本文重省五○年代的文學趨勢，對反共文學／論述作為五○年代的單一現象提出質疑本文引用期刊所作的論證，延伸到一九五○以前；引用一九五○以後的期刊，數量、性質都較前人多面、詳盡。思考終戰前後的文學環境如何翻轉到五○年代？此一翻轉始於何時？翻轉以後的臺灣文學場域事實上承女性文學、現代主義文學的多元性分劃。由是，本文進一步討論：如果反共懷鄉，非五○年代的唯一的創作潮流，這樣的刻 板印象（stereotype）是如何形成的？又何以能佔領文學史論述？那個背 後的力量是什麼？這幾個問題自成系列。考察在文學的內緣因素外，同 時牽涉文學歷史複雜的脈絡，以及政治經濟等動力如何作用於文學生產 的領域。本文提出布爾迪厄（Pierre Bourdieu，1930～2002）「場域」的 概念，作為論述思考的進路。單一的文化資本在無法佔領場域的所有空 間，本文也運用雷蒙．威廉斯（Raymond Williams）的「主導文化」、 「另類文化」、「反對文化」的概念，來分析場域的分配過程。

This article rethinks modern Taiwanese literary history of the 1950's. In the fifties, encouraged by the Kuomingtang government, anti-communist-oriented writing was believed to be the dominant literary trend and in fact the only mainstream literary current. However, going through articles and papers published in journals during that period, we can easily see that this dominance was at least shared by female and modernist writing. How is it that such an incorrect impression of Taiwanese literature developed, was widely accepted, and held its place among literary researchers for years？ This question leads us to consider how ideas of literary history are formed. This article mainly adopts the critical approach of the "field" raised by Pierre Bourdieu（1930-2002）.