日治時期日人作家庄司總一《陳夫人》，究竟是一部以「內臺婚姻」為趣味的作品？抑或流動於本國/異國與文化身分認同的寫實之作？挾著文化權力、國家資源、傳播媒體等優勢的日人作家，在臺灣文學版塊區隔中，其書寫臺灣，其作品具有什麼意義？有試圖透過《陳夫人》文本，研究《陳夫人》通廳心之所在。庄司總一是否藉由《陳夫人》之作，探討支撐日本國家觀念，其實是血統人種的純正。然而因「大東亞戰爭」，必須實施「內臺合一」的政策，日本揚棄純正血統，由以「血」為名過渡至以「愛」為名，擴增皇民作為聖戰人力之所需。總一面臨對日本人種身分認同的質疑，他必須重新擦拭日本長久以來血統的價值，重新再命名，再記憶。原來國家或歷史的存在，是可以拼湊又重來。由《陳夫人》一作，庄司總一在決戰時期，以文學作品曖昧地對戰爭進行控訴。

Is Madame Chen, written by writer Shoji Soichi of the Japanese colonial period, a book that look at “Mainland (Japan)-Taiwan Marriage” in a light-hearted way? Or, is it a realistic portrait of the cultural identification that flows between the native land and the foreign country? In the field of Taiwan Literature, what meaning can this work bring to us since its Japanese author possessed advantages such as cultural power, national resources, and media? In this article, we try to discuss the core of the problem of Madame Chen through the text. Did Shoji Soichi, through Madame Chen, delve into the suggestion that the concept that sustains Japan’s existence is actually the purity of race? Owing to “The Great East Asian War”, the policy of “The Combination of Midland Japan and Taiwan” must be implemented. Japan discarded the theory of pure race, transforming the name of “lineage” to that of “love”, in order to increase the number of Kominka for the need of soldiers for the sacred war. In this work, Soichi, in an undertone, accused the war while facing the questioning of the dispersal of the Japanese race. In this study, in addition to the deep belief in the lineage of his country, Soichi was also proud of the Japanese culture that he possessed. He hand to erase, rename, and re-remember the reasonability of the long existing value on Japanese lineage. It turns out that the existence of a nation or history can be collaged, folded, forgotten, and re-started. Through Madame Chen, we see how Shoji Soichi utilized literary works to express his opinion on war.