原住民文學與海洋文學是近年來臺灣文學領域中最興勃的次文類，而（達悟族）夏曼．藍波安更是此中交集的亮點。從（法）布爾迪厄（PierreBourdieu，1930~2002）的「場域」（field）來看，原住民文學或海洋文學的興起，意味一個新的勢力場域對舊（現存）的勢力場域的挑戰、鬥爭。而對兼具原住民、離島住民與原住民／海洋文學作家於一身的夏曼‧藍波安，是如何在邊緣的邊緣，順應這波文學浪潮而起？他的海洋文學，又是如何與其他海洋文學作家區隔呢？本文試圖以夏曼．藍波安為例，並以其《航海家的臉》與《老海人》為分析場域，探討、分析此一時期的夏曼‧藍波安如何將母族文化「存在」於臺灣主導文化之中的書寫策略。除前言與結語外，本文論述將先對比《航海家的臉》與《冷海情深》、《海浪的記憶》之間的內容差異，並嘗試探討原因，畫出其文化建構的路線圖；其次藉由對《航海家的臉》與《老海人》書寫方式、文本分析勘查夏曼‧藍波安此時的文化書寫策略。從研究發現：這一時期的夏曼‧藍波安不僅跳脫返鄉初期《冷海情深》中控訴、吶喊的書寫方式，也從《海浪的記憶》裡對家人、族人的傳記式書寫昇華，進入對母族文化的理性省思；並藉由從大島習得的學術訓練，將理論溶入文學創作，同時挾其多年累積的文學資本，創造出屬於自己、屬於Tao（人）的書寫聲調，用達悟的聲音說達悟的故事。

This study was the third piece of Syman Rapongan’s writing strategies series conducted by the author. Followed by earlier works, the main concern of this article was to discuss the coherence between traditional culture and civilization faced by those elite leaders of the aboriginal Taiwanese tribes while reestablishing their ethnicity. Furthermore, the progress was not only the consequences of westernization; it was strongly involved with the inferences of Chinese customs. Thus, leadership became complicated as maintaining the core of their way of life and separating the main stream Taiwanese culture. “Face of the Navigator” and “The Old Fisher” were exampled to evaluate how Syman Rapongan’s tribe culture stood up from the main stream Taiwanese writing strategies. Comparison and reasoning among his previous writing pieces were conducted and found him moved his writing style of accused nature or biographical approach to “Tao,” a combination of theoretical and perception to tell his own Da-Wu stories.