本文將以數首客籍女作家杜潘芳格的詩作為例，論述身為客籍女作家，加上生於日本殖民時期、二次大戰後成為「跨越語言的一代」，作者如何看待客家傳統文化與母語？又是如何以客籍作家及知識分子的雙重身分，在歷經日本殖民統治、國民黨集權統治以及短暫旅美後，在語言「翻譯」的過程中，以客語詩作在主流文化中發聲，進而產生了變異與新意。而也正因此雙重身分，杜潘芳格所選擇的書寫客家發聲策略有別於一般客家書寫或論述中一逕對於客家語言與文化的讚歌策略與形式。

This paper examines several Hakkanese poems by Du Panfangge to analyze how, being born in the Japanese colonial period and later experiencing changes in official language policies twice, the writer views traditional Hakkanese culture and language, and how she broaches an approach to the writing of the Hakkanese language. It is also the purpose of the paper to illustrate how the writer translates/interprets the Hakkanese language and culture in the form of the official Chinese language, not only to illustrate the advantage of cultural immersion on the part of the writer, but also to demonstrate the intellectual distance the writer keeps from the grand narrative of the Hakkanese culture. Lingering between complete immersion and distance, Du Panfangge strategically gives voice to the Hakkabnese people and to herself.