虹影自1997 年出版《飢餓的女兒》之後，「宏大的歷史背景」和「幽微的女性情懷」 成為此後創作長篇小說所刻意追求的美學風格。2004 年，虹影開始以「清末橫跨至民國 四○年代的戰亂上海」為背景，重寫三部奇女子的故事（合稱為「上海三部曲」），並同 時創作了《鶴止步》。相較以知名戰亂背景或歷史名人為素材的長篇小說創作而言，《鶴 止步》不再鑽研如何將真實轉化為虛構，而是在虛構之上再次進行虛構，選取八篇古典 筆記小說為底本，調動各種敘事手法，創造出富有社會關懷取向的現代小說。本文借用 西方敘事學理論，從「故事」和「敘述」兩個層面來探討《鶴止步》的重寫模式，歸納 出三種各有特色的重寫模式：側重情節改編的重寫模式、側重視角轉移的重寫模式、情 節改編兼融視角轉移的重寫模式，以期對虹影的創作歷程和敘事手法進行更深入的研 究，並開展更為多元豐富的閱讀趣味。

Hong Ying published The Daughter of Hungry in 1997. The novel’s written style always pursued tremendous historical background and gloomy female affair. From 2004, Hong Ying re-written three paragraphs of intelligent woman (called the Episode III of Shanghai, and also produced The Crane Halts)。The novel of The Crane Halts does not pursued how to convert realness into fiction comparison with famous wars or historical celebrity but the content contain amount of fiction . The Crane Halts aim to choose eight classic novel as a fundamental theory and perform various narratology to creative novel that contain solicitude. In our manuscript, we use the theory of western narratology to discuss two points of view (from story and from scenario) in The Crane Halts re-written model. We generalize three re-written traits that included plot-rewritten model, view switch-rewritten model and scenario combine view re-written models. We hope get more reading happiness from the reading author’s creative thinking and narratology.