台灣文壇進入九〇年代之後，傳出一波波「文學已死」的聲音， 形成文壇熱門話題。到底問題出在哪裡？文學的傳播在多元化的台灣 社會中依舊進行著，但多元化似乎已使得文學的生命萎弱了，這是文 學的無用？或是文學作爲傳播的無力？顯然値得文學社群思考，也値 得傳播學界從「文化研究」的向'度，對於此一現象提出一些觀察與論 點，並有所擴張傳播研究的傳統領域。 本文嘗試以戰棱台灣的社會變遷爲背景，耙梳近五十年來歷史發._ 展下台灣文學在傳播過程中走過的曲折路徑，藉以分析台灣文學家如 何在歷史脈絡上建構文學的傳播意義及其價値觀；其次，在橫切面 上，本文進而以七〇年代後台灣報紙副刊改革對應於社會變遷，探究 兩者緣於傳播過程所產生的互動，並解析台灣現代文學的傳播困境所 在。 最後，作者試囷指出，文學如果眞有「死亡」現象，也是因爲文 學傳播被文人圈單向地將之依賴於大眾媒介之上。大眾媒介對文學的 傳播固然有著推波助瀾的功能，但格於其媒介工業特質，對文學的書 寫亦相對造成傷害。台灣文學工作者必須辨明此中的弔詭，以文學書 寫對抗消費文化的挑戰、以文學專業媒介（雜兹及出版）的整建，發 展新的傳播系統，抵抗媒介工業的收编，並以「磋商」（negotiation)策略，鼓勒大眾的參與和解讀，讓讀者成爲主動找尋意 義的創造者，而非被動的受訊者，才能眞正突破當代台灣文學的傳播 困境與危機。

In Taiwan in the 1990s, it is often heard that "literature is dead". The topic has become a popoular one in Literary circles. Is this because literature is useless? or is it because literary communication is powerless? Such questions deserve consideration not only by the literary community, but also by journalistic circles observing and analyzing this phenomenon from a cultural studies’ perspective, and thereby enlarging the traditional sphere of communications research. Utilizing the social changes in post-war Taiwan as background, this paper attempts to examine the complicated historical development of literary communication in Taiwan over the last fifty years, and to analyze how Taiwans* writers have given meaning and value to literary communication through history. Secondly, this paper will examine their interplay through a cross-section using the reform in newspaper literary supplements and the corresponding social changes since 1970s as well as analyze the difficulties in the communication of modern Taiwan literature. Finally, the author will attempt to point out that if literature　really is "dead", then it is the result of writers themselves relying exclusively on the mass media to disseminate literature. The mass media, no doubt, cah function to promote the communication of literature, but it can actually be harmful to the writing of literature. Only by using a tactic of "negotiation' which allows the reader to become the creator of meaning, rather than the passive recipient of information, can Taiwans’s writers really overcome the crisis and difficulties in the communication of contemporary literature.