本文以翁鬧的小說作品為例，討論性慾、台灣鄉土的「原初（the primitive）」主題，與都市文明、新心理主義等「現代（the modern）」文化與書寫形式，在小說中產生何種異質交混。「性慾」與「台灣鄉土」看似互不相關，但對於旅居東京的殖民地青年翁鬧來說，均作為「原初」的象徵，與帝都高度資本主義下的都市文明形成明顯的對比。本文主要關注的問題如下：「性慾」與「台灣鄉土」這兩大主題，如何成為前現代的「原初」，與高度資本主義發展下的都市文明相對立？翁鬧的現代主義書寫形式，如何造成同時代台日左翼知識份子紛歧的評價？翁鬧的異色作品風格及其相關評價，呈現何種現代主義的獨特殖民演繹？ 本文的討論顯示出，在翁鬧的小說當中，現代主義文學與左翼文學之間資產／無產的階級差異、抽象／寫實的再現策略差異，都不是絕對的，而是整體人性的多樣層面之一。不管是東京都市空間下殖民地青年的性慾，或是殖民地台灣的鄉土小人物，翁鬧小說中「現代」與「原初」之異質交混，呈現了台灣知識份子在追求文學自律性之際，對於現代主義進行的多重殖民演繹。翁鬧的 書寫主題與形式中各種文學流派、意識型態與文化揉雜斑駁的交混樣貌，見證了現代主義文化作為西方帝國海外殖民統治之產物，如何成為「現代」與「原初」、帝國都會與殖民地鄉土互相形構與辯證的混雜與流動過程。

Recent postcolonial studies show that the appearance of modernism in the west metropolitan can be attributed to foreign migrants such as elites from the colonies as well as the anthropological contact with the Third World. This historical fact requires us to explore modernism in the process of interracial and intercultural contact and translation. This paper deals with Ong Nao’s novels, as an example, in which modernism is interwoven with other literary conventions, such as realism and romanticism. How did Taiwanese intellectual studied in Japan, after exposing to Japanese modernism, develop their own modernism imbued with local color? How do they deal with the following colonial materials adolescence experience in Taiwan, psychological split between Tokyo and Taiwan, traditional Taiwanese characters in modernist language and style? In particular, how do modernist style and civilization experiences mix with local color and primitive sexual desire? Furthermore, I will discuss how the evaluation and discussion of Ong Nao’s novels exhibit particular cultural meanings and transformations of modernism.