台灣戰前的現代主義是時空壓縮下的產物，它既是望向西方的，同時也在壓縮的過程中重新融合了時間與地方的種種因素。因此，我們無法從西方的概念來理解那些被涵蓋在現代主義名稱底下紛繁眾多的文學實踐。當我們面對同一個文學的專門術語時，必然得要去質問，這脫離了西方的現代主義文學概念，究竟在時空壓縮的過程中如何被重組？這經過重組的現代主義是內含了怎樣的矛盾與衝突？而它又是以怎樣的方式限制或豐富了文學的創造？ 本文以風車詩社的楊熾昌為觀察的出發點，進而比較超現實主義理論從法國、日本而至台灣的傳播與變異過程，最後以龍瑛宗的超現實詩作為分析對象，探討超現實主義如何在分裂的文化認同中成為自我的表達能量。

Modernism in prewar Taiwan can be viewed as the result of time-space compression phenomenon. The concept of modernism was originated in the West but it had been mixed with all the elements of time and space when it reached the Taiwanese literary field and was therefore significantly altered. Thus we can no longer interpret Taiwanese modernist literature from the western point of view. While facing the same terms such as Modernism or Surrealism, it is inevitable to question how the particular concepts of Taiwanese Modernism was reconstructed, what kinds of contradictions were involved, and how this modernism enriched or limited the creation of Taiwanese literature. This discussion will start from the poetry of Yang Chih-Chang, an important member of Le Moulin Poetry Society, and compare the theories of Surrealism in France, Japan and Taiwan. Finally, by analyzing Long Yin-Zong’s poems, this paper will show how surrealism became a powerful source to express the inner self in the crisis of cultural identities.