本論文以戰後台灣鄉土小說與其中的畸零人形象為論述主軸，試圖釐清台灣小說中的現代主義之發展脈絡。在一般的常見說法中，自六０年代的所謂「現代主義時期」伊始，台灣文學分別經歷了「七０年代鄉土文學」、「八０年代都市文學」與九０年代所謂「百花齊放」或「後現代」等不同時期。而本論文則試圖論證：在現代主義引進台灣之後，台灣的現代主義其實始終存在，只是傾向於在政治與現代性力量的壓抑之下成為伏流；於此同時逐步回應台灣遲到的現代性，並發展其自身。而鄉土文學與其中的畸零人形象正是此「現代主義」與「鄉土文學」交鋒的場域。 The theme of this thesis is the post-war Taiwan regional fiction and the image of outsider in it. The thesis tries to clarify the developing context of modernism in Taiwan regional fiction. In common sense, from so called Modernism Era in 60’s, literature in Taiwan experienced these different eras: the Regional Literature Era in 70’s ,the Urban Literature Era in 80’s, and the Burgeoning Era and the Postmodern Era in 90’s. The thesis tries to demonstrate that after modernism was introduced into Taiwan in 60’s, modernism in Taiwan has actually existed, but tended to be covered under the repression of the political and modernity power. At the same time modernism in Taiwan has gradually interacted with the belated-modernity on this island and developed itself , and the image of ousider in the Regional Literature is the fighting site of Modernism Literarture and the Regional Literature.
