摘要
自一九八七年十一月，政府宣布開放大陸探親和大陸出版品以來，兩岸正式恢復了互動的關係，此後經貿、社會、文化的交流也隨之蓬勃發展。迄今年為只，兩岸的文化交流已歷經十三年。藝術與文學是文化活動具體的凝現和反映，不同的民族有其特有的藝文風格，兩岸人民雖同是中華民族，但經過五十多年來相異的政經制度與生活方式後，其藝文風格也呈現不同的樣貌。開放交流初始，由於對對方充滿了好奇與期待，故引起一陣「大陸熱」與「台灣熱」，經過十三年的互動後，已能利用對方的資源與市場，作互補互利的融合。本文是從藝文界中的電影、戲劇、音樂、舞蹈、美術與文學諸領域，來看交流的利弊得失，俾便鑑往知來，作為今後交流的參考。
並列摘要
With the lifting of the ban by the ROC government on visits to the Chinese mainland as well as on the imports of mainland Chinese publications in November 1987, cross-strait interaction was formally resumed. Since then, economic and trade ties as well as social and cultural exchanges between Taiwan and mainland China have flourished. Because literature and art are concrete reflections of cultural activities, different races have thus formed special literary and artistic characteristics. Although the people on the two sides of the Taiwan Straits are both Chinese, their literature and art have developed differently because the two sides have experienced different political and economic systems as well as different life styles in the past five decades. Out of curiosity and expectation for each other’s literature and art, “mainland China fever” and a “Taiwan fever” appeared simultaneously in the initial stage of exchanges. Now, after thirteen years of interaction, both sides are able to use the other side’s resources and markets to facilitate a mutually complementary and beneficial integration. This paper evaluates the pros and cons of cross-strait exchanges over the past thirteen years in such fields as movies, dramas, music, dancing, fine arts and literature.