本文以一九三〇年代前半在台灣發行的日文文藝雜誌為對象，透過「詩精神」（ポエジー）與「新精神」（エスプリ‧ヌーボー）的概念探討此時台灣近現代詩如何達成形式與方法上的開拓。期望藉由擴大史料的囊括範圍，一方面勾勒台灣與日本詩壇的多重連結，另一方面解明台灣內部不同刊物或詩社之間的競合關係，藉此觀察一九三〇年代前半台灣日文近現代詩壇的變貌。根據筆者的考察，一九三〇年代前半在台灣引介「詩精神」與「新精神」概念的雜誌至少有《風景》（1930）、《茉莉》（1932-1943）與《風車》（1933-1934）三種。它們或引介了春山行夫、西脇順三郎、竹中久七等人在《詩與詩論》、《Rien》等現代主義詩刊的論述；或刊登了安西冬衛、瀧口武士等在大連發起「短詩運動」與「新散文詩運動」的詩人的來稿。這些雜誌的編輯與同人有台灣出身也有日本出身者，共同點是他們都對於台灣詩壇的現況感到不滿，盼望透過「詩精神」與「新精神」探索全新的詩法。透過這些雜誌的論述與作品，相信能夠更進一步地解明此時台灣近現代詩壇的板塊變動與詩史進程。

This paper examines Japanese literature magazines published in Taiwan in the first half of the 1930s and explores how modern Taiwanese poetry developed regarding both form and method through the concepts of “poésie” and the “esprit nouveau.” By expanding the scope of historical materials, this paper outlines the multiple connections between the poetry circles of Taiwan and Japan and explains the competition and cooperation between different publications and poetry associations in Taiwan, thereby observing changes in Taiwan’s modern poetry circles in the first half of the 1930s. In the early 1930s, there were at least three magazines that introduced the concepts of “poésie” and the “esprit nouveau”: Huukei (風景, 1930), Marri (茉莉, 1932-1943), and Le Moulin (風車, 1933-1934). They introduced the statements of Haruyama Yukio (春山行夫) , Nishiwaki Junzaburō (西脇順三郎) , Takenaka Kyūshichi (竹中久七) , and others in Japanese modernist poetry journals such as Poetry and Poetry Theory (詩與詩論) and Rien (リアン) and published works by poets such as Anzai Fuyue (安西冬衛) and Takiguchi Takeshi (瀧口武士) who initiated the "Short Poetry Movement" and "New Prose Poetry Movement" in Dalian, which was under Japanese colonial rule. Editors of these magazines were both Taiwanese and Japanese. They were dissatisfied with the poetry circle of Taiwan at the time and exploring new poetry methods through the concepts of “poésie” and the “esprit nouveau.” Through the works of these magazines, we can further clarify the construction of the modern poetry circle of Taiwanese poetry history.