本文在數位人文脈絡下，透過實證量化研究方法，分析戰後初期（1945- 1949）台灣文學場域，主要目標有二。第一，本文大量蒐集戰後初期報刊目錄 資料，採用多變數統計分析法─主成分分析法，依據行動者於不同刊物間之 出版模式，分析行動者之間的出版相似性，藉此探討行動者之群集現象及文學 場域「習性」。第二，本文採用法國社會學家布爾迪厄（Pierre Bourdieu）之文學 場域理論，認為文壇是由不同文化人之間的互動關係所構築之脈絡，在此架構之 下，行動者累積大量「象徵資產」，以取得場域優勢「位置」，但本文認為，在 戰後初期背景下，應分析為「威望和政治影響力」的組合，行動者藉由占據主 導地位的方式，定義台灣的認同、文化和文學地位。因此，本文將重新檢視布爾 迪厄之理論應用於台灣戰後時期文壇之適切性，並探討文學場域的「自主性」。

Using an empirical quantitative analysis to examine Taiwan early post-war (1945-1949) literary field, this article aims at two main goals. Firstly, based on a multivariate statistical analysis — the Principal Component Analysis — on contributors’ publishing patterns in co-temporary periodicals, this article aims at disclosing publishing similarities among the agents during the period. The findings will then illustrate the clusters of agents in the literary field and characterize their habitus. Secondly, it will utilize the theory of literary field by a French sociologist Pierre Bourdieu, which understands the field as a dynamic structure created by relationships between different members of the field. These agents may compete over the dominant position that enables those who have gained recognition by their peers (symbolic capital) to impose a binding definition of what literature is and what can be rightfully included in the canon. During the early post-war period, however, the dynamics of the literary field is not given only by symbolic capital, but also by other nonliterary forces. This article thus aims at re-examining Bourdieu’s theory in the context of Taiwan early post-war period literature and discuss the degree of autonomy of the literary field.