「民國文學」研究自新世紀以來備受注目，為處在「民國」與「共和國」之間的中國現、當代文學研究，提出一嶄新有力的詮釋框架；本文在既有研究基礎之上，以「民國文學機制」作為方法，另闢蹊徑，探索在「民國」與「臺灣」之間的文藝政策與小說實踐，箇中承繼與演繹的關係。本文指出，相對於「延安精神」是「共產中國」的重要組成；「重慶經驗」則是「自由中國」文藝體制的建立基礎。首先是「民族主義文藝」承繼了過去「抗日」與「整合國共差異」的經驗；遷臺後，更新為「反共」與「調和省籍矛盾」的治理效用。其次是「三民主義文藝」的演繹，在小說中體現由「建設復興基地」到「家在臺北」的變化歷程。本文最後提出，1949年後的「民國文學機制」，雖使「臺灣民國化」，但同時也讓「民國臺灣化」。

The studies on ＂Republican Literature＂ have drawn much attention since the new century, and have proposed a new analysis framework for modern and contemporary Chinese literature that amid the ＂Republic of China＂ and of the ＂People's Republic of China＂. Based on the previous research, I employ ＂Republican Chinese Literary System＂ as the method and try to figure out the changed and unchanged of literary policy and of fiction writing from ＂Republic of China＂ to Taiwan. This paper indicates that, just like ＂the Yan'an spirit＂ is an important component of ＂Communist China＂, ＂the Chongqing experiences＂ is also the foundation of literary system in ＂Liberal China＂. First and foremost, the ＂Nationalist Art Policy＂ succeeded to the experiences of anti-Japan and integration between the KMT (Chinese Nationalist Party) and CCP (Chinese Communist Party); after 1949, it turned to anti-Communist and reconciliation between mainlanders and islanders. Besides, the fiction writing under the literary policy of ＂Three People's Principles＂ reveals a change from ＂the revival base of returning to Mainland China＂ to ＂settling and homing in Taipei＂. Last but not least, this paper analyzes that although ＂Republican Chinese Literary System＂ after 1949 makes Taiwan ＂republicized＂, the ＂Republic of China＂ has also ＂Taiwanized＂.