在分析以多樣面貌體現國家論述的ニニ八小説時，詹明信•弗雷德里克深具挑撥性的觀念「國族寓言」起著有用的共鳴作用。許多台灣的男性作家在他們的ニニ八小説中利用女性遭遇來代表台灣；故事中女主角的悲慘命運往往被用來作爲ニニ八事件前後台灣紛亂社會的寓言。這篇論文將探討兩位男性作家呂赫若和吳濁流的ニニ八小説〈冬夜〉和〈波茨坦科長〉如何運用此種比喻手法。這兩位反對國民黨政權的作家利用女性描寫來做爲闡述其政治觀點之機制。兩位作家皆挪用了女性的困境：一個利用女主角的身體使其成爲爭奪國家論述意涵和擁有權的戰場，另一個以女主角的境遇來代表台灣人中國夢的幻滅。此論文將探討這種挪用手法及伴隨之複製男性剝削女性行為兩者隱含之意義。

Fredrick Jameson's provocative notion of national allegory has useful resonance in an examination of February 28th (228) stories in Taiwan which variously embody discourses of the nation. Numerous Taiwanese male writers employ the figure of a woman to embody Taiwan in their 228 stories. The stories of female protagonists' destiny are often “allegories of the embattled situation” of Taiwanese society both around the time of the 228 repression and thereafter. In this essay the ways in which two 228 stories by male writers, “Winter Night” by Lu Heruo and “Potsdam Chief’ by Wu Zhuoliu, adopt this trope are examined. Both writers stand in opposition to the Kuomintang regime and use their portrayal of female figures as a mechanism for the promotion of their political views. While in one case the very body of the female protagonist becomes the site of struggle over its meaning and ownership in the second case the female character becomes the embodiment of Taiwan’s disillusionment, both authors appropriate the female predicament of victimhood. This essay will explore the implications both of this exploitation and its concomitant replication of male exploitation of women.