《諾亞 諾亞》(Noa Noa)是一本高更紀錄大溪地生活的手札，書中高更不斷地尋找原始與文明的平衡點，兩者的衝突與對立，帶給高更新的領悟，使他創下繪畫事業的高峰，也使《諾亞 諾亞》成爲了解高更大溪地畫作必讀的資料。高更將自己歸屬於大溪地人，卻又擺脫不了法國人的身分。因此，高更複雜的身分認同問題，成爲《諾亞諾亞》一書中，十分重要的議題，亦是本文第二章討論的重點。《諾亞 諾亞》除了可視爲高更大溪地生活的回憶錄，亦可透過此書深入高更的內心世界，了解他當時作畫的經驗與感受。然而，高更在按照某種風格處理題材時，從未遠離西方傳統，甚至他的主題也反映了西方殖民文化對大溪地文化的覆蓋。自認爲當地一份子的高更，從主體（第一世界）看客體（第三世界）社會，企圖爲被殖民者論述，但對當地人來說，高更始終是個「白人」，究竟高更是「離散異鄉的法國人」？亦或「被殖民社會的代言人」？本文將針對兩者迥異的身份加以著墨，並以法農的後殖民論述爲輔助，試圖分析文本與相關繪畫作品，希冀爲高更的認同問題－「我們從何處來？我們是誰？我們往何處去？」找到解答。
”Noa Noa” is a notebook about the living life of Paul Gauguin in Tahiti in which he keeps trying to find the balance of barbarism and civilization. This is the reason why ”Noa Noa” remains an essential material for studying on Gauguin. Belonging to Tahiti, Gauguin actually could not get rid of his French identity. The question of complicated identities of Gauguin will be discussed in chapter two. Not only can ”Noa Noa” be taken as the memoir of Gauguin, but also it is the path to Gauguin's inside world. However, we can still discover the western styles and shadows throw his paintings in which reflect the influence of the colonialism. Taking himself as the Subject (the First world), Gauguin in fact is being discriminated by the inhabitants in Tahiti as an ”invader”, a colonist. Gauguin, after all, is a French diaspora? Or a spokesman for colonial? Based on the text and the relative paintings, this paper will focus on these contradictory identities by using the post-colonialism discourse of Fanon, on the purpose of answering the question of ”Where Do We Come from? What Are We? Where Are We Going?”