本文從法西斯主義的戰爭美學化觀點，比較火野葦平戰記文學《麥田與士兵》（麥と兵隊）與在台日人作家的戰爭小說。相較於火野葦平實戰經驗所展現的紀實體文學，在台日人作家以台灣為審美對象，對台灣之外占領區的描寫反映了殖民地觀點外，這一類殖民地的戰爭書寫顯示出決戰體制下文學標準受日本中央文壇遙控。為探討台灣文壇與日本中央文壇的關聯，本文從內地作家的殖民地現身、文本的殖民地翻譯，到官方、媒體的操控與讀者的反應，將在台日人的戰爭小說放在帝國戰爭文學發展脈絡中觀察，進而思考帝國與殖民地日人作家高度扈從統治機構所產生的文學審美化策略，朝向傳播日本精神和回歸文化傳統的國策論述發展情形。

This article uses the fascist aestheticization of war to compare Hino Ashihei's wartime literature Wheat and Soldiers and war novels of Japanese authors in Taiwan. Compared to the realist literature expressed through the actual war experiences of Hino Ashihei, Japanese authors in Taiwan use Taiwan as an aesthetic object. Writings about places outside of Taiwan not only reflect the colonial perspective, but this type of wartime colonial writing reflects the fact that literary standards in a decisive war system were being remotely controlled by the central literary field in Japan. In order to explore the correlation between the Taiwanese literary arena and the Japanese literary arena, this article observes the colonial appearance of Japanese authors, the colonial translation of texts, to official and media manipulation, and to reader responses, by placing the wartime novels of Japanese in Taiwan in the context of the development of imperial war literature. In turn, this paper considers the literary aestheticization produced by the high degree of compliance of Japanese writers the colonies toward the ruling institutions, and approaches the national strategy development for the propagation of the Japanese spirit and return to the cultural tradition.