本論文旨在探討台灣前衛藝術家黃華成在其文學作品中的美學政治介入意義。具體而言，我將分析他的兩部重要作品：短篇小說〈青石〉和舞台劇劇本〈先知〉。透過將這兩部作品作為其藝術表達的互補方面進行解讀，我旨在說明黃華成在文學中的獨特美學表現如何內在地體現了他的政治觀點，並反映了冷戰時代的文化伏流。為了說明黃華成的立場，我回顧了現代主義的形成過程，特別是黃華成與《劇場》雜誌的關係，以及一九六零年代台灣由國民黨政府和美國控制的文化體制。通過黃華成的「反」精神和他的「現代」美學概念，我將黃華成定位在有別於主流現代主義的位置。在我的分析中，我仔細探討了兩部作品中的性和浪漫主題並揭露了其中隱含的政治內涵。我採用跨學科的文化研究方法，透過歷史政治的框架來審視這兩部作品，並同時考慮黃華成的舞台設計和幕後筆記。最後，我將這兩部作品與我對「五四」精神的觀察連結起來，揭露黃華成如何挑戰冷戰分斷並對當時盛行的文化體制提出質疑。透過這篇論文，我的貢獻在於闡明黃華成在台灣現代主義文學及其相關論述中經常被忽視的重要位置。;This thesis aims to discern the significance of Taiwanese avant-garde artist Hua-cheng Huang’s (黃華成) aesthetical-political engagement within his literary works. Specifically, I analyze two of his notable works: the short novel Bluestone (〈青石〉), and the playscript The Prophet（〈先知〉）. By interpreting these two pieces as complementary aspects of his art expression, I aim to demonstrate how Huang’s distinctive aesthetic performance in literature inherently embodies his political convictions, reflecting the cultural undercurrents of the Cold War era. To contextualize Huang’s position, I review the formation of Modernism, particularly examining Huang’s affiliation with the Theatre Quarterly magazine (《劇場》), and the cultural institutions controlled by KMT government and the United States during the 1960s in Taiwan. Through the lens of Huang’s “anti”-spirit and his conception of “modern” aesthetics into my review of these formations, I position Huang as distinct from mainstream Modernism. In my analysis, I closely examine the sexual and romantic tropes present in both works, uncovering the implicit political connotations. I adopt interdisciplinary cultural studies approaches to examine both works through a historical-political framework, considering Huang’s stage design and off-script note. Lastly, I draw connections between these two works to my observation of the “May Fourth” spirit, revealing how Huang challenged Cold War divisions and interrogated the prevailing cultural institutions of his time. Through this thesis, my contribution is to illuminate the often-overlooked critical position held by Huang in the discourse surrounding literary Modernism and its related debates in Taiwan.
