[ 摘要 ]
當代北美原住民作家薛爾曼۰雅列西（Sherman Alexie）的寫作技巧，明顯地與同時代作家傑洛۰維茲諾（Gerald Vizenor）所提出的「後印地安人」概念背道而馳。維茲諾聲明只有藉由「後印地安人」理念，美國原住民才能從受壓迫的位置上解放出；然而，雅列西卻提倡要重返美洲原住民復興（Native American Renaissance）的傳統印地安人形象，此創作的意圖在其小說《印地安殺手》中一覽無遺。因此，本研究企圖透過《印地安殺手》中的擬像（simulation）、說故事（storytelling）、「扮演印地人」（Playing Indian）的交織關係，來分析根深蒂固的美國印地安人的刻板印印象，和反轉英裔美國人對印地安形象的認知。
本研究關注印地安形象的分析。第一章概敘美洲原住民復興的傳統印地安形象，並用當代維茲諾的寫作風格以突顯雅列西順應主流的做法。第二章論印地安主角約翰۰史密斯的擬像，源於大眾媒體和主流神話中的印地安性（Indianness）。第三章探約翰心之所嚮的真實印地安性和對其的懷舊感來於鄧肯神父（Father Duncan）的說故事。藉著劇中白人作家傑克۰威爾遜（Jack Wilson）的仿印地安人外表的生活形式，第四章解釋「扮演印地人」舉動與盎格魯薩克遜身分的密切關係。第五章總結雅列西使用╱解構主流美國印地安形象，為印地安人的個體性發聲。

[ 英文摘要 ]
Contemporary Native North American writer Sherman Alexie’s writing strategies polarize from his contemporary critic Gerald Vizenor’s concept of “postindian.”
Vizenor claims only through “postindian” discourse can Native North American Literature activate and liberate from the suppressed position; however, Alexie contrarily advocates revisiting conventional American Indian images of Native American Renaissance, especially in his novel Indian Killer. Therefore, this study aims to analyze the deep-seated stereotype of the American Indian and counter the imagery of Indians of Anglo-American culture through examining the interwoven relationship among simulation, storytelling and “playing Indian” in Indian Killer.
The study is concerned with the analysis of the imagery of the Indian. The first chapter briefly introduces conventional Indian images of Native American Renaissance and ends with confrontation between Alexie’s and Vizenor’s writing strategies. In the second chapter, the simulation of the Indian protagonist of John Smith in the novel is an imagery of Indianness as a result of the mass media and the dominant mythology of the Indian. In the third chapter, the authentic Indianness that John learns comes from the storytelling of Father Duncan who helps him develop a sense of the nostalgia toward the Indianness. In the fourth chapter, actions of “Playing Indian” reveal affinity with the constructed Anglo-Saxon identity by Jack Wilson’s simulating the Indian look and the Indian way of life. Chapter Five concludes that Alexie voices Indian individuality by adopting/deconstructing the mainstream American Indian images.