在日本大正、昭和時期普羅文藝思潮興起之際，一九三○年代始台灣的社會主義運動亦已屆於成熟期，並轉型以寫實主義為主要的文學寫作方向。觀察當時日本、台灣兩地在社會主義思潮興起時文學作品的發表，可見出兩方擁有許多相似之處，其中最重要的部份就是以普羅大眾作為書寫對象的訴求目的，以及書寫無產階級與資本主義對立衝突的現實內容。而當時日本與台灣普羅文學的寫作影響，可從日本普羅文藝作家葉山嘉樹（1894-1945）初試啼聲之作〈淫賣婦〉（1926）與琅石生在《臺灣文藝》所發表的短篇小說〈闇〉（1935）其內容形式來加以觀察。兩作背景同樣描繪資本成熟的都會區，以賣淫婦為書寫中心開展情節，無不刻劃出主角與賣淫婦之間勞動階級的連帶感。此外，〈淫賣婦〉發表後隨即在三○年代的中國由左翼知識份子翻譯為中文版本發行，可以推想在一九三○年代當時，東亞的日本、台灣、中國三地其普羅文藝的發展是具有強烈的連帶影響與互文關係。因此，本文即從葉山嘉樹〈淫賣婦〉一作延伸討論普羅文藝在殖民時期於台灣及中國的文化脈絡，以茲印證普羅文藝其跨越地域性的思想運動效應。

During the Taisho period, Japanese literature gradually turned into a literary trend of the proletarian Literature, in the meantime the socialist movement in Taiwan has reached germinated stage, the experimental implementation of literary realism in the early 1930s. Observing Japanese literature and Taiwanese literature in the 1930s, the most similar parts is that the proletarian becoming the focus of the writing and the antagonism between the proletariat and the capitalist as subject matter. Focusing on the Taiwanese writer Lang-shi-sheng’s “Darkness”(1935) and the Japanese proletarian writer Hayama Yoshiki’s “The Prostitute”(1925), this paper will examine the intertextuality of proletarian literature among Japan and Taiwan. These two stories both set in the developed capital metropolitan areas for the stages, a prostitute and a worker as the main characters, in order to construct the social solidarity of working class. Besides, the Chinese versions of “The Prostitute” had also been published one after another in the 1930s China, which could be seen a vital cultural significance: there was an influence of proletarian literature overall in East Asia including Japan, China and Taiwan. Therefore, the later part in this paper will pay attention on Chang Wo-chun’s Chinese version of “The Prostitute” to shed light on the evolvement of proletarian literature in the 1930s to see the inter-cultural and intertextual context among Japan, China and Taiwan.