摘要
在日治時期的台灣文學中，周金波(1926-1996)的名字時常與「皇民作家」、「皇民文學」等辭彙一起出現。然而本論文所欲探討的焦點是，避免具有政治立場的解讀，詳細分析閱讀〈鄉愁〉的文本，以探究處於戰爭狀態下作者隱藏在此作品中的聲音。本論文的主要文本〈鄉愁〉爲周金波發表於《文藝台灣》第五卷第六號（1943年4月號）的中篇小說，於其短暫的日治時期文學生涯中屬於後期的作品。周金波的作品大多探討台灣人隨著皇民化運動擺盪的自我認同，而其中迷惑、糾葛的程度一篇比一篇加深，到了〈鄉愁〉時已能深刻地描寫台灣人自我認同的糾葛與擺盪。周金波在這篇作品中，以台灣本土的戲劇「子弟戲」爲題材，重疊其發源地宜蘭與周金波本身的故鄉基隆，想像出一個空間(topos)。「子弟戲」於作品中被視爲台灣生命力的象徵，進而描寫台灣的生命爲了日本帝國聖戰而犧牲的過程。此作品除了表現出作者周金波對日本帝國的信心動搖、迷惑以及對時代的無奈之外，對於日本帝國爲大東亞戰爭而不惜犧牲台灣人性命的行爲，也提出無言的批判。
並列摘要
In past studies of Taiwanese literature, the work of Zhou Jin-po(周金波 1926-1996) was always described with words like imperial subject literature or writing under the colonial government's thumb. But this paper tries to disregard off the political views, and read the target text Nostalgia (鄉愁) carefully, for clarifying the concealed voice of this writer during the war. The middle novel Nostalgia, published in the magazine Literature Taiwan in 1943, belongs to the latter period of the author's life. His most of works focus on the unstable identity of Taiwanese during the imperial subject movement under the Japanese occupation. And in his works, we can find that his descriptions of mental conflict or contradiction become deeper in his later works. Especially, his later work Nostalgia (鄉愁) shows his hesitation and inconsistency. Zhou Jin-po uses a Taiwanese local play, Zi-di-xi(子北戲), as a motif, and mixes the play's original Yi-lan(宜蘭) with his hometown Ji-long(基隆), creating a fictional place. In this place, Zi-di-xi(子北戲) knives and musical instuments, which symbolize Taiwanese life, are burned by the fires of holy war of Japan. It shows us the feeling of the writer's conflict, complexity, disappointment and silent criticism of the Japanese empire.