本論文從敘事策略出發，探究瓦歷斯．諾幹原鄉回歸後，如何以部落踏查、田野訪談，建構、強化其文學作品論述內涵。田野踏查喚醒族群「白色記憶」，採擷部落「口傳文學」，向老者挖掘森林智慧，逐漸編織出風格獨具的原味書寫。瓦歷斯以邊緣觀點，重拾帝國專擅的田野策略，本質上就具備翻案和解構歷史企圖，深化原民文學抗爭主調。然而其不斷書寫霧社事件與對悲劇人物的耽溺，侷限原民文學因山河林海空間經驗可能衍生的豐富想像，也讓自己陷入急欲解構的霸權文化話語＼權力運作。身處多元社會的寶島住民，宜用欣賞差異眼光，開啟平等對話空間，方能避免歷史悲劇重演，並以原漢閩客民族差異聲調，完成族群融合的混聲合唱。

This thesis begins with a first-person narrative strategy and explores how Walis Nuogan interviewed the tribesmen and villagers to construct and further enhance the literacy of the pieces he composed after returning to his home village.Interviews in the fields awakened the “White Memory” and collected the “Oral Literatures” of the tribe. It collects wisdoms from the old tribesmen have learnt from the forest and gradually constructed an Ab-original style of writing.From a country minority population’s perspective, Walis has picked up the field strategy that is popularly conducted by the Japan empire. The nature of the pieces is to re-write the history , which was usually illustrated by the Chinese point of view, and set a dominant rebellious tone for aboriginal literature.In many of his pieces, Nuogan’s constant mentioning of the tragic heroes in Wu-She Incidence has limited the aboriginal literature creativity inspired by the aboriginees’ living experiences with mountains, rivers, forests and the seas. Nuogan has also fallen into the manipulation of culture and power. Living in a diversified society like Taiwan, it is desirable to embrace and accept different cultures. Creating a platform of equality for different cultures to communicate can avoid the re-enactment of the historical tragedy. Through the use of the four main cultures’ voices in Taiwan, Chinese, Aboriginee, Hokkien and Hakka, a ethnic harmonized chorus can be sung.