詩情與散文精神：同時代人對龍瑛宗的接受（1937－1945）

Poetry and Prose Spirit: Long Yizong and the Reception of His Contemporaries (1937-1945)

1937年龍瑛宗以〈植有木瓜樹的小鎮〉入選日本《改造》雜誌有獎徵文，引起台灣文壇的關注，並一躍成為日據時期著名作家。本文從接受史的視野切入，分析龍瑛宗同時代人對於龍瑛宗的接受與理解，指出龍瑛宗作為「新人」出現在台灣文壇，意味著作家身分的更新、形式上的新異、「台灣書寫」的內容有別於既成的文學作品。其次，日本作家與評論家閱讀龍瑛宗的作品有著「絕望的共感」，反映了龍瑛宗與日本1930年代普羅文學運動潰敗後瀰漫日本文壇的「不安」感有著共通性。其三，戰爭時期的感覺結構是強調積極性、堅強的新「散文精神」；龍瑛宗的作家精神與戰爭時期感覺結構出現斷裂，不僅成為同時代人批評的主因，也成為龍瑛宗精神的苦惱。通過同時代人的批評以及與戰爭時期感覺結構的縫隙，發現龍瑛宗不完全是個蒼白纖細的作家，毋寧是個為現實苦惱思索的人。通過接受的分析，不僅賦予龍瑛宗形象歷史縱深，也重新提出新的問題：龍瑛宗為何不安？他所追求的必須正確把握的正確現實是甚麼？

The purpose of the study was to analyzes the reception and understanding of Long Yizong's contemporaries from the perspective of the recsption history. The result of the study was the first, as a ＂newcomer＂, Long Yizong, meaning that the change of authorship, the change of the form, and the ＂Taiwan writing＂ are different from the established literary works. Secondly, Long Yizong have a common sense of ＂uneasy＂ with the 1930s Japanese literature. Third, the writer's spirit of Long Yizong is different from the structure of feeling in time of war .Finally, Long Yizong was not a pale and slender writer. Suining was a man who was worried about reality. Through the analysis of the reception, not only the image history of Long Yizong was given, but also a new question was raised: Why is Long Yuzong uneasy? What is the correct reality that he is pursuing that must be correctly grasped?