本文梳理紀剛在《滾滾遼河》之後的文學實踐與歷程，認為可用「群我文化觀」和「成為華語語系」概括。「群我文化觀」是紀剛在八〇年代初期探索醞釀的思想體系，以中國傳統文化為主，結合西方自由民主思想。明顯可見新儒家思想的影響。紀剛希望以此思想架構，再以抗日戰爭時期東北的現地抗戰經歷做為典範案例，以此作為方法，應對臺灣鄉土文學論戰後中華民國內憂外困的「危機」，也超克臺灣本土化思潮中的分離主義思想。晚年，紀剛移居北美，展現外省一代在「生為中國人」到「成為臺灣人」之外的另一條「成為華語語系」的身份政治路徑。由此對話了華語語系理論預設的反離散與在地性的同一，呈現了離散、反離散與在地投入之間複雜的辯證。

This article discusses the literary practice and journey of Ji Gang (紀剛) during his “Post-Rolling Liao River (Gungun liaohe 滾滾遼河) ” period. His literary practice in this period can be summarized as the “Culture of the Collective Self” (群我文化觀) to “becoming Sinophone”. The “Culture of the Collective Self” was a thought system that Ji Gang developed in the early 1980s and was notably influenced by Neo-Confucianism. This thought system focused on the Chinese traditional culture, combined with Western liberty and democratic thought to address the “crisis” of internal and external struggles in the Republic of China after the “Nativist Literature Debate” (鄉土文學論戰). Using the thought of Neo-Confucianism and the localized anti-Japanese war experience of Northeast China as a paradigm, Ji Gang hoped to adopt Northeast China as an example to overcome the separatism in Taiwan’s localization trend. In his later years, Ji Gang moved to America, demonstrating his other identity conversion path of “becoming Sinophone” for Taiwan’s “mainland Chinese” generation, which transformed from only “being Chinese” into “becoming Taiwanese”. This path engaged in a dialogue with the assumed equality with against-diaspora and locality in Sinophone theory, presenting a complex dialectic between diaspora and against-diaspora, homeland nostalgia and local involvement.