如何從奇幻文類的角度來看張愛玲《傳奇》？本文通過《傳奇》封面及其三篇小說〈第一爐香〉、〈紅玫瑰與白玫瑰〉與〈封鎖〉的解讀，揭示其奇幻小說「現代性」。張氏運用奇幻手法建構女性的「她者」敍述空間，在感知層面上表現出對「真實」的懷疑；通過現代人異化和疏離的生存狀態體現了「時代的夢魘」，蘊涵著對理性及文明的質疑。她的小說常常曲終不奏雅，那種「問題化」的奇幻語言甚至不惜模糊作者自身的意圖，卻增大了文本的閱讀空間。在論述《傳奇》與本土奇幻傳統的關係時，本文指出這幾篇小說與「唐傳奇」之間的「互文性」，如因果報應、枕中乾坤、青樓風月等「俗套」織入她的奇幻敍事，使文本更具深厚的文化「底子」，由是造成其雅俗共賞的奇觀。

Chuanqi, Eileen Chang’s first fiction anthology shows her primal concern with the genre of fantasy related to the traditions of literary fantasy in China and the West. Through analysizing three stories from this anthology in the aspects of image, rhetoric, and structure, this essay argues that they represent the modernity of fantastic fiction, superbly embodying her female point of view and her aesthetics of “beauty and desolation.” By limitedly applying the theories of Tzvetan Todorov and Rosemary Jackson on the fantastic, I delineate unique characteristics of Chang’s fantasy. Unlike the supernatural, dreamlike “second world,” she creates fantastic moments in everyday life, in which “uncanny” experiences imply doubt and fear in the modern world. In her use of the fantastic, Chang questions reality and truth from the female point of view, not only subverting the status quo governed by reason, but also problematizing her own fiction language, best exemplified by the ambiguous image of the modern woman on the cover design of Chuanqi.