本論文試圖探討圖尼耶在小說《金滴》中如何處理主角牧羊少年伊德里斯（Idriss）在遷徙與追尋過程中所面臨「看、見」的問題。習慣使用符號的北非少年，在旅途中面臨排山倒海而來的各式圖像以及他人加諸於自身的刻板印象，因而身陷觀看的困境中，只有在回憶故鄉的基調中沉澱、重新學習以符號為主的伊斯蘭文化，才得以跳脫圖像的牢籠，再次探求自我。小說仔細描述北非的風土民情，鋪成牽引主角遷移的因子，呈現出特殊的異國風情。其實，這部以自我追尋為主軸的小說不但述及主角離鄉背井時的異化現象、被他人觀看的視角問題，更隱含圖像與符號的辯證關係，觀看、詮釋和創作之間互相激盪，與自我追尋的主題巧妙揉合在一起。此外，作者所關切的符號與創作問題似乎也進一步在小說開放式的結局中有所呈現，為牧羊少年的追尋留下一個問號，同時邀請讀者參與其中，與伊德里斯共舞並持續游移。
The present article examines the problem of seeing in the migration and the quest of Idriss, a young Berber shepherd in the novel of Michel Tournier, ＂The Golden Droplet＂. The North African teenager accustomed to use the signs in his native culture, but then affected by various forms of images repeatedly emerged during his journey and suffered from the stereotyped clichés imposed by others. Only through the memories of the song lyrics of his homeland, relearning the signs of Islamic culture made him be able to escape from the images, thus to re-question his self-image. The subtle arrangements of the author transform a seemingly ordinary topic into a unique, exotic atmosphere. In fact, this novel of re-questioning self-image not only leads to the problem of alienation and the ways of seeing of others, but also implies the dialectical relationship between the image and the sign. The questions of seeing, interpretation and creation are carefully integrated into the main theme, the protagonist’s migration journey. In addition, Tournier’s concern about sign and creation seems to be revealed in the novel by an open ending: the shepherd’s quest results in a question mark, which invites readers to join the journey, to dance between-in with Idriss.