「殖民現代性」為近十年來在臺灣文學研究上的重大議題之一，其中貼有「皇民作家」標籤的周金波最常為論者所議。然而周金波作品以〈「尺」的誕生〉為界前後小說的風格與訊息相當不同，若能做一個直切的深入研讀加上橫向綜觀這些篇章，可以發現周金波對於「殖民現代性」並非沒有絲毫體認。〈志願兵〉裡原先主張理性路徑的張明貴便已經透露出此一面向，再透過〈氣候、信仰和宿疾〉、〈鄉愁〉，他深刻的討論了「皇民化」本身以「近代文明化」做為號召的虛妄，呈顯出在宗教、醫療、文化運動方面，日本殖民政策所實施的是鏟除非日本的「異己」、移植日本傳統文化，而非所謂科學理性至上，打倒迷信或打破陋習的文明進程。本文僅針對周金波的小說作品進行初探，並期待周金波誠實面對自身所書寫的文學作品，能通過不同切入角度被研究者、讀者重新檢視，避免單向的認同分類閱讀，讓日治時期臺灣知識份子在現代化歷程中的精神史得以有更豐富的側寫出現。

Colonial-modernity is the one of the most controversial issues of the past ten years in the field of Taiwan literary studies. Theorists have often labelled Zhou Jinbo as an "imperialist writer"; however, in his work after the pivotal short story 'the birth of "feet" '(ものさしの誕生), a dramatic change of style and message can be seen in Zhou Jin Bo's work. Zhou Jin-bo's own awareness of "colonial modernity" can be discerned if one observes the progression of his novels from accepting colonial hegemony to his later rejection of it. In his work, Zhou Jin-bo demonstrates the malignancy of the Japanese policies, including religious, medical, and cultural programmers, whereby it was not the scientific rationale of enlightenment that broke down the superstitions and customs of the "primitive civilization" but rather the elimination of the non-Japanese "other" by transplanted Japanese traditions. This thesis will attempt to provide an alternate and more integral picture of Zhou Jin-Bo's literary works, than previous studies have allowed.