整構、渡引與詮釋－－90年代以來的《張愛玲傳》

Eileen Chang's Autobiography after 90s

本文試圖透過90年代以來所出版的十數部「張愛玲傳」，首先評述各版張愛玲傳的書寫策略，接著探討傳記作家們如何藉由「多重渡引」的手法，將張愛玲文學作品融入傳記之中；最後以「作者及讀者」、「學術與消費」的角度，來閱讀傳記作家在書寫張愛玲傳時，是否有取得一個融洽的平衡點。本文考察目的在於：張愛玲作為一位文學傳播者，而傳記作家除了接受張氏作品外，同時身兼傳播者，將張氏作品以「傳記」形式，傳播給身為接受者的讀者大眾。於是，其中可藉以觀察傳記作家如何書寫張愛玲，並型塑其形象人格特色，再現其一生；同時，期望可看出傳記作家對於張愛玲文學作品的接受、詮釋及傳播，並嘗試反思做為大眾閱讀者入門書的「張愛玲傳」書寫的重要性。

Takes several editions of Eileen Chang's autobiography after 90s for example, this essay aims to discuss those biographers how to blend Eileen Chang's novels into her autobiography by using ”multi-weaving” skills, and going a step further, I survey whether those memoirs balance the role as a writer and a reader, in academic or in commercial way. Since Eileen Chang is a literary spreader, hence, similarly, for those biographers, despite accepting her works, they should spread her works as a spreader to readers as well. In other words, we can piece up Eileen Chang's life, personality and characteristic by observing the way biographers described and wrote. In conclusion, from this, I expect to show the details that how those biographers accept, interpret and spread her works. Also, at last but not the least, to examine the important role Eileen Chang's Autobiography takes as an introductory book for readers.