本論文以華語語系的研究觀點，分析施叔青《台灣三部曲》中底層人物自我表達的困難，及其追求發聲位置與發聲管道的努力與失敗。施叔青並非代替弱勢人物發言，而是從真實的史料加上文學想像，刻畫各式人物曾經存在於歷史的痕跡，再現其被掩蓋的遺跡。華語語系研究企圖解構中國中心，提出中國以外的各種異質的方言團體及其文化的多重性。藉由此觀點，讀者可更清楚地看到《台灣三部曲》努力建構多元異質的台灣主體性，以及此建構永遠處於生成狀態的動力與曖昧性。

This paper intends to analyze, by using the perspective of Sinophone studies, the subaltern people’s difficulties of expressing themselves in Taiwan Trilogy. They have a strong desire to speak for themselves but their efforts often fail. The author Shih Shu-ching writes these three novels not to speak on behalf of the lower class, but to look for the traces of their forgotten and concealed existence in history. Sinophone studies aim at deconstructing the cultural hegemony that places China as the center. These approaches enable us to look at the multiple layers of minoritarian Chinese languages. Readers can clearly see the attempt to construct Taiwan subjectivity as a diverse and heterogeneous one in Taiwan Trilogy. This construction of a new subject position is forever in a dynamic and ambiguous state of becoming.