台灣現代主義的潮流起始於五○年代詩界，然推其波瀾者，卻非《現代文學》雜誌莫屬。《現代文學》創刊於一九六○年，停刊於一九七三年，共刊行五十一期，出刊過程中一方面譯介西方現代主義文學作品，一方面刊載大量的短篇小說。 幾位後來於文壇享有盛名的創刊者，如白先勇、王文興、歐陽子、陳若曦等，當時皆為台大外文系在學學生，堪稱戰後新生代作家，一手創辦的《現代文學》，不但體現了新作家的所思所見，其風格亦迥異於當時。 然文學植根於社會，植根於當時的文化狀態。《現代文學》於六○年代究竟展現了何種風格特質？在當時特殊的政經環境與藝文潮流下，其風格特質的成因究竟何在？這些都是值得探討的論題，本文的研究重點即著眼於此。

The currency of modernism in Taiwan has begun in the field of poetics in 50s. And the promoter is the magazine, “Lecture of Modernism.” There are 51 volumes published by “Lecture of Modernism” from 1960 to 1973. On the one hand, the magazine had translated western works of lecture of modernism. On the other hand, a plenty of short stories had also been published in the issues. Some originaters, who made their names for themselves soon in Parnassus, were all students majoring in foreign language in National Taiwan University at that time, such as Pai Hsien-yung, Wang Wen-hsing, Ou-yang Tzu,Chen Jo-his,etc. They could be called “Postwar-authors of new age.” “Lecture of Modernism” originated by them not only showed what they thought and what they saw, but the style was extraordinary then. Though, lecture is rooted in the society. It's rooted in situations of culture. What on earth did “Lecture of Modernism” in 60s show its characters? How did it happen in the special enviroment of politics and finansial and the trend of arts? All of these talking points are worth discussing, and that is what I focus on in the article.