張愛玲曾提到，其創作核心是以「參差的對照」的手法，描寫「人類在一切時代之中生活下來的記憶」。到底那是怎樣的一種記憶呢？本文的寫作目的，便是透過文本細讀，探討張愛玲對記憶和歷史的思考，以重新考察張愛玲和傳統的連繫。本文認為，張愛玲的作品具有一種從日常生活觀察歷史的眼光，並對傳統秩序帶著尊重和留戀。張愛玲重視經驗的承傳，認為面對現代性的時間逼迫和文明劫毀，只有「古老的記憶」才能為人帶來安穩。於張愛玲，歷史代表著「公眾的回憶」，而人以具體生活實踐保留下來的記憶∕回憶，便形成了傳統。傳統是「活生生的過去」，是日常生活中「看不見的纖維」。本文將把張愛玲理解為一個在中西文化衝擊下，徬徨思索的個人。她的作品所表現的，與其說是對傳統的控訴，倒不如說是一種無法重回傳統秩序的悲哀。本文對張愛玲的重讀，將從其《二十世紀》文化評論出發，並輔以其他散文和小說。論文共分四部分：第一部分為引言，第二部分「古老的記憶」疏理張愛玲作品中記憶和傳統的關係，第三部分「張看歷史」探討張愛玲對歷史文明的思辯，並透過與本雅明的對照，展現張愛玲對文化積澱和經驗承傳的關懷。第四部分「光整秩序」討論張愛玲對「光整秩序」那種既嚮往又回不去的掙扎。

Zhang Ailing says that the core of her works is to employ the technique of “contrasting differences” to “portray the kinds of memories left behind by humanity through each and every historical epoch.” What is the nature of these memories? The aim of this paper is to investigate Zhang’s reflections on memory and history through a close reading of her texts, so as to re-examine Zhang’s link with tradition. This paper holds that Zhang’s works show a vision of history from the angle of everyday life and also convey both a respect and a lingering love for tradition. Zhang treasures the passing-on of experiences, holding that in face of modernity’s lack of time and ravaged culture, only “ancient memory” can bring peace and security. To Zhang, history represents “communal memories.” The memories preserved through concrete daily practices form tradition, which Zhang views as the invisible “tissues of a living past” in everyday life. This paper will show that Zhang is an individual pondering on the cultural clashes between the East and the West. What her works show is, instead of a protest against tradition, a sadness for not being able to return to it. The re-reading of Zhang in this paper will start from her cultural criticisms published in The XXth Century, considering also her other essays and short stories. The paper consists of four parts: The first part is an introduction. The second part “Ancient Memories” analyzes Zhang’s views on the relationship between memory and tradition. The third part “Zhang’s Outlook on History” investigates Zhang’s dialectical reflections on history and modern civilization. Her concerns with cultural sediments and the passing-on of past experiences are highlighted through a parallel reading of her and Benjamin. The fourth part “Tidy Order” presents Zhang’s struggle between her admiration for a tidy order, and her pain for not being able to return to it.