gender, social, and medical aspects. It could be that representations of the female body and unavoidably and deliberately unreliable narrations in cyberspace using hypertexts create a new epoch of lesbian writing. This paper aims to examine the aesthetics of narrative writing and audio visual art in lesbian autobiographic hypertexts which are chosen from the winner of the Electronic Literature Organization in 2001, Caitlin Fisher's These Waves of Girls; and Shu-Lea Cheang's Brandon (1989), the first Asian-American woman artist to have exhibited her cyber artwork in the Guggenheim Museum in 1989. Accordingly, the challenge of this paper lies in the integrated analysis of gender studies, cyberfeminism and technology as the writing or artistic form. Most theories applied here are cyberfeminism, postmodernism, and gender studies. Our research will concentrate on female lesbian hypertext writing and female cyborg artwork, and hopefully, we will be able to expedite research on cyberfeminism in Taiwan.
