一九三三年七月，台灣人留學生在東京發行了日語文藝雜誌《福爾摩沙》，旨在創造真正的台灣文學，並積極以日語創作加入台灣「鄉土文學論爭」的戰場。其中最受矚目的作品是吳希聖的〈豬〉，因其以日語成功表現出台灣的「鄉土色彩」而備受肯定。然而，從今日的觀點看來，被殖民者以支配者的言語來創作己身文學的主體性是一件充滿矛盾之事。台灣人作家對此是否有其自覺或對策？本論文將針對此問題對〈豬〉進行檢討，特別是將探討焦點鎖定在〈豬〉的日語手法上。其中特別注意〈豬〉作品中，使用了「翻譯」的觀念，並以混雜了九州、關西、東北方言的奇妙日語來表現台灣鄉土人物間的對話等手法，並對照同時代日本文壇狀況。藉此究明吳希聖可能借用支配者的日語，來試圖摸索抵抗帝國文學的方法。 In July 1933, Taiwanese students living in Tokyo started the publication Formosa, in an attempt to create “true Taiwanese literature”. This magazine, featuring mostly creations in Japanese, is thought to have been important in providing direction for Taiwanese literary activity. Taiwanese students had to avoid depicting colonial “reality” and tone down political aspects in order to have their work published and read widely. They had no choice but writing apolitical tales in the colonizer’s language, if they aspired for “universal” readership in Imperial Japan. Inside Taiwan, the works in Formosa which gained the most attention were Go Ki-sei’s “Buta” (Pigs), which depicted colonial “reality” of Taiwan. “Buta”, a story about the misery life of a pig-farming family, was discussed on the Taiwan Shinminpou newspaper for several weeks as it connected to the arguments about “Taiwanese local literature ”. What this research focuses on is the way in which the novel translates Taiwanese things into “Japanese”, using Kyushu or Tohoku dialects in conversations between Taiwanese characters. This paper will examine what meaning was behind the acceptance inside Taiwan of “Buta”, which brings forward “local color” regarding Taiwan opposed to Imperial Japan.