張赫宙（1905－1997）曾是戰時台灣日語作家們最為熟知的朝鮮作家名字，但戰後因韓國分斷體制，親日作家研究成為文學禁忌之一，使他成為一個「被遺忘」的名字，隨著時勢變遷禁忌的破除，張赫宙研究漸受矚目。本文首先將介紹這位聞名於戰前日本帝國文壇的朝鮮作家張赫宙的生平背景，及其他在日、鮮文壇的文學活動，釐清他榮獲《改造》懸賞創作獎的指標性意義。其次，探討他的獲獎對於同是殖民地出身的台灣文學青年產生怎樣的效應與影響？在戰前殖民地交流史中，他與台灣文壇的具體交流情況為何？他來台出版《新しき出発》的意義為何？最後，探討從三○年代帶有普羅色彩所謂同伴作家的張赫宙，為因應「讀者」之需，抹上「異國情調」，轉而隨國策起舞「變奏」，對其他殖民地作家雖具示範性作用，但日、台評論者如何將台灣作家與他進行比較？筆者期待從南國殖民地「台灣」的視角，重新檢視北國朝鮮作家張赫宙前進中央文壇後，擴及大東亞文學共榮圈的文學活動。

To many Taiwanese writers composing in Japanese during wartime, Jang Hyukjoo (1905-1997) used to be one of the most famous Korean writers. However, due to the political facts of two Koreans after WWII, research of pro-Japanese writers was a taboo, and thus the name of Jang was made ”forgotten” in the academic circle. As time goes by and prohibition loosens, research of Jang, who was once an important writer and whose name really existed in documents of Taiwan literature, gradually regains its deserved attention.This thesis at first introduces the background of this Korean writer, who was well-known in mainstream literary circles of Japanese empire before war, and his literary activities in Japan and Korea, to illuminate the significance of his being awarded by《改造》magazine. Second, the impact and repercussion his being awarded made to the Taiwanese literary youths, who are also the colonized, will be the main issue. Jang's interaction and exchanges with Taiwanese literati, as well as the meaning of his publishing《新しき出発》in Taiwan, will also be discussed. The final part of this thesis investigates the process and reason of Jang's alteration. Originally being an somewhat proletarian writer in 1930s, Jang afterward danced to the tune of national policy, changed himself according to need of his ”readers” and added some ”exoticism” to his works. This alteration was intended to have demonstrative effects to other colonies, but what was the truth about how critics in Japan and Taiwan compared him with other Taiwanese writers? This thesis tries to, from a perspective of southern colony Taiwan, reexamine Jang's traces of literary activities from Japanese mainstream circles to the Greater East Asia Co-prosperity Sphere of literature.