臺灣原住民族共有16族，排灣族人口數位居第2，在文學表現中排灣族作家陳英雄很早發跡寫作，以及排灣族兒童文學作品豐富，本研究聚焦以排灣族為例，爬梳探討關於排灣族的兒童文學的發展脈絡與相關的出版之情形。
排灣族兒童文學史論，時間區分上主要分成日治時期以前、日治時期、民國時期三大期，並以口傳採錄發展、口傳改寫發展以及排灣族兒童文學創作發展作為貫穿主題。發現這三大持續發展的脈絡進行並非是直線的歷史發展，而是多元並進。
在排灣族籍作家與非排灣族籍作家，二者最大的差異是關於自身的童年書寫。排灣族籍作家的童年經驗使得他的寫作內容，雖不是專為兒童寫作，但因童年書寫的因素更能貼近兒童，自然呈現排灣族文化；相對地非排灣族籍作家在為排灣族兒童文學書寫時需要進行更多的田調工作方能寫作，所以在書寫排灣族的兒童讀物，設定讀者年齡和文化更是重要，必須在文化上也必須充分理解排灣族的文化才能進行寫作。
排灣族兒童文學的出現是近10年來有較多的作品出現，出版品方面2000年以前以故事改寫的兒童讀物作品較多；作家作品分成兩類，第一排灣族籍作家、第二非排灣族籍作家。時間上則是2000年以後，許多排灣族籍或非排灣族籍的兒童文學作家投入，作品豐富且多元。

The theme of the thesis is aboriginal children literature developmental history, taking Paiwan people as an example, to discuss developmental context and related publishing.
The timeline of Paiwan children literature history is divided into 3 sections: before the Japanese Taiwan period, Japanese Taiwan period, and the Mainland Period. The themes penetrate these periods are folklore fieldwork, folklore paraphrase, and Paiwan children literature. Developing context processes listed in the former past is not direct, but progressing in various directions. Before Japanese Taiwan period, important writing records about aboriginals are works written by Taylor Lighthouse guards in England and aboriginal stories. The earliest written works which are suitable for Taiwanese aboriginal children are “Seiban Otogibanashi”, “Sequel of Seiban Otogibanashi”, and “Seiban Otogibanashi Related to Sea”, etc. by Hideo Nishioka. The first selected tale work is Banjin Densetsu Dowa Sensyu for aboriginal children. It is also an important children’s reading material in Japanese Taiwan period rewritten based on aboriginal children myths and legends; it is also suitable for aboriginal children. Recently, in the earlier creative Paiwan creation period, literature works for children are mainly written by Chinese authors, such as "For Teenagers: A Year of Paiwan People” (1996) by Ma,Xiao-Feng. In the later period, more and more Paiwan writers contributed to this field, such as the first prose collection suitable for children in 2000 by Ahronglong Sakinu, “The Sage Hunter”.
The point that the largest difference between Paiwan writers and whose not is the writing about one’s own childhood is proposed in this research. The childhood experience of a Paiwan writer affects his/her writings. Even though they are not writing exclusively for children, they can get closer to children because of writings about childhood. On the other hand, more field work has to be done when those writers who are not from Paiwan tribes to write for Paiwan children literature. Therefore, age setting for children is very important for Paiwan children literature. Moreover, they also have to fully understand Paiwan culture before they start writing. For publishing, before the year of 2000, there were many rewritten children reading materials based on stories. After the year of 2000, devotion from Paiwan writers and other writers who are not from Paiwan has increased and helped create abundant and various works.