一九四七年一月起，楊逵主編的中、日文對照版「中國文藝叢書」，由台北的東華書局陸續上梓。其中《黃公俊的最後》始終未見，可能未曾出版。本文以正式出版的五輯「中國文藝叢書」，配合楊逵遺物中相關的手稿資料，針對楊逵的選輯策略進行研究，並與同樣由楊逵主編的《臺灣文學叢刊》互相比較。最後發現雖然稍晚策劃的《臺灣文學叢刊》，收錄篇章著重戰後初期台灣社會現狀的再現，並能呈現台灣文化的特殊性，和「中國文藝叢書」收錄戰前兩岸新文學創作有其根本上的差異；但這兩套書刊同樣偏重左翼作家的現實主義文學創作，也都展現了積極戰鬥的姿態和追求民主的強烈企圖心。置於戰後初期台灣的特殊時空環境來看，「中國文藝叢書」把日治時期對抗殖民政府的舊作接引到戰後，並引介中國五四新思潮以來的新文學創作到台灣，借古喻今地批判當前的政治現實，充分顯示楊逵以台灣前途為思考對象，對中國政府歧視性政治體制之抗議，以及面臨全盤中國化時有所抉擇的堅定態度。「中國文藝叢書」的選輯策略，清楚標識著戰後重建台灣文化之際，楊逵堅持台灣文化主體性的既定立場。

Since July 1st, 1947, the six volume books Chinese Literature Series (Chinese-Japanese bilingual edition) edited by Yang Kui have been published in succession by Tunghua Books Company, but one of volumes The Last Days of Huang, Kung-Chun has probably never been published. This paper intends to compare these already published volumes Chinese Literature Series with Yang Kui’s later edited publications Taiwanese Literature Series, with a concern on the manuscripts he left related to these books, in order to explore his editorial strategy on Chinese Literature Series. This study has three findings. First of all, there exists a great difference between Chinese Literature Series and Taiwanese Literature Series: the latter whose articles deal with the representation of the phenomena in the early post-war Taiwan society display the unique nature of Taiwan’s culture, but the former which contain the pre-war works of New Literature from Taiwan and Mainland China do not. Second, in spite of this difference, they both not only give weight to the realistic literature works produced by left-wing writers, but also demonstrate the fighting spirit as well as the tenacious pursuit of democracy. Finally, in the particular space and time of the early post-war Taiwan, the books Chinese Literature Series associate the anti-colonial literature created in the period of Japanese occupation with the works produced during the post-war period, and furthermore, the books also introduce the new literature works bred from the liberal thought of the May-Fourth Movement to Taiwan. These editorial arrangements were designed to criticize the political situation at that time. With these three findings, this paper concludes that Yang Kui’s Chinese Literature Series reveal his concern for the future of Taiwan, his protest against the political discrimination of Chinese Government, and his steady attitude of resistance toward over-all sinicization (Zhonggouhua). The editorial strategy of Chinese Literature Series clearly indicates Yang Kui’s positive insistence on the Subjectivity of Taiwan’s culture during the post-war period of Taiwan.