原住民作家與「台灣島史」書寫：以巴代的《暗礁》、《浪濤》、《月津》為例

Aboriginal Writers and the History of Taiwan Island：Using Badai's ''Reefs'', ''Waves'' and '' Moon Port'' as Examples

將自己定位為「族群文史工作者」的卑南族作家巴代，近年的創作卻不再將視角侷限於出身地「大巴六九部落」與身分別「卑南族」，更擴及排灣族、西拉雅族與漢人等不同族群的歷史。然而，當前有關巴代的論文，多探討其如何以書寫重構自我族群的歷史，本文則以曹永和的「台灣島史」觀為研究框架，關注巴代如何於《暗礁》（2015）、《浪濤》（2017）、《月津》（2019）中書寫「卑南族之外」的歷史，且經由「海洋相關意象」所寄寓的歷史觀。本文指出，巴代藉由「暗礁」與「浪濤」的意象交織出「多重因果敘事」，體現歷史如何形構於結構與個人的互動；而圍繞於「月津港」的「溪、港、夕陽、霧」，則被巴代作為重構在地商業史與個人情慾史的元素，呈顯出小人物於大歷史結構中的能動性，上述作品皆能反映巴代以海洋史觀的建構，來銜接「台灣島史」論述的書寫實踐。

Aboriginal writer Badai, who positions himself as a ''worker of ethnic culture and history,'' has expanded his works beyond his hometown, the '' Damalagaw Tribe,'' and his identity as a ''Puyuma.'' In recent years, he has delved into the histories of different ethnic groups, including the Paiwan, Siraya, and Han Chinese. However, most current research on Badai focuses on how he reconstructs the history of his own ethnic group through his writing. This article, using Ts'ao Yung-ho's perspective on the ''History of Taiwan Island'' as a research framework, examines how Badai writes the history beyond the ''Paiwan'' in his works ''Reefs'' (2015), ''Waves'' (2017), and '' Moon Port '' (2019). It also explores the historical perspective conveyed through the ''ocean-related imagery.''This article points out that Badai uses the imagery of ''reefs'' and ''waves'' to create a ''multi-causal narrative,'' illustrating how history is constructed through the interaction of structure and individuals. And the elements surrounding '' Moon Port,'' such as ''streams, ports, sunsets, and mist,'' are used by Badai to reconstruct elements of local commercial history and personal history, highlighting the agency of ordinary people within the framework of grand historical narratives. All of these works reflect Badai's construction of a maritime historical perspective, connecting to the discourse of the ''History of Taiwan Island.''