原住民口傳故事屬於現在所述之「民間文學」應是無可爭議之事，其由口頭傳誦轉為文字記錄，進而被認定為書寫文學的一種形式，其所面臨的最大挑戰，應該在於口傳故事那種大綱式的呈現，無可避免的犧牲掉了文學本身所具備的藝術性，簡化了作品本質上所要傳達的，更幽微的思想、情感與更細膩的文化現象。因此改寫這一類的故事使更符合現代作家文學的呈現形式，便同時存在了一種「便利」與「挑戰」。這個便利是：口傳故事本身已經存在的大綱，以及其中故事的發展與結果，提供了作家思索故事架構的參考，甚至直接引用改寫。然追求其文學藝術的進一步表現，挑戰性不亞於另起爐灶說一個新的故事。本文以卑南族曾建次所著《祖靈的腳步》第36、37、38章，所改寫成的長篇小說《斯卡羅人》為例，探討口傳故事的文學性再創作可能的幾個面相。
Aboriginal oral stories forms a part of ＂Folk Literature＂ should be an indisputable fact. Oral stories have been transcribed from word-of-mouth to written records, and further recognised as a form of written literature. The greatest challenge in transcribing the stories is that spoken stories are presented in shorten forms, which inevitably sacrifice the artistic expression in literary works and also simplify ideas, emotions and detailed cultural phenomenon that literary works wish to convey. Therefore, convenience and challenges coexist when rewriting oral stories to the form that is more in line with modern literature. The convenience - the outline, content and ending of oral stories already exist. It provides a reference to the writer's story structure, or they can even adapt and rewrite the original story. However, the challenge of pursuing a further artistic expression in rewritten stories is definitely no less than drafting a new story. This article takes the novel ＂The Scarlo＂, which was adapted from Chapter 36^(th), 37^(th), and 38th of Jianzun Tseng's Footprints of the Ancestor, as an example to discuss different facets in literary re-creation of oral stories.
