自一九八○年代始，隨著原住民運動浪潮而促進原住民文學「主體性」的確
立。儘管台灣作為海島國家，但絕大部分的原住民族皆非海洋民族，唯獨達悟族
以海洋為生活方式的民族。從夏曼．藍波安的《沒有信箱的男人》來看，不但試
圖重新奪回主體話語權，重述族群傷痕的歷史意義，而且借助其他弱勢民族的視
角，呈現出「殖民」對集體的剝奪與否定，從而跨越島嶼界線，銜接且關懷第三
世界弱勢民族的歷史共同體。藉以表現出「海洋」才是世界的中心，更是航向遠
方的「起點」。簡言之，本論文將以夏曼．藍波安與《沒有信箱的男人》為討論
範圍，探討達悟族在面對被壓抑的歷史／族群記憶，以及對「他者」的傷害進行
自我反省與掙扎，並闡明「海洋」作為夏曼．藍波安與島嶼對話的重要關鍵，進
而成為台灣文學迎向世界的「新座標」。

Since the 1980s, propelled by the indigenous movement, there has been a push
to establish the “subjectivity” of indigenous literature in Taiwan. Despite Taiwan
being an island nation, the majority of indigenous peoples are not maritime-based,
except for the Tao tribe whose lifestyle revolves around the ocean. Through Syaman
Rapongan’s “The Man Without a Mailbox,” the narrative not only attempts to reclaim
the narrative authority of the indigenous subject and reinterpret the historical signifi -
cance of ethnic scars but also, through the perspectives of other marginalized ethnic
groups, exposes the colonialism’s collective deprivation and negation of identity. This
transcends island boundaries to connect with and advocate for the historical community
of vulnerable ethnic groups in the Third World. It emphasizes that the “ocean”
is not only the center of the world but also the “starting point” for journeys towards
distant horizons. In essence, this thesis will focus on Syaman Rapongan and “The
Man Without a Mailbox,” exploring how the Tao tribe faces suppressed historical and
ethnic memories, engages in self-refl ection and struggle against the harm infl icted on

the “other.” It elucidates the “ocean” as a critical nexus in the dialogue between Syaman
Rapongan and the island, thereby becoming a “new coordinate” for Taiwanese
literature embracing the global stage.