本文嘗試從張愛玲 (1920-1995) 的「本名」索隱出發，試圖找出張煐、張允偀、張愛玲、張孟媛、Eileen Chang、Eileen A Chang、Eileen Chang Rhyher之間的幽微交織，並嘗試藉此帶出兩個對「姓名」系統的批判路線。一是以女性主義的角度回看中國傳統命名，凸顯其如何透過「從父／夫姓」、輩譜制度、族譜系男不系女等安排，來鞏固宗法父權的正統、正宗與正當。另一則是以解構主義的角度反思「本名」所帶出的「本我同一」，如何壓抑了「生命─書寫」的將臨。而「張愛玲」作為名字、「張愛玲」作為專有名詞、「張愛玲」作為作家署名的「基進不確定性」，正提供了此兩大批判脈絡的最佳匯集思考點，足以顛覆從文化傳承到文學研究以「正本」、「正名」、「正統」、「正當」所建立的超穩定階序。

This paper attempts to probe into the “proper name” of Eileen Chang 張愛玲 by mapping out the delicate fabrication among Chang Ying, Chang Yun-ying, Chang Ailing, Chang Meng-Yuan, Eileen Chang, Eileen A Chang, and Eileen Chang Reyher. It will bring in two lines of critique on the naming system. First, a feminist critique of the Chinese naming tradition will demonstrate how the legitimacy, authenticity, and propriety of clan patriarchy are solidified through the practice of patronymy, generation names, male-centered pedigree, etc. Second, a deconstructionist critique of the “proper name” will help to reflect upon the “self-sameness” perpetuated by the “proper name” on the one hand and destabilization on the other hand by the “lifewriting” to come. “Eileen Chang” as the name, the proper name, and the signature can thus be read at the intersection of these two critical lines to expose the possible subversion from cultural heritage to literary studies of “the origin,” “the rectification,” “the orthodoxy,” and the “propriety” that help to establish the ultra-stable hierarchy.