一九七三年，黃春明從一位偶然認識的魯凱族青年家裡牆壁上的照片，驚覺台灣原住民同一家的四個男人被敵人強迫徵召，去打敵人的敵人，其中三人並因此犧牲性命這樣舉世罕見的悲劇。一九八八年至二○○五年間，黃春明分別採用散文、劇本與新詩三種不同的文類，陸續發表記載這個故事的〈戰士，乾杯！〉系列文本。本論文將以黃春明創作的〈戰士，乾杯！〉三種文本出發，從散文、劇本、詩這三者形式上的比較與轉換的過程，找尋一個從寫者（writer）出發的互文結構，並藉此思考成為永恆讀者的可能。此外，從黃春明〈戰士，乾杯！〉的寫作過程來看，整個互文過程其實是由他對照片的閱讀所誘發的，因此本論文也將針對散文、劇本和詩這三種文本詮釋相片的可能性進行討論。最後，本論文將從三種文本內容的比較分析，了解黃春明如何透過文本的修訂深化主題的意義，以及一九八○年代台灣的原住民運動對於文本修訂的影響。

In 1973, Chun-Ming Huang went a Rukai young man’s home and there he was
shocked by a set of pictures of the young man’s family members. These pictures showed a tragedy that four males in a Rukai family were compulsorily conscripted into different feuding camps and three of them even lost their lives in wars and conflicts. From 1988 to 2005, Huang wrote this tragedy with the title, “Fighters,Cheers!” in the three genres of essay, play script, and poem, respectively. This paper starts with the discussion of the three genres of “Fighters, Cheers!” especially
of the process of transformation and comparison among genres, in order to
understand the intertextual structure of Huang’s works. Thisunderstanding will offer an approach for considering the possibility of being an eternal reader.Furthermore, given that Huang’s intention to
write “Fighters, Cheers!” was evoked by his reading of the pictures in the Rukai young man’s home, this paper will also discuss how the three genres of essay, play script, and poem interpret these pictures.
Finally, with the comparison of the contents of the three genres, this paper shows not only how Huang deepened the theme of this tragedy each time a revision was made, but also how the movement launched by the indigenous Taiwanese in the 1980s influenced Huang’s revisions.