本文希望以吳魯芹散文為例，重新思考既有的散文史研究，並在考量 「國家文藝體制」與「美援文藝體制」的政經文化脈絡下，試圖修正既有之 非反共文學作家即「自由主義作家說」，以及「抒情散文美學主流說」，重 新確立「閒適／幽默散文美學」，以及「知美／親美派的學者作家」這兩個 現象及觀點。如此，則能夠更加準確描述吳魯芹（及同類型散文家）的美學 品味與思想意義；同時，亦可補全對冷戰與戒嚴時期的臺灣散文史敘事（含 括男性與女性散文傳統）。 戰後的男性散文創作，較諸戰前，更偏向自嘲自娛、生活閒趣的風格與 題材，使得戰後二十年間的臺灣散文傳統益發顯得充滿高度的文化菁英色 彩，卻又偏重於文人階層的生活經驗（書、畫、美食）。在冷戰年代所凝聚 起來的一套美學信念，通過典律機制與美學品味的加乘，吳魯芹散文美學與 思想之風行，其實亦是一時代人的美學與思想的集體投射，更是一時代人在 流亡精神史上的倒影。

The paper intends to use Wu Lu-Chin’s essays as an example by which to rethink existing research on the history of the essay genre. In addition, it will attempt to reconsider two current assumptions: the first being that so-called “non-anti- Communist writers” equals “liberalist writers”, and the second being that descriptive essays are main stream aesthetics, all within the economic and political contexts of national literary & artistic institutions, as well as the United States Information Service (USIS). Moreover, this paper : will revisit the phenomena of “the aesthetics of humorous essays” as well as the existence of writers and/or scholars who are familiar with Americanism, and even “pro-Americanism.” In comparison with writers prior to the Second World War, post-war male writers were more inclined to self-entertaining and humorous themes and styles which began an essay-writing tradition during the first two post-war decades; one that was culturally elite, but also focused more on scholars’ life experiences (namely literature, painting and cuisine). Amidst the coming-together of aesthetic beliefs during the Cold War, which availed from the spread of aesthetic codes and tastes, the popularity of Wu Lu-chin’s aesthetic prose and way-of-thinking is thus not only the collective reflection of an era, but also a part of the spiritual history of a people in exile.