台灣作家王禎和以作品以戲謔文字見長，其代表作《玫瑰玫瑰我愛你》講述六十年代台灣，花蓮縣的特種行業為了迎接越戰美國大兵前來度假兩周，為性工作者所開辦的特訓班的過程。這部看來嬉笑怒罵，葷腥不忌的作品在華語寫作的大前提下，大量活用方言（閩南語）和外來語（日語、英語），其特殊的風格在早年備受爭議，但近年重要性逐漸凸顯，已被文學批評界使用各種理論分析。巴赫金的「嘉年華」、「眾聲喧嘩」和德勒茲與瓜塔里的「少數文學」都是常被使用的文化概念。筆者提出一種對王禎和作品的新詮釋框架－「文化板塊運動」。文化板塊運動由地質學概念出發，將不同文化比擬為板塊。在宏觀角度上，文化板塊以人口遷移和交流為驅動力而移動，在文化邊界有張裂（排斥和遠離）或聚合（融合和交流）不斷發生。具體來說，強勢文化以政治、商業和文化活動征服並凌駕弱勢文化之上，提升自身的高度。弱勢文化隱沒於強者之下，卻未完全消失。等待積蓄能量釋放時，弱勢文化即有重見天日的機會。在微觀角度上，文化的要素，如語言、風俗、種族等如同組成板塊的礦物和岩石，不同文化要素在文化擠壓碰撞的過程中受溫度壓力而熔化，發生凝結與融合。於重新冷卻時產生新的聚合體，即為此文化受外來文化衝擊的回應。由此，文化不斷產生演進。由文化板塊運動的角度解讀王禎和的作品《玫瑰玫瑰我愛你》，可以解釋為何他在華語語系的邊緣地震帶（台灣花蓮）上，必須使用一種糅合了方言和外來語的非標準漢語寫作，以期更為精準地描述外來與本土各文化衝擊與交會時產生的利益衝突、誤會及荒謬。

Taiwan writer Wang Chen-ho is celebrated for his satire. His works have been analyzed widely using various literary theoretical paradigms such as Gilles Deleuze and Félix Guattari's "Minor Literature" and Mikhail Bakhtin's "Carnival" and "Heteroglossia." In this essay, I propose a new interpretation of Wang's fiction - Cultural Tectonics. Cultural Tectonics is a term that I coined, comparing cultures to the geological concept of tectonic plates. On macroscale, cultures move on energy driven by communication and migration, and divergence (distancing and alienation) and convergence (merging and interaction) constantly take place on different cultural boundaries. For example, the stronger cultures conquer and get better of the weaker cultures by means of political, commercial and cultural activities, so as to elevate their height and visibility. Weaker cultures submerge under the stronger ones, but they do not disappear completely. When their latent energy is accumulated to a certain degree, the weaker cultures gain the opportunity to resurface. On microscale, cultural elements such as languages, customs and ethnicities are like minerals and rocks that form the tectonic plates. When cultures collide or split apart, existing cultural elements metamorphose into new ones. This is how cultures transform and evolve.By way of the theory of Cultural Tectonics, it is possible to explain why Wang Chen-ho, a writer from the seismic zone of Hualian, Taiwan, chose to write in a hybrid Chinese language in his novel "Rose, Rose, I Love You", so as to accurately depict the cultural collision, misunderstanding and absurdity in the 1960s Taiwan, when different cultures came into contact with each other.