本文以後殖民的觀點，對現代主義小說的兩部代表作：王文興的《背海的人》和李永平的《海東青》，重新進行解讀，試圖發掘小說中所反映的台灣殖民歷史與政治現實，探討兩位作家對台灣鄉土與國族命運的思考。《背海的人》中的深坑澳，可視為台灣鄉土的隱喻，和《海東青》中指涉台北的海東鯤京，正好形成從邊緣（鄉土）到中心（都市）的兩則國族寓言，其中對美日新殖民主義所帶來的文化與經濟殖民、以及對台灣內部的族群、階級、性別等權力支配關係的審視，乃至國族認同的失落與追尋，都展現了後殖民的視角，只是兩人有別於台灣本土的後殖民脈絡，而將後殖民的文化認同寄託於現代主義的語言實踐，以美學信仰捕捉台灣混雜的語言文化活力，使台灣得以超越族群對立和國家認同的分歧，獲得文化融合與族群共生的可能性。

This study reinterprets the two representative works of modernist fiction, Wang Wenxing's Bei Hai Di Ren and Li Yongping's Hai Dong Qing from the postcolonial point of view, tries to dig out the colonial history of Taiwan and political reality reflected by the novels, and discusses the two writers' thinking about the local and national destiny of Taiwan. Shen Keng Ao in Bei Hai Di Ren can be regarded as the metaphor to the local countryside of Taiwan. In addition, Hai Dong Kun Jing refers to Taipei in Hai Dong Qing. The two national allegories from margin (countryside) to center (city) are therefore formed. In the two works, the cultural and economic colonialism brought about by neocolonialism of US and Japan, the examination of the power relations among the ethnic groups, social statuses, and gender in Taiwan, and the loss of and research for the national identity all display the postcolonial perspectives. However, different from the Taiwanese local postcolonial context, the two authors focus the postcolonial cultural identity on the modernist language practice, catching the mixed language and cultural vitality in Taiwan through the aesthetic belief. In doing so, Taiwan will be able to surpass the ethnic conflict and ramification in national identity, and cultural integration and ethnic coexistence are therefore made possible.