本論文主要著重於西川滿(1908-1999)文學翻譯的文化政治。其譯介活動因作家的政治身分與皇民文學論，在戰後的台灣文學場域始終備受爭議。然而，在後解嚴時期台灣民族主義意識高漲，強調台灣文化起源的多元性，使得戰前在台日人的文學成為眾多之一，他的作品也才得以藉由「翻譯」的路徑重新被閱讀認識。本論文將以西川滿被遣返後的文學譯本作為主要的討論範疇，釐清在戰後日本遣返者文學中西川滿文學的書寫特點。又，解嚴前後台灣跨語譯者如何擇譯他的台灣書寫，藉以提供建構台灣文學主體性的論述資源。藉此強調西川滿文學的台灣鄉土性，試圖翻轉西川滿戰前既定的作家形象。然而，這些後殖民譯本並非是台灣本土派所主張的寫實主義的「鄉土」，而是充滿作者浪漫懷鄉的「鄉土」。譯者在翻譯的過程中，所背叛的並非是語意的背離，而是為因應文化政治的論述所需，「鄉土」是他們最大的公約數，成為九○年代讀者重新閱讀理解西川滿文學的另一個重要的視角。

The paper focuses on NISIKAWA MITURU (1908-1999), the cultural politics between literature and translation. His translation activities have always been controversial, because of his political identity and the theory of imperial literature in the field of Taiwan literature after the war. However, the rise of Taiwanese nationalism during the post-martial period, it emphasized the diversity of the origins of Taiwan's culture, therefore it let his work to be re-read and understanding by the ＂translation＂ path. The paper was based on NIKAWA MITURU's literary translation as the main topic of discussion, after his repatriation from Taiwan to Japan. And try to clarify the writing characteristics of NIKAWA MITURU in the Japanese Repatriate Literature after the war. Moreover, how Taiwanese translators choose his Taiwanese writing around the period of the end of Martial Law, the results can provide the structure of the subjectivity of Taiwan literature. To emphasize NIKAWA MITURU's Native soil of literature, trying to reverse hi s stereotypical writer image before the war. These post-colonial translations, however, are not realist ＂native soil＂ native which the Taiwanese advocates, but rather ＂native soil＂ which is the author's romantic homesickness. In the process of translation, the translator betrayed is not a departure from the semantic, but in response to cultural and political discourse required. ＂Native soil＂ is their greatest common denominator, and it is another important perspective for readers of the 1990s to re-read and understand NIKAWA MITURU's literature.