本論文試以「文化翻譯」之角度，分析日本文豪永井荷風（Nagai Kahu）（1879～1959）於明治時期外遊美國之代表作『美利堅物語』（1908）。在此分析作業中，並不將日本的西洋近代化過程視為一單純模仿西洋規範、或克服西洋勢力之單方面的強力影響關係。而是始終保持著脫離「中心．周緣」、「壓抑者．被壓抑者」的兩項對立式關係，著眼於其永續不絕的對抗過程的視野。經過各小節分析，『美利堅物語』可凝縮為一張美國地圖。在同一時空中不同場所、不同言語、不同階級、乃至不同人種相互交錯與交流活動行為，產生了〈差異〉與〈一致〉、〈過去〉與〈現在〉、〈包容〉與〈排擠〉等複雜揉合的形象。在作品的分析上，常面臨到因主角人物俯瞰風景之角度之不同，而帶來內容上多樣解讀的可能。或因經常檢視自己在整個空間領域中的位置所在，而讓『美利堅物語』自一本海外歸國者對近代權力．制度批判的旅行遊記，成功反轉成為讀解在當時空間領域下，審視內（日本）與外（西洋）的交錯視線的作品文本。

This paper tries to analyze Japanese eminent writer Nagai Kahu's master piece ”American Stories” which illustrates his observation of America during the Meiji Period. Instead of considering Meiji Renewal as a single imitation of western norms, or a strong relation of conquering western power; this analysis takes it as an opposite and astray relation between 'the center-the edge' and 'the oppressed-the repressed', that concentrates on its continuous fighting process and vision. ”American Stories” can be seen as an American map through analyses of each chapter. Interactions among different places, languages, social status, and races in the same time frame result in complex images of difference and consistency, past and present, and tolerance and discrimination. When it comes to work analysis, multiple interpretation possibilities are brought by different perspectives overlooking scenery. Moreover, by reviewing its own position in the overall spatial arena, ”American Stories” has turned out into not simply a judgmental journey diary on recent power and system from a returning overseas Japanese, but also a masterpiece of Japanese and Western perspectives under this spatial arena.