鍾理和（1915~1960），生於日治時期的台灣，是以中文持續從事創作的「跨越語言的世代」的一位。葉石濤曾指出鍾理和受到橫光利一的影響。本論文將具體探究， 鍾理和的「蒼蠅」是橫光的「蒼蠅」的戲仿（parody）。首先，從語言的角度來考察。以日語構思腹稿，翻譯成中國白話文的創作過程中，指出鍾理和經常進行「自我翻譯（self-translation）」。其次，從敘事學的角度分析。在鍾的「蒼蠅」的敘事者立場分裂。一方面，繼承了蒼蠅的camera eye的無情，藉此做「冷眼的觀察」。與此同時，敘事者也透過人類的「他」，「出於熱情的擁抱」人類的悲喜劇。再者，蒼蠅和「他」形成用對照鏡，彼此成為對方「看」與「被看」的存在。因此，也能理解為，鍾≒一部分的敘事者≒「他」，通過蒼蠅這個鏡像，自嘲著「人的虛偽」。在跨越過母語及創作語言的不一致的斷層時，鍾理和在透過「翻譯」所開展的互文性、跨語言性的空間裡，創造了混成（hybrid）的表現， 為其寫實的鄉土文學導入了現代主義的技法。

The study will concretely explore the ＂Fly＂ of Li-Ho, Chung (鍾理和) which is a Parody of ＂A Fly＂ of Yokomitsu Riichi (橫光利一). First, from the perspective of language, in the process of creation of using Japanese as design scheme and translated it into the Chinese vernacular, Li-Ho, Chung often proceeded with ＂self-translation＂. Second, from the perspective of narratology, the position of narrator was split in Chung's ＂fly＂ .Furthermore , flies and ＂he＂ had formed the mirror reflecting to each other and became a co-existence of ＂see＂ and ＂to be seen＂ .Therefore , it can be understood as, Chung is a part of the narrator ≒ ＂he＂, joked with himself ＂hypocrisy of people＂ by the mirror flies. Through the ＂translation＂, Chung adopted intertextuality and language space crossing to create a hybrid performance that integrated techniques of modernism into regional literature.