後蜀趙崇祚所編纂的《花間集》收錄了當代十八家作者五百首之作品，為最早的文人詞作總集，女性化為此詞集最重要之特質，並以此發展出文人詞的傳統，以與民間詞劃清界限。本論文根據《花間集》之女性化書寫層次，分成以下四部分進行討論：其一，從內容來看，花間對於女性的相關描述都是脫離現實軌道的，精雕細琢的美人處於密閉的時空之中，不存在於歷史的時間軸，也不存在於現實空間裏，而是男性內心深層的慾望投射。其二，從創作的視角來看，不管採用第三人稱的旁觀角度、第一人稱擬女性口吻、第一人稱男性口吻，皆在突顯女性形象之際，刻意淡化男性作者現實的身份個性，並在暗中觀賞自我建構出來的完美的女性。其三，為了表達這種極度女性化的內容，因而發展出幽深曲折的語言方式，此部分將從語言節奏、字質與語法的角度進行討論。最後，將《花間集》之女性化書寫現象置於文學史的縱軸上觀察，討論其呈現之重要意義。

Hua Jian Ji, the first complete collection of ci authored by men of letters, compiled by Qung-zuo Zhao, presents the femininity as the significance of these writings. It originates the men-of-letters tradition of ci that can be distinguished from the folk tradition. This article discusses its feminine distinctions in the following four parts. Firstly, Ⅰ argue that these authors of Hua Jian Ji describe women as seemingly disconnected from the reality, actually reflected the projection of men's desires. Secondly, in perspective of the third person or the first person (by the woman tone or by the man tone), Hua Jian Ji embodies the image of women, instead of emphasizing the authors' male position. Thirdly, Ⅰ explain the nuance and the syntactic structure in the expressions. Finally, the phenomena of écriture féminine in Hua Jian Ji and their significance in the history of Chinese literature are discussed in detail.