二十世紀末興起的全球性懷舊風潮在本世紀初繼續延燒，成為當代大眾歷史想像的重要來源。在台灣的媒介舞台上，兩大懷舊主題並肩而立，本土常民懷舊與西洋時尚復古──簡稱土懷舊與洋復古。本文檢視近十年以此兩者為主題的書刊文本，分析其形式內涵之異同，探討兩者各為何種當代需求所形塑，而這對本土歷史想像的建構又有何啟發。本研究發現，懷有本土主體重構與記憶恢復等宗旨的土懷舊注重地方產製、傳統建構、常民文物與歷史延續，而資本主義利潤追求導向的洋復古則強調區隔明確的十年斷代及其各自之風格、元素、象徵以及速成歷史和即食記憶。土懷舊與洋復古雖各有追求，但當代流行性印刷媒介的主要形式卻對兩者帶來齊一化效果，產製出大量光鮮亮麗的歷史擬像。最後，由於土懷舊與洋復古之間的關係可類比於歷史與個人懷舊，兩者共同呈現出一幅分裂而混雜的過往全景，同時亦指出當代台灣歷史圖像的匱缺與潛能何在。

The nostalgia trend that emerged at the end of the last century has become an important cultural theme in this century. In Taiwan's popular media, there are two major nostalgia themes: the native nostalgia that looks back on the "old Taiwan" of the 1950's-1980's and the fashion retro that features the 20's-90's Western styles. This paper examines popular texts published in this decade, analyzing the similarities of and differences between the native nostalgia and the Western retro, looking for the forces that help shaping them, and considering the future development of our historical imagination. The findings of this study are as the following: First, with the purpose of reconstructing native subjectivity and history, the native nostalgia emphasizes artifacts, places, traditions, and historical continuity, while the Western retro that is mainly driven by capitalist profit pursuing motives focuses on clearly differentiated periods with unique atheistic elements, symbols, and styles, as well as instant history and fast food memory. Secondly, regardless of nostalgia's and retro's individual motives, the dominant format of contemporary popular print media has a homogenizing effect on the appearances of both types of texts, thus producing numerous glossy images of historical simulacrum. Thirdly, the relationship between the native nostalgia and the Western retro is parallel to that of personal and historical nostalgia; together, they form a hybrid and fragmented topography of the past that points to the potential and the lack of Taiwan's contemporary historical imagination.