法國二十世紀作家瑪格麗特‧莒哈絲在法國當代文學中佔有一席重要的地位。其法屬殖民地印度支那的童年經歷使得其一系列有關亞洲的作品瀰漫著東方異國情調的氛圍，並透過人稱的不定置換、事件連接的斷裂和空白的敘述方式造就一種莒哈絲式的獨特風格。直至上世紀九○年代初《情人》電影的引介，此法國作家的名聲開始在亞洲地區廣為人知，其作品藉由小說和電影的兩種不同藝術呈現形式，東方空間和人物在西方作家的觀視之下深具殖民想像的再現。此論文以檢視亞洲男人在文學小說和影像的再現問題分為二大部分：第一部分著重於小說的敘述文字，解析持有殖民者身份的白人少女面對種族、文化差異、個人家庭情結與社會情境的情況提出中國情人的描述和地位；第二部分則在於討論電影裡中國情人的重複再現。 The French 20th century writer, Marguerite Duras, holds an important status in the French contemporary literature. The author''s childhood experience in the French colony, Indochine, enables a series of works that concerns Asia, with an “Oriental” exotic atmosphere, converging with the author’s narration approach ( the narrative person arbitrary in the breaks and the blanks within the connection of the events ) accomplishes the unique “durasien” writing style. Until the production of the movie The Lover at the beginning of 1990''s, this French writer''s reputation began to gain wider appeal in Asia. Through two kinds of artistic forms, the novel and the movie, both evoke ideas on Eastern space and characters under a western writer''s perspective residually represented in colonized imagination. This paper investigates the Asian man divided into two major parts in the literature novel and the image representative question. The first part focuses on the novel''s narration writing, in order to analyze the description and the status of the Chinese lover vis-à-vis the young white girl who has the colonizing status regarding issues on race, the cultural difference in the white girl''s complex family situation and the social context. The second part lies in the discussion movie in the image repetitive representation of the Chinese lover.