「沙韻之鐘」是一九三八年九月蘇澳郡山地，利有亨（Riyohen）社的泰雅族少女所發生的實際遭難故事。當時駐屯當地的警員田北因被徵召下山，同行的泰雅族少女沙韻‧哈勇（Sayon Hayon）為了運送行李下山，失足滑落山谷而行蹤不明。田北自一九三七年十二月開始在利有亨（Riyohen）社駐在所的勤務以來，便擔任蕃童教育所的教師，沙韻也是他的學生。田北在受軍隊徵召前往目的地時，因暴風雨已經來襲數日，交通道路遭受破壞，通行困難。沙韻在運送田北的行李途中，失足滑落山谷死亡。 真杉靜枝以官方宣傳的故事為藍本所創作的「沙韻之鐘」翻案作品，如果單從時代背景以及題材來看，將其視為單純的官方宣傳是過於性急。此外，就作品主題仍以兩性關係為基調來看，這些翻案作品其實蘊含著解構此時期純情愛國少女「沙韻之鐘」神話的可能性。官方宣傳版的「沙韻之鐘」總是強調老師與沙韻二者之間的「師生關係」，而極力避免混入男女之情的要素。真杉的「沙韻之鐘」翻案作品由性／別研究的視點重新創作官方宣傳的「沙韻之鐘」，反而解構了戰時下「沙韻之鐘」官方宣傳的原始建構精神。 內地青年在「療癒的土地」與「高貴的野蠻人」相遇，對台灣的「原住民」教育奉獻心力為主題的「沙韻之鐘」翻案作品是如何自內部解構「沙韻之鐘」的官方宣傳構造？如何透過性／別視點解構男性殖民者所建構的神話？本文將對照真杉的〈理韻‧哈韻的山谷〉、〈囑咐〉與當時流傳的官方宣傳版「沙韻之鐘」之間的異同，解明上述問題。

Sayon’s Bell is a true story which happened at the mountains of Suao in September 1938. A Taiyal tribe girl, Sayon Hayon, carried a local policeman Takita’s luggage who was drafted into army service and headed army, on the way to the foot of mountain but fell down to the village and died. Takita touaght in Sayon’ tribe since September 1937 and was Sayon’s teacher, too. Afterward, the governor-general of colonial Taiwan Hasegawa Kiyoshi granted Sayon’s tribe a bell to praise Sayon’s loyalty to her duty. Sayon’s Bell later became a well-known propaganda in the period of Imperial Subjective Movement of colonial Taiwan in the 1940s, Masugi Shizue also adapted this propaganda to write a serial adaptations of Sanyon’s Bell. However, Sayon’s Bell propaganda stressed on the mentor-pupil relationship between Sayon and her teacher, but Masugi’s rewritings deconstructed what the original propaganda intended to create because Masugi rewrote this propaganda from the perspective of gender. This paper will focus on the adaptations of Masugi’s Sayon’s Bell─The Village of Riyon Hayon and The Message and compare with the differences between the original propaganda and Masugi’s adaptations. Through this comparison, this paper will shed light on how Masugis’ works deconstruct Sayon’s Bell as propaganda internally and this male centric myth from the perspective of gender.