| Abstract: | 本文以高信疆擔任《人間》副刊主編期間致力於推動報導文學，並設立報導文學獎而形成以他為中心的寫作「班底」為討論對象，包括林清玄、古蒙仁、陳銘磻、李利國、馬以工、心岱、邱坤良等人，探討這批曾獲報導文學獎並與高信疆有緊密互動的寫作者在高信疆離開《人間》後的轉型現象。接著再聚焦討論「班底」中的陳銘磻，因為他出身「高信疆世代」，是1970年代報導文學風起雲湧時的參與者、見證者，並且又以主編專書、選集的方式為報導文學理念的傳播與研究極盡心力，當年的「班底」早已風流雲散，僅剩他仍堅持地繼續耕耘這塊日漸冷清的園地。本文試圖從他的那羅書寫、文學旅行與人物傳記寫作三方面，進一步思索報導文學文體的邊界與未來轉型的可能。
As the editor-in-chief of Renjian, the literary supplement of China Times, Kao Hsin-Chiang devoted himself to promoting literary reportage, founded a specific group for literary reportage under China Times Literature Prize, and rendered himself as the center of this later-formed "Ban-di" (a circle for literary writers), which included Lin Ching, Ku Meng-Jen, Chen Ming-Pan, Lee Li-Guo, Ma Yi-Kung, Dai Shin, Yang Hsien-Hung, Qiu Kun-Liang and so on. This paper started with these writers, who had received the Literary Reportage Prize and were once closely related to Kao, and their transformation after Kao left Renjian. Secondly, I focus on Chen Ming-Pan, one member of "Ban-di," for he belongs to "the generation of Kao Hsin-Chiang". He participatored and witnessed literary reportage reach its pinnacle in the 1970s. Chen later edited books and anthropologies, in order to advocate as well as research into literary reportage whole-heartedly. Although the "Ban-di" has already been dissolved, Chen became the only person dedicating to this gradually ignored genre. I attempt to discuss Chen`s That-Luo writing (an aboriginal tribe in Taiwan), travel writing, as well as biographical writing, and further reflect on the limit of literary reportage and the possibility for its transformation. |
