本論文以「自然」為主軸,希望透過黑木謳子(高山正人)的詩集《南方果樹園》(南方の果樹園,1937),來深入討論在台日人作家所引進的現代性,跟台灣在地自然、地景、人文所產生的相互影響及所衍生的文化新意。論文的第一部分將試圖拼湊和辨識黑木謳子的生平及他在台時的文學網絡關係。第二部分將透過文學同好的評價、黑木的小品文、詩和翻譯及詩集的封面設計,來釐清黑木謳子創作詩的理念和風格。第三部分則從「抒情浪漫」和「科學理性」的相對性,來理解黑木謳子書寫台灣自然時風格的延續與斷裂。第四部分將討論在黑木謳子的抒情自然詩中,透過日本帝國媒介的歐洲浪漫美學,轉化成台灣在地的可能性與否。
This essay focuses on the subject of "nature" in collection of poems The Orchard in the South (1937) written by Utako Kuroki (real name: Masato Takayama) to examine the interplay between modernity brought forth by Taiwanese-Japanese writers and Taiwan's local nature, landscape and humanities. It also discusses how such interplay creates cultural novelty. The first part pieces together details of Utako Kuroki's biography and his literary network in Taiwan. The second part delineates Utako Kuroki's writing styles and ideas by tracing his friends' evaluation, Kuroki's essays, poems and translation, and the design of the book cover. The third part compares "lyric romanticism" with "scientific rationality" in order to understand the disruption and continuity of the styles in Utaka Kuroki's writing of Taiwan's Nature. Through Utaka Kuroki's lyrics, the fourth part discusses whether or not European romantic aesthetics introduced by the Japanese Empire could be localized in Taiwan.