本文希望以吳魯芹散文為例，重新思考既有的散文史研究，並在考量「國家文藝體制」與「美援文藝體制」的政經文化脈絡下，試圖修正既有之非反共文學作家即「自由主義作家說」，以及「抒情散文美學主流說」，重新確立「閒適／幽默散文美學」，以及「知美／親美派的學者作家」這兩個現象及觀點。如此，則能夠更加準確描述吳魯芹（及同類型散文家）的美學品味與思想意義；同時，亦可補全對冷戰與戒嚴時期的臺灣散文史敘事（含括男性與女性散文傳統）。
戰後的男性散文創作，較諸戰前，更偏向自嘲自娛、生活閒趣的風格與題材，使得戰後二十年間的臺灣散文傳統益發顯得充滿高度的文化菁英色彩，卻又偏重於文人階層的生活經驗（書、畫、美食）。在冷戰年代所凝聚起來的一套美學信念，通過典律機制與美學品味的加乘，吳魯芹散文美學與思想之風行，其實亦是一時代人的美學與思想的集體投射，更是一時代人在流亡精神史上的倒影。

In this paper, Wu Lu-Chin’s essays The paper intends to use Wu Lu-Chin’s essays as an example by which to rethink existing research on the history of the essay genre. In addition, it will attempt to reconsider two current assumptions: the first being that so-called “non-antiCommunist writers” equals “liberalist writers”, and the second being that descriptive essays are main stream aesthetics, all within the economic and political contexts of national literary & artistic institutions, as well as the United States Information Service (USIS).
Moreover, this paper : will revisit the phenomena of “the aesthetics of humorous essays” as well as the existence of writers and/or scholars who are familiar with Americanism, and even “pro-Americanism.” In comparison with writers prior to the Second World War, post-war male writers were more inclined to self-entertaining and humorous themes and styles which began an essay-writing tradition during the first two post-war decades; one that was culturally elite, but also focused more on scholars’ life experiences (namely literature,, painting and cuisine). In this paper, Wu Lu-Chin’s essays The paper intends to use Wu Lu-Chin’s essays as an example by which to rethink existing research on the history of the essay genre. In addition, it will attempt to reconsider two current assumptions: the first being that so-called “non-antiCommunist writers” equals “liberalist writers”, and the second being that descriptive essays are main stream aesthetics, all within the economic and political contexts of national literary & artistic institutions, as well as the United States Information Service (USIS).
Moreover, this paper : will revisit the phenomena of “the aesthetics of humorous essays” as well as the existence of writers and/or scholars who are familiar with Americanism, and even “pro-Americanism.”In comparison with writers prior to the Second World War, post-war male writers were more inclined to self-entertaining and humorous themes and styles which began an essay-writing tradition during the first two post-war decades; one that was culturally elite, but also focused more on scholars’ life experiences (namely literature,, painting and cuisine). Amidst thecoming-together of aesthetic beliefs during the Cold War, which availed from the spread of aesthetic codes and tastes, the popularity of Wu Lu-chin’s aesthetic prose and way-of-thinking is thus not only the collective reflection of an era, butalso a part of the spiritual history of a people in exile.