廣播作為一種新奇高科技的大眾傳媒，它的出現使人們首度開始思考如何只用聲音來再現和敘事。在台灣廣播發展的黃金時代裡，廣播媒體周邊的廣播者和寫作者無不設法試驗並追索聲音這個新再現工具的使用方法和敘事能耐，充斥在收音機廣播裡的小說廣播節目便是相關嘗試的一個具體呈現。有鑒於廣播聲音本質的抽象不可見，筆者將論證：廣播媒體的運作方式以至於廣播小說的生產與流通，全都受到了一種可稱之為「聽覺寫實（audiorealism）」的美學邏輯的引領和統攝，而本文即是在這樣的前提下，專注於探討：作為廣播這個當時最主要的電子媒體上的節目寵兒，小說究竟如何與為何登上廣播？小說如何出入於文字和聲音兩種不同的再現工具？小說所代表的書面文化又如何與廣播媒體所創造出的聽覺文化互為影響？一旦我們將二十世紀中期的台灣小說措置在媒介聽覺文化的脈絡下，當時的一些別具特徵的小說美學將不僅只是家國歷史經驗和政治意識型態的產物，還更深深呼應著刻正成長中的媒介聲音體制與敘事方法

Until radio broadcasting was invented as a new type of modern communication, the contemporary world just began to consider how to form representations and narratives only by mediated sounds. There was no exception to Taiwan. During the golden age of radio, broadcasters and writers in Taiwan were also striving to explore the potential and the usages of sound in the making of a purely auditory world on the air. One of their successful productions, the radio novel, showed the ways in which literature and radio mutually shaped each other. Due to the invisibleness and abstractness of sound, this paper argues that an aesthetic logic of ＂audiorealism＂ widely pervades both the radio medium itself and radio novel's production and distribution. On this base, this paper studies why literature, especially the novels, enter the realm of radio, how the novels transform from written words into radio sounds, and what the interrelationship is amongst print culture and auditory culture. Once the mid-20^(th)-century Taiwanese novel is situated in the contexts of radio sound narratives and auditory culture, we will find the signature features of this literary genre not only reflect specific historical experience or ideology, but also echoes the currently developing medium and its methods of narration