一九四○年代因為「臺灣文化賞」而起的「糞現實主義」論爭，還可以怎麼看？本文由「寫實主義」的角度切入，重新析論，將之理解為三種意識形態的角力：一是西川滿以《赤般記》為代表的「浪漫寫實主義」，二為演回學雄在《南方移民村》的「觀念寫實主義」，三是張文環以〈夜猿〉為代表的「自然主義寫實主義」，也就是受到西川滿批評、但為楊邊正名的「糞現實主義」。本文認為，西川滿以浪漫寫實回顧過去，將作為外地文學的臺灣小說，納入日本美好傳統；演回學雄以觀念寫實照看現在，期待筆隊伍能夠進入帝國「新體制」；而臺灣小說之所以有「糞現實主義」的批評與主張，則是對日本殖民者企圖將臺灣小說生產嫁接入日本思想史脈絡的回應。

This paper looks into different explanations of 'realism' through a controversial debate over 'feces realism', which was raised after the Taiwanese Culture Award held in 1943, the most intensive period of Japanese rule in Taiwan. In this debate, Chang Wen-Huan's natural realism and Yang Kui's 'feces realism' mainly fought against the following two arguments: Nishikawa Mitsuru's 'Psychological Realism', which tended to regard Taiwanese literature as part of Japanese tradition, and Hamada Hayao's 'Conceptual Realism', which actually supported the Japanese national policy. In other words, the 'realistic fictions' of Taiwanese authors were difficult to support colonial assimilation policy. Thus, this paper analyzes how the ideological conflicts that the debate involved and how different the crossroads of 'reality' they are.