龍瑛宗因戰前出席第一回大東亞文學者大會而慘遭非議，雖然辯稱當時自己在會上的發言如鸚鵡般照本宣科。戰時的帝國對文學者的政治性動員，對他們的文學活動究竟有何影響？因此本文參照當時報章雜誌中有關第一次大東亞文學者大會的報導、訪談和戰後參加者的回憶文，交叉比對，拼貼戰時殖民地作家龍瑛宗如何參與其中，並說明此次訪日經驗對其個人文學經歷的意義。在大會中龍瑛宗以外地代表作家的身分，被授予「大東亞共榮圈」的大纛。返台後，積極出席在台各地的講演會、座談會等，參與戰時文化建設的論述議題，並鼓吹戰時文化啟蒙的重要性。他在一連串的動員活動中終究以文學家的角色自居，發言謹慎語多保留。最後，筆者檢視大東亞文學者大會的理念之一「民族融合」的議題，如何落實在虛構的小說文本中，透過在台作家的「越界」書寫而「大東亞共榮圈」的虛妄性又如何被凸顯而出。

Long, Ying-zong has been reproached for participating in the First Greater East Asia Writers' Conference, but he had argued that his statement in the conference was only to be scripted like that of a parrot. The Japanese empire mobilized the writers politically during wartime; how did this phenomenon affect the writers' literary activities? This essay refers to the reports and interviews which were in the magazines and newspapers at that time, as well as the participants' postwar memoirs about the First Greater East Asia Writers' Conference. After the cross-comparison of these materials, I piece together how Long, Ying-zong, the colonial writer, participated in the historical scene, and I will explain what this experience of visiting Japan meant to his literary career. As the representative of the "outland" (外地) writers, Long, Ying-zong was grouped under the false and invented banner the "Greater East Asia Co-Prosperity Sphere" (大東亜共栄圏, Shinjitai). After returning to Taiwan, he presented at lectures and forums in various regions, participated in the discourse of the wartime cultural construction, and promoted the importance of the cultural enlightenment during wartime. However, he eventually made the above statements as a writer cautiously. Finally, I will examine the issue of "integration of races", one of the concepts of the First Greater East Asia Writers' Conference, and see how it was practiced in the fictional works. Through the "cross-border" writing of the Taiwanese writers, the falseness of the "Greater East Asia Co-Prosperity Sphere" is highlighted.