三〇年代的日本帝國於亞洲地區發動侵略戰爭，藉以擺脫國內政經各層面 的困境。與此同時，隨戰爭範圍的持續擴大，日本帝國次第地對諸殖民地作家 加強統制與發動文化協力運動。尤其至三〇年代末葉，內地日本、殖民地台灣、 朝鮮的文化人無一不被當局動員以筆桿宣傳聖戰。日本文化筆部隊的一員石川 達三，其戰地派遣的報導文學之作《活著的兵士》（生兵隊），卻因過 度暴露戰爭負面印象而遭查禁，為當時文學者戰爭協力的圖像添上異色；台灣 方面，1944年6月總督府情報部的策劃之下，台灣文學奉公會選派台、日作家 至台灣各生產現場考察，據其實地體驗寫作「產業戰士」之姿。其中楊逵徵用 之作〈增產之背後〉所呈示的殖民主義加諸個人意識的暴力，亦具是否悖逆國 策論述修辭的爭議；承此背景，本文就三〇年代至戰爭時期（ 1937-1945)的台 灣為討論段限，以石川達三為主軸對照同時期台灣作家楊逵作品。論述架構分 為兩部分；其一爬梳石川達三在三〇年代台灣文壇的受容與評價，並比較石川 達三與楊逵關於日人移民的書寫文本；其二討論兩人戰時文學書寫的生存環境 和人性演繹問題。從而平衡瞭解帝國文化語境下台灣、日本左翼作家文學於戰 時前後的寫作策略運用。

As the scope of the war expanded, the Japanese Empire launched a cultural cooperative movement against colonial writers. Cultural people from Japan, colonial Taiwan, and Korea were mobilized by the authorities to promote the Great East Asia War. Ishikawa Tatsuzo, a Japanese member of the “Pen Forces”，reported his literary work“TheLivingSoldier”（生冬兵隊）inthebattlefield.Thisnovelwasbanned for over-exposing the negative impression of war. It is a special example in war literature; on the other hand，the Royal Society of Taiwanese Literature (台灣文學奉公會）selected Taiwanese and Japanese writers to visit various production sites in Taiwan in 1944, and according theirs’s actual experiences to write about the attitude of industrial warriors. Yang Kui’s “Behind the Increases of Production” shows the violence of colonialism on personal consciousness, and it also has controversy over whether or not to disobey the national policy. In this context, this article discusses the similarities and differences of Ishikawa Tatsuzo and Yang Kui’s literary works from the 1930s to 1945. The discussion structure is divided into two parts; The first part is the acceptance and evaluation of Ishikawa Tatsuzo in the 1930s Taiwanese literary circles, and compares the written texts of Ishikawa Tatsuzo and Yang Kui on Japanese immigrants; the second part is discussion about the living environment and humanity of the two writers’ wartime writing. Therefore, we can balance the writing strategies of Taiwanese and Japanese left-wing writers in the context of imperial culture from the 1930s to 1945.