本文旨在探討台灣新世紀戰爭小說如何因為戰後作家特殊的書寫位置，而得以對過去戰爭的書寫傳統有所轉化並開展出新的面貌，「戰爭」此一題材又如何在戰爭遠去的新世紀被書寫與重構。新世紀台灣雖已遠離戰爭，然戰爭帶來的影響卻持續作用於戰後。新世紀台灣的戰爭小說即在繼承前代對於記憶元素的使用基礎下，開展出對於戰後遺緒的關懷。本文藉由汪宏倫「戰爭之框」此一概念，考察吳明益《睡眠的航線》、巴代《走過 ——一個台籍原住民老兵的故事》及陳映真〈忠孝公園〉三個成於新世紀的小說文本，試圖梳理台灣新世紀戰爭小說的書寫型態。進一步發現，戰後作家雖不具戰爭經驗，卻得以透過調動、操作戰爭所帶來的不同識框，展佈未曾謀面的戰爭場面與對於戰後「家」命題的關懷。

The thesis analyzes how Taiwan’s war novels since 2000 transform their writing styles based on post-war writers’ particular point of view and how war-related texts are written and reconstructed in twenty-first century. Though decades have passed, the influences of wars still remain. Taiwan’s war novels since 2000 show their concern for post-war legacies based on traditional narrative of memories. The thesis adopts the concept, frames of war, created by HorngLuen Wang, analyzing three war novels since 2000, Ming Yi Wu’s Routes in the Dream, Badai’sPassing By: The Story of an Old Taiwanese Aboriginal Soldier and Ying Zhen Chen’s The Zhong-Xiao Park, to reconstruct the writing style of Taiwan’s war novels in twenty-first century. The analysis suggested that post-war writers employ various frames of wars to develop unseen war narratives and concern for post-war home, even if they never went to the front.