本文通過1926年到46年張我軍第二期北京生活裡的各種文化活動，主要以日本文學翻譯、參與電影《東洋和平之道》製作、擔任「北京大學」日語教授、出席大東亞文學者大會這四點為例，驗證其日語能力如何關涉到作為「國民」的主體性形成，同時探討其作為台灣出身者的主體性何在。1930年代後半期，張我軍自視為現代中國人，故面對侵略國，試圖通過異國異文化理解的通道，參與戰爭時期的日本帝國主義各類文化事業。他始終要以研究日語與日本文化的學者姿態來確保主體性的態度，但在時代洪流中，最終被納入對日合作體制，其實這正是帝國日本將台灣殖民化的結果。張我軍當時始終堅持了作為中國人的立場，但事實上，支持他這一立場的日語能力，原來是源於他出身於殖民地的台灣人身份。如果張我軍留在台灣，作為一名殖民地台灣人參與對日合作的話，恐怕不會於徘徊中日兩國之間，被指責為參與帝國日本文化事業。在此，特別關注其作為精神烙印的日語能力時，就浮現出來殖民地現代和家國想像這兩個大問題

This is to verify how Chang Wo-chün's proficiency in Japanese is related to the formation of the 「nation」 identity and also to explore his identity as a Taiwanese, through to study the second period of his life in Peking （1926-46）, mainly taking his translation work of Japanese literature, participation into the production of the Japanese film 「Toyo heiwa no michi」, assumption as a professor of 「Peking University」 and attendance at Greater East Asia Writers Congress. In the late 1930s, Chang Wo-chün considered himself as a modern Chinese, in face of the aggressor country Japan, tried to understand it through the channel of cross national and cultural understandings, and participated into the various cultural enterprises by the Empire Japan in duration of the war time. He has consistently adhered to the attitude as a scholar of Japanese language and culture to ensure its identity, but in the torrent of the time, ultimately was got into the cooperation system with Japan. In fact, this is the result of the colonialization of Taiwan by the Empire Japan, because Chang's Japanese ability which originated from the colonial Taiwan eventually supported his situation as a modern Chinese throughout. If Chang had stayed in Taiwan, and participated into any cultural enterprise with Japan as a native colony Taiwanese, perhaps was not accused as a Chinese wandering between China and Japan of participating into it. In this regard, with particular attention to Japanese language ability as a spiritual stigma for natives in Taiwan, two big issues, the colonial modernity and the imagination of 「nation」 emerge out