本論文以1937年7月至1945年8月，「總力戰」時期臺灣文學者創作的小說作為研究文本。而綜觀日據時期臺灣文學的發展，1930年代中期，作家寫作技巧已更臻成熟、寫作題材也愈加豐富，然而臺灣總督府在1937年4月1日發布禁止使用中文的命令，接著又勒令所有文學雜誌廢刊。緊接而來的盧溝橋事變，時局的影響下，作家是不能發聲，文壇也轉趨寂寥。1941年太平洋戰爭爆發後，為配合戰爭形勢，日本政府積極在其所統轄下的地方實行皇民化運動，臺灣當然無可倖免。皇民化運動所牽涉的層面不僅在政治、經濟、軍事，也包括了文化，文學是為政治而服務，這時期的作品必須符合殖民當局的政策，作家的思想受到箝制。透過文學者對戰爭的協力，本論文將從總力戰的時空背景下，考察臺灣在物力、人力、心力三方面的動員，對當時臺灣小說的影響。身為殖民地的臺灣作家在作品表達不違背政策，但又保有自身創作空間，是這時期文學者創作時所面臨的難題。 在戰爭時期小說創作活躍的作家有楊逵、張文環、呂赫若、龍瑛宗，及新生代作家周金波、王昶雄、陳火泉，他們創作出的作品在文學寫作技巧比上一代作家更為成熟，在他們純熟技巧下，所蘊藏的多元意含，提供了多義的解讀空間，也是這些小說最耐人尋味之處。在物力動員上，文學家的增產文學因應而生。小說中除了協力國策外，文學者們也反映出後方人民的艱苦生活，在殖民環境下，所遭遇到生活的困境、族群的不平等待遇，反映出殖民的不正當性。人力動員上，中日戰爭爆發後，臺灣志願兵年年以倍數增加，總力戰時期的臺灣小說也呼應了這股「志願兵」熱潮。在總督府「南進化」、「工業化」、「皇民化」的號召下，不論臺灣人民自願或被迫，都須為戰爭服務。面對日益強化的戰事動員，臺灣人民的好戰思想、青年鍛鍊，滲入日常生活中，也滲入了小說創作。透過文化動員，藉由作品宣傳，讓殖民政府所推行的政策能散布至島上的角落。在心力動員上，為配合殖民政府的皇民化運動，作家們必須在作品中表態自己的國族與文化認同，隨著作家不同的成長背景、人生經歷，自然也造就不同的立場、不同的表達方式，這些小說在戰後受到嚴厲的討論與批判，也受到不同程度的對待。唯有在多重的考察下，才能更全面的探究總力戰時期下的文藝空間。

本文探討1940年代地方文學書寫，藉由台灣與朝鮮對照呈現當時地方書寫產生的特殊背景：不同立場對地方書寫的期待、作家1940年代書寫時如何表現。藉上述的角度，試圖呈現殖民地地方書寫的意義。 殖民地文學中，捕捉在地特色、獨有風物的題材向來備受關注。1940年代更受日本帝國面臨發展困境，走向動員戰爭之路策略影響。使得文藝因應總力戰策動各層面投入戰爭，而背負增進帝國認同的任務。「新體制」與「大政翼贊會」的推行與成立，顯示當時精神統制擴大、也反映東亞協同、對抗西方文明的框架，將殖民地作為帝國外緣／前線的策略。地方特色的突顯與應用即受到這些政策與思維籠罩。 此時，殖民地文藝創作環境面對權力集中一元化，不僅創作語言受限、言論出版高壓管制；官方更積極介入文藝團體、舉辦獎項，加強國策宣傳。文藝創作空間、資源侷限下，新體制與大政翼贊會為殖民地文化界帶來發揮的機會。在地方書寫蘊含國民認同基礎、傳統根源等元素，既呼應政策對於國民文化，殖民地文化人亦可爭取活動機會。這一類書寫，最初以地方色、鄉土色展現地方特殊性的書寫為普遍認同，後隨戰爭國策要求提高，強調服膺日本精神、支援戰爭的內容。 殖民地這一波的地方書寫當中，題材、作品氛圍、敘事型態皆與以往略有不同。題材上，應和國策創作增加、探索傳統價值與批判西方、塑造道德模範反省文化的進程。作品氛圍與敘事型態上，揮去不見希望的氛圍，轉為明朗、健康、動人，更以人物或藉由回歸自然、致力生產、甚至參與戰爭找到生命的意義與希望。 本文即選取兩組作家作品為代表。呂赫若、俞鎮午運用風俗習慣、傳統禮節，表現殖民地特殊風貌，並以倫理、全體性角度肯定傳統價值。張文環、金史良以鄉土為基底，在堅毅樸實的生活中獲得力量。他們在地方書寫框架中，迴避國策密切相關的題材，書寫熟悉事物表現地方特殊性，運用風俗習慣、神話傳說、禮儀、信仰等表現殖民地的人文風景，並一改先前啟蒙的批判角度。這些書寫策略具有保存殖民地文化甚而是民族精神的可能，卻也在時空限制下與戰爭動員的政策意識有所呼應。在兩地的同中有異的書寫成果裡，也見證地方書寫的政治策略、多種意涵，在殖民地的空間裡延伸出更多迂迴與曖昧。 / This article tries to analyze local literature in Taiwan and Chosen, Japan’s colonies in 1940’s. First of all, by analyzing the form of mobilization under the Total War System in 1940, it shows the influence on Japan’s military operation and manipulation. On one hand, the authority made use of centralized management on politics; on the other hand, ideas such as Overcoming Modernity and East Asia Alliance Leader were offered to let people acknowledge the war and sacrifice for it. Through these concepts, the authority reached to the notion which based on the native for people to possess. Secondly, after the foundation of Konoe shintaisei(新體制) and Taisei Yokusankai(大政翼贊會), literature was asked to proclaim the war more