在戰前台灣都市化／資本主義程度能否孕育現代主義仍有疑義的情況下，文本傳播提供了解釋現代主義在戰前台灣存在的合理性基礎。然而本文認為，除了都市化發展與文本傳播，台灣風土以及台灣的外地•殖民地情境，是構成日治時期台灣現代主義文學的重要因素。本文以日治時期高舉「超現實主義文學」大纛、創立「風車詩社」的楊熾昌（1908-1994）的詩與詩論為中心，探究其中台灣風土、異國情調與現代主義之間的關係，並重新錨定楊熾昌現代主義文學的美學屬性及其觀看視線。本文認為，楊熾昌作品中介於地方色彩與異國情調之間的「南方」的自我凝視•自我敘述，既是帝國視線的內化與延長，同時也是台灣本島人日語世代作家在帝國文學的語境中試圖尋找台灣文學的獨特性／主體位置的努力。然而其視線的轉換，無可避免具有極高的曖昧性。此外，本文也試圖指出，除了都市現代性，促成日治時期台灣現代主義文學發生的因素之中，台灣的風土以及外地•殖民地情境也發揮了相當深刻的作用。

In pre-war period, text dissemination provides a legitimacy foundation of the existence of modernism literature in Taiwan, instead of arguing about whether the level of urbanization and capitalization is enough to produce modernism or not. In addition, I consider that local color of Taiwanese scenery and “gaiti” (foreign land)•colonial condition, are two important factors to produce Taiwan modernism literature in colonial period. This article focus on Surrealism poet You syoku-shou’s poetry and poetics, analysis the relationship among Taiwanese scenery, exoticism and modernism, and try to define the aesthetics of You’s Surrealism and its inner perspective. I find out that You’s poetry is a self-gaze and self-description by “South” image, which is between local color and exoticism. It is not only the internalization and extension of empire perspective, but also the effort of Taiwan “hōnto jin” (native Taiwanese) writers to find the unique and subjectivity of Taiwanese literature in Japanese empire literature context. The transformation of perspectives is inevitably ambiguous.