The novels of Taiwan writer, Bai Xianyong, shine in terms of topics as well as writing skills among Chinese literatures. Bai's major works themed around homeland nostalgia including geogrohy nostalgia, culture nostalgia and spiritual nostalgia. During the early stage before going aborad, his works mainly recalled the life in mainland with simply concentrating on the theme of geograohy nostalgia. Neverthless, after he had left homeland, and had been exposed to a western environment his literary works later showed a deep insight towards the feeling of nostalgia with struggling in a transitional period, with the application of western modernism writing skills. He portrayed the stories of people who left the place where they were born and brought up. The sense of being alone in an unfamiliar environment enabled his charaters to fight with loneliness and to find a way to go home spiritually, in another word, to find the spiritual hostalgia. In works such as Taipei people, New Yorkers, Bai Xianyong tended to focus on indiviuals and groups on the fringes who were lost in their spritual road. While the work of Niezi discussed issues of homosexual youths living in Taipei, they were viewed as deviates but ried their best to survive the life in a fissure and to dig up what they really yearned for. The exploration of homeland nostalgia to a large extent can be seen as the pursuit of unearthing a true self. By persuring a true self, one could find a everlasting homeland to rest in spiritually. The dissertaion aims to explore the homeland nostalgia reflected in Bai's literary works in terms of Bai's life experience, Bai's literary techniques and his writing style from the perspectives of men on the brink. Keyword: Bai Xianyong, homeland nostalgia, geograohy nostalgia, culture nostalgia, spiritual nostalgia

台灣作家白先勇的小說是華語文學的一座高峰，不論是主題還是文字技巧上都有過人之處。他的作品大多體現出“原鄉”這一主題，可以分為三個層次：地理原鄉、文化原鄉以及精神原鄉。 白先勇出國前的早期作品，主要描寫對大陸時期生活的回憶，體現為簡單的“地理原鄉”主題以及對西方現代主義寫作手法的簡單運用。出國以後，白先勇感受到了切身的去國離鄉之感，完全身處西方地理和文化語境之中，使他對中國的文化也產生了深刻鄉愁，對中國文化原鄉的描摹結合醇熟的西方現代主義寫作技巧，白先勇創作出《台北人》、《紐約客》兩個有濃厚文化原鄉意味的短篇小說集。背井離鄉的孤獨感使作家同時走向探索對抗靈魂孤獨的道路，也就是尋找精神原鄉之路。在《台北人》、《紐約客》中，白先勇已經在各種繁華社會中的邊緣人，他們是這個時代的孤獨症患者，迷失在了靈魂的異鄉。而《孽子》則探討了如何尋找“精神原鄉”的問題。《孽子》中的主人公們，雖然是一群同性戀者，被傳統意義上的“家”所背棄，卻經濟地在夾縫之中生活，發現自己內心真實的嚮往。白先勇通過《孽子》表明，對於精神故鄉的尋找，很大程度上是一場自我發現的歷程。對於李青和小說中其他的“孽子”，他們的精神原鄉是複雜的，終極意義上是對個體生命存在價值、對同性戀者道德合法性的拷問，但同時，又摻雜在家庭、故鄉、社會現實等具體現實狀態下，如何保持自己的精神自由這樣的問題。靈魂中存有這樣的追尋，其實也就有了一處可以安頓的精神原鄉，從而獲得了自己的救贖。“原鄉意識”在白先勇的作品中貫穿始終，成為了他小說中的重要主題，也豐富了台灣文學中的“原鄉”母體。 由於特殊的地理曆史因素，“原鄉意識”普遍存在於台灣作家的創作之中。白先勇之所以能夠成為台灣作家中書寫“原鄉意識”的典範，與他的個人經歷和審美追求是分不開的，本文從白先勇漂泊不定的身世、中西文學的深厚積澱和他同性戀者特殊身份帶來的“邊緣者”的敘述方式三方面入手，探討了白先勇“原鄉意識”產生的原因。 關鍵字：白先勇 原鄉意識 地理原鄉 文化原鄉 精神原鄉