對長期被汙名化的台灣原住民族群而言，族裔文學主體性、歷史意識之建構，並重新確認部落、祭儀、文化記憶的意象，實有意義。然而，至今大多數的原住民已移居都市，或往返於原鄉與都市之間，成為都市原住民之際，也成為「台灣人」論述的重要部分。「都市」演繹了原住民族在台灣政治環境、經濟結構與文化想像的位置，都市原住民的「身分」，對於族裔文學之討論，則提供一個
土地與族群史觀的張力。當我們從這些角度看待台灣原住民文學的發展，將可發現拓拔斯．塔瑪匹瑪（田雅各）一系列作品所呈現的面貌，描繪了部落受外力影響的負面效益，亦透露原住民於都市求
生存的種種困境，彰顯了原運後原住民對於「我是誰？」的爭取與思考。相較於此，不同世代的創作者如巴代《巫旅》、Nakao Eki Pacidal《絕島之咒》，卻是透過遷徙、移置的空間差異，在文化交會的靈感下，反思傳統，也帶出新世代原住民族斟酌「我們應該說哪一個名字？」的時代考慮。

Most of the indigenous people have migrated to urban areas due to a variety of driving forces, or moved back and forth between the native rural and cities. With the process of becoming the urban indigenous people, this movement has inspired this research to think more about the idea of the “Taiwanese.” Moreover, the issue of the identity of these people, especially represented in literature works, provides an approach to link land with ethnic history. In terms of the perspective of the development of Taiwan's indigenous literature, this research seeks to investigate the works of Tuobasi?Tamapima and Badai’s works, and then reveals different attitudes and ways of forming the identity. As a result, the former illustrates the thinking of “Who am I?” while the latter shows the viewpoint of “Which name do I choose?” This comparison not only shows the difference of generations care, but also provides a new way to argue what is the “Aboriginal Literature.

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