本文以王幼華〈健康公寓〉（1983）與張大春〈公寓導遊〉（1986）為析論對象，試圖探究：一，為何必須倡議「八○年代都市文學」？該文類如何存在？以及存在的意義為何？二，作為「反叛」的象徵文類，所謂都市文學「嶄新」而不同於前世代的敘事觀為何？研究發現：一，就都市文學「反叛性」而言：作為宣稱「舊價值體系崩潰下所形成的解構潮流」，都市文學的形成乃是伴隨著世代論的興起而遠大於消費社會的崛起，以林燿德為首，經由「都市」、「後現代」以及「新世代」的交互論述下，都市文學的「反叛」展現於挑戰前世代「文學即寫實」的敘述美學。二，就兩篇作品的都市文學敘事觀而言：新世代作品強調敘事的斷裂、複製與跳接，強烈區隔鄉土文學世代強調「文學即真實」的線性敘事。鄉土成為必須批判的對象，都市反而成為必須投入的所在。兩篇作品差異在於〈健康公寓〉仍具有寫實與後現代兩造融合的痕跡，而〈公寓導遊〉已徹底捨棄現實、真實，全然轉向戲謔、擬仿、拼貼的後現代書寫風格。

The study explores Taiwanese novels “Healthy Apartment (1983)” and “Apartment Guide (1986)” and argues the significance of the “1980s’ urban literature”. The study also questions: being the symbol genre of the “revolt”, what is the “new” narrative perspective of urban literature, different from the former generation? First, rather than coming with the growing consumer society, the urban literature was accompanied with the rise of generation discourse, claiming itself as “the trend of deconstruction with the collapse of the old value system”. In terms of the “revolt” of urban literature, employing the interdiscourse of “city”, “post-modern” and “new generation” headed by Lin Yao-de, this paper shows that the “revolt” is expressed by its challenge to the narrative aesthetics of the earlier generation, “literature is realism”. Second, the works of the new generation underline the rupture, duplication, and jump-cut of the narrative, which strongly differentiate from the linear narrative, “literature is the truth”, emphasized by the generation of nativist literature. The homeland becomes the object which has to be criticized. Instead, the urban becomes the place to devote to. The difference between the two works discussed here is that “Health Apartment” maintains the trace of the combination of realism and post-modernism, while “Apartment Guide” completely changes to the post-modern writing style of banter, parody, and collage, abandoning the reality/truth thoroughly.