本研究探討張愛玲代表作之一的「傾城之戀」的上田志津子（1991）、池上貞子（1995）、藤井省三（2018）的三個日文翻譯本，討論分段、注音、註釋及不適切的翻譯等四個面向。

結果得知，由於上田、池上譯本較偏向意譯及日本人習慣的分段模式，因此段落數較多。因高度遵循張愛玲原著的分段、用字等，故相對地藤井譯本較多在漢字旁注音及添加註釋的情形。1991年最初的上田日譯本因當時能夠參考的相關資料有限，因此出現一些不適切的翻譯。之後1995年池上的日譯本參考了上田譯本，減少了不適切的翻譯情形。2018年第三個藤井日譯本的正確性大幅提高。

基本上三個譯本在意的面向各有不同 ，因此閱讀「傾城之戀」不同的日文譯本可以有不同層次的感受。

This study examines three Japanese translations of one of Eileen Chang’s representative works, "Love in a Fallen City," by Ueda Shizuko (1991), Ikegami Sadako (1995), and Fujii Shozo (2018). It discusses four aspects: paragraph division, phonetic annotations, notes, and inappropriate translations.

The results show that Ueda’s and Ikegami’s translations tend to be more interpretive and follow Japanese paragraphing habits, resulting in more paragraphs. Due to closely following the original paragraphing and wording of Eileen Chang’s work, Fujii’s translation has more phonetic annotations and added notes. The initial 1991 translation by Ueda had some inappropriate translations due to limited reference materials available at the time. The 1995 translation by Ikegami, which referred to Ueda’s translation, reduced the number of inappropriate translations. Lastly, the accuracy of the third translation by Fujii in 2018 has significantly improved.

Essentially, each of the three translations focuses on different aspects, so reading different Japanese translations of "Love in a Fallen City" can provide different levels of experience.