本文以張愛玲（1920-1995）的長篇小說The Fall of the Pagoda與The Book of Change（《雷