本論文係以話語實踐觀點探討臺灣客籍作家鍾理和文學作品中的「原鄉人」的處理及運用。首先，借用歐美語義學中的音位學及符號學的分析模式作為探討「原鄉」、「祖國」、「中國」、「故鄉」這四個詞彙的概念依據，選取鍾理和文學創作共九篇，觀看其文學文本中的相關詞彙深層內涵。此外，運用傅柯的「話語實踐」擴及鍾理和所有作品中的文本脈絡是如何重構族群認同和表現鄉土情懷。從其對原鄉的渴望及憧憬、實際奔逃到大陸的生活體驗，以及返回故鄉的心路歷程，將原鄉分為三層次論述，以說明其內心所嚮往的原鄉在哪裡？最後，藉由〈原鄉人〉小說文本到《原鄉人》電影文本的重新梳理，經由影像的呈現，讓我們瞭解李行導演又是如何形塑「原鄉人」？;This article is based on practical linguistic views to discuss use and handling of “the native” in the literature works of Taiwan Hakka writer Zhong Li-He. Firstly, analytic patterns of phonology and semiology in European and American xemantics are referred as concept basis for discussion of “home”, “homeland”, “China” and “hometown”. 9 articles of Zhong Li-He’s works are selected to observe profound connotations of related words in the texts of literature. In addition, the theory of Language Practices of Foucault is extended to find out how ethnic identity is reconstructed and how home emotion is expressed in the contexts of Zhong Li-He’s works. The home is discussed in three parts: his yearning and longing for native, life experience after running to mainland China, and mental changes on way to home, thereby answer the question that where is the native his heart belongs. In the last, we represent the Native from novel to movie to see how native is pictured by Li Hsing the director.
