1947年3月，錢歌川應聘臺灣大學文學院院長抵達台灣，從此在台生活17年。本論文經由錢歌川作品的整理與爬梳，考察錢歌川文學創作的主題，及其在大陸來台作家中的普遍性與特殊性。同時，藉由所描述進出台灣的始末，定居台灣期間的經歷見聞，了解台灣經驗在錢歌川個人生命史上的意義。研究發現，錢歌川既有遊賞台灣風物之作，也有觀察台灣社會民生的真實紀錄。值得注意的是受國共內戰牽累被迫滯台以來，錢歌川所抒發懷念故土的鄉愁，及所流露關於中華文化式微的焦慮，與反共意識形態全然無關，其中暗藏對於官方文藝政策的消極抵抗。另外，離台之後，錢歌川所指「故國」的意涵，從中國大陸擴及於台灣，以台灣為第二故鄉的認同也逐漸萌發，顯示作家本人在世界地理座標上的移動，連帶影響內心裡的台灣也有位移流動的可能。

In March 1947, Chien Go-chuan arrived in Taiwan for the job offer of the Dean's position at the College of Liberal Arts at Taiwan University, and he had lived in Taiwan for seventeen years ever since then. This paper aims to reorganize and study Chien's works in order to investigate his theme of literary creation as well as the generality and specialty of his works among China writers. Besides, the paper also attempts to discover how Chien's Taiwan experience links to his life history by studying the way he described the whole story of his moving to and out of Taiwan and his living experience in Taiwan. The study shows that Chien had not only written travel notes about Taiwan's folk and scenery, but also had archived his observations about people's livelihood in Taiwan. It is worth noting that since he was forced to stay in Taiwan because of the Chinese Civil War, Chien's creation about expressing his homesickness and concerning for the descent of Chinese culture had not been related to anti-communism at all. Instead, Chien had shown passive resistance to official literary and art policy by implication. Finally, the paper finds that after Chien left Taiwan, what he meant by ＂homeland＂ in his works was no longer Mainland China exclusively, but included Taiwan as well. This change suggests that Chien's acknowledgement of considering Taiwan as his second homeland was growing, and shows that when the writer's body moved around the world, the position of Taiwan in his mind could be changed.