strategically. At that time, under the limitation of the amount of paper, local literature in colonies was requested to write in Japanese and scrutinized by the government. In addition, the authority even established literature and art organizations and set up literary prizes to advertise the war. In this way, local literature not only answered the policy but also gave the chance of displaying colonial features to those authors. In the beginning, both the authority and most of the writers accepted the method of using local color to exhibit the colony, however, this method was applied to announce the Japanese spirit and support the war little by little. Under this circumstance, colonies changed the way of literary expression. There were more subjects which conformed the national policy, explored the value of tradition, and criticized the Western to reflect the advancement of culture and then create moral standards. It was the atmosphere of the literature that turned to be bright and cheerful. Moreover, narrative patterns were performed on the characters, such as returning to nature, devoting to production, finding meanings and hopes by participating in the war. This article represents local literature in colonies in 1940 by taking examples of two groups of writers. One of the groups ,which is represented by Lü He-ruo (呂赫若) and You Jin-Oh (유진오), utilized traditional customs and manners as distinguishing features in colony. Furthermore, from the viewpoint of ethic and totalitarianism, they tried to approve the value of tradition. Yet, on the other hand, Chang wen-Huan(張文環) and Kim Saryan(김사량) gained power from difficulty and arduousness in life through the background of rural places. Both of them avoided responding to the national policy in this kind of writing pattern. As previously stated, these writers portrayed what they were familiar with to show the feature in local places. Ranging from customs, practices, folklore, manners to religions were what the writers employed to illustrate the cultural characteristics in colonies. Besides, the viewpoint changed from the criticism of enlightenment. These kinds of writing devices with the hope of preserving local culture and even national integrity. However, it was the restriction on politics and the times made literary works echo with the authority’s ideology at the same time. In the view of Compare Taiwan with Chosen, difference in literary works were testified to show the various meanings from colonial strategies in politics and writers characters in the meantime.