本文針對日本人作家大瀧重直《劉家的人們》(1941，日文)、台灣出身日本人作家庄司總一《陳夫人》(1940-43，日文)、滿洲漢人作家梁山丁《綠色的谷》(1942，中文)、台灣漢人作家呂赫若〈合家平安〉(1943，日文) 對在地漢人家族的再現，進行對位法式的解讀，分析日本人與漢人知識份子如何分別呈現漢人移墾家族、介入該地的日本帝國、在地共同體三者之間的關係。進一步探討民族、階級等差異，在「民族」與「國家」不一致的狀況下，如何建構漢人民族性與在地性，如何因應日本帝國召喚的「東亞」傳統?家族與民族書寫，與前帝國時期的移墾歷史、帝國下的多重翻譯、左翼實踐與現代性建構，又有什麼樣的錯綜關係？ 本文指出，滿洲國與殖民地台灣的日本人作家分別配合兩地的歷史地政學背景與日本帝國介入的型態，將在地家族與中國的系譜切離，納入日本天皇制國家的家族國家系譜；漢人作家則透過在地血緣與地緣共同體，強調帝國統合修辭無法消弭的民族血統與文化差異。然而，不管是日本人作家的帝國寓言抑或漢人作家的民族寓言，他們的在地家族再現做為複數歷史、空間、民族、語言與文化彼此混合、衝突、抗拮或共謀的場域，無可避免地產生縫隙。更重要的是，這些漢人家族再現做為中國國族主義與日本帝國主義、東亞傳統文明與現代國家形式、共通漢文化與異民族支配等等，不同區域、民族、政治與文化認同交錯、進行角力之場域，呈現東E現代性的多重面向，衍生種種超越既有國族框架的多樣意義。

This paper undertakes a contrapuntal reading of four literary representations of local Chinese families in Manchukuo and Taiwan under Japanese imperial rule: The Ryü Family (1941) and Madame Chin (1940-1943) by Japanese writers, and The Green Valley (1942) and “Peace for the Entire Family” (1943) by Chinese writers. Focusing on the inconsistencies between ethnicity, state and empire in Manchukou and Taiwan, 1 discuss how Japanese and Chinese writers respectively represent the relationships between Chinese emigrant families, the Japanese empire, and the local community. While Japanese writers attempt to disentangle the local Chinese family from China and connect it instead to the Japanese imperial genealogy, Chinese writers stress what they regard as ineradicable ethnic and cultural differences through the local community. However, as a cultural product engendered at the intersection of various histories, spaces, nations, languages, and cultures, these Literary representations cannot attain the purity and authenticity as assumed by their authors. Furthermore, these imperial cultural productions serve as materials through which questions of cultural translations, leftist ideal and practice, and East Asian modernity can be reexamined, and thus pose a challenge to the received narrative and framework of modem nation and nationalism.