西川滿在戰時體制之下宣告要以新型態的美來表現國策文學。本論探討西川滿在戰爭時期當中文學風格的轉變,並以他在台灣最後的作品--長篇歷史小說「台灣縱貫鐵道」為驗收的文本,試圖了解在政局影響之際,其因應戰時體制而生的新文學理念,在文學表現手法上產生的變與不變。 藉著分析「台灣縱貫鐵道」文本,可以看出曾經主張藝術與倫理應該分開探討的西川滿,因為時局所迫不得不將之揉合,只好用「新」型態的美與脫離「藝術至上主義」來自圓其說。然而西川滿本身對於審美的執著,使得作品特色強烈,未見太大的改變。改變的只有從小愛到大愛的昇華,與描寫格局的放大。但這些不同仍舊不脫西川文學的風格。只是謳歌感嘆的對象不同而已。而所謂的新型態的美只是加入了合於戰時需求的價值觀與倫理道德思想。這兩點的確是西川從前的作品中未見的元素,可以說是他最大的改變之一。即便如此,從故事中刻板的表現可以看出作者純粹為了呼應國策體系而加,自己仍舊保持一貫的旁觀態度,並未涉入其中。
In order to accord with national policy during East Asia War, Nishikawa Mitsuru found a new way, which he called as “New Art” to write his novels. I will mainly analysis his historical novel “Taiwan Jyukan Tetsudou (Taiwan North-south Railway)”, which is also his last one written in Taiwan. And focus on his writing performance during this time. The main point of this thesis is to see how Nishikawa performed the “New Art” during this time, and whether his new challenge succeeded or not. According to the research result, Nishikawa Mitsuru once thought that art, logic and moral as individual values. However, during East Asia War, he was forced to combine art with moral into his novel. Therefore he had to think of a new saying which is known as “New Art” to show his new writing direction. Nevertheless, his old concept of art strongly influenced his writing style. Compare to his old novels, there is not much difference with his latest one. Before he tended to write about personal love, in “Taiwan Jyukan Tetsudou”, he changed it into the love of nation. So called “New Art” which is written in the novel, is actually refers to patriotism. This is the most different part from his old works. However, as seen from the representation of the story, the patriotism is obviously not his real thinking but only for following the national policy. Nishikawa’s attitude has always been a observer only, as in the past.