本論文試圖結合兩個層次的精神史（History of Mentalities）研究取徑－傾向個體層次的與傾向集體層次的精神史研究－來理解並建構王白淵的精神世界所體現的雙重結構：藝術心態與啟蒙心態。 本論文主要探討他一生中在三個都市與二個世代間身份流動的軌跡，戰前與戰後之間藝術心態與啟蒙心態的消長；並從他的作品，理解其美學觀點如何展現，藉以釐清其詩文的風格與核心關懷。王白淵的這些特質與經驗都可能影響各時期他對身份的抉擇，與對身份的認同。 一九二三年，王白淵因為藝術心態的茁壯而前往東京留學，在二O年代中期，受到影響而轉變，主要是產生啟蒙心態，並開始創作小說與詩文。啟蒙心態與藝術心態的並存，使他開始思考臺灣的問題。啟蒙的心態促使他走上文學之途。表現在他的散文與小說之中，是追求殖民地解放與自由；愛好藝術的心態令他始終未把畫筆拋去，表現在他的藝術理念上，是追求臺灣文藝的更上一層樓。而就在他意識到臺灣文藝的貧困之時，他出版詩文集《蕀の道》並開始與留學東京的學生與文化人共創「臺灣藝術研究會」，為臺灣的文藝而奮鬥。而王白淵的啟蒙心態在戰後初期的重現，使他投入媒體政治，創辦並參與多種左翼報刊，理性地提出對政府的建言與熱切的批評。戰後二．二八事件的影響下使他逐漸消音，然而卻仍持續關注臺灣文藝的發展。作為一個知識份子，王白淵始終關切臺灣的問題，並以文藝作為一條道路，他是日治時期朝向臺灣藝術文學發展的先驅，與為臺灣社會自由的目標而努力的一個典型。藉由他的例子，得以窺見日治時期文藝創作者在殖民情境下創作的「共同困境」，與理解其受到歷史事件影響下的身份抉擇與心態結構的多樣化與變遷。 / The thesis attempts to reconstruct the mental world of Wang Bai-yuan, represented as a dual artistic/enlightening mental structure, through the approach of the history of mentalities of both individual and collective levels. The thesis mainly examines Wang Bai-yuan’s mobile traces of identity among three cities in East Asia and related issues between two generations that he belonged, the rise and fall of his dual structure of mental world from prewar to postwar periods. In addition, the thesis explores his writing aesthetics through examining his works. Wang’s artistic-dimension mental structure was under forming around 1923 at a time when he went to Tokyo for the study of painting. In the mid-1920s, however, the enlightening-dimension of his mental world became dominant, which led him to start his writings of poetry and novel. The formation of the dual structure of his mental world around then led him to think over issues of colonized Taiwan, while his enlightening mind in particular led him to the road of literature. After 6-year in jail during wartime, the enlightening-dimension of his mental world reemerged in early postwar Taiwan, represented as his participations in left-wing presses where he voiced his criticisms and advices toward Chinese authorities newly arrived in the island.