本文大致分幾個部份，一是重返「文」之始義。一是來自甲骨文的與人身直接關聯的解說；一是《說文解字》以來中國訓詁學傳統的解說，及章太炎的更復古主義開展。再接著調動總結在《文心雕龍》裡對文的觀念的宇宙論與形上學。再回顧晚清國學運動裡對文的現代抵抗（章太炎的路徑），再藉由一個字的發明（她，及組成這字的部件），帶向它的現代指稱──陰性第三人稱，女學，女足的解放，帶向五四天足女學生的老師、現代文學父親之一魯迅的廣州方言經驗（他為她南下），那無法轉譯成漢字的方音指向一個缺口。最後以那一代在寫作上最有才華的天足女張愛玲為結，描繪她的腳的離散旅程的終端。

interprets the relationship between oracle-bone Chinese inscriptions and body, in addition to elaborating the analysis of Chinese philological tradition since Shuowen jiezi (Of Texturology and Scriptology) as well as Zhang Taiyan’s archaicism. I also reappropriate the cosmology and metaphysics as manifested in the concept of “wen” in Wenxin diaolong (Literary Mind and Carving Dragons). Furthermore, I revisit the discourse of the modern resistance to “wen,” via the route of Zhang Taiyan, from the activists of Chinese Learning Movement in the late Qing. The final section discusses the invention of the character (“ta” [she] as well as its constituting radical and component) and its modern referent—feminine third person singular, femaleology, and the liberation of bound feet. Eventually it leads to the experience of a Cantonese milieu for Lu Xun, the father of modern Chinese literature and mentor of the unbound-foot female student, for whom he went to the South. Such a dialect with an untranslatable phonetic sound is in fact a fissure. The paper concludes with Eileen Chang, the unbound-foot female genius who wrote most brilliantly in the late Republican era, describing the end of the diasporic journey under her feet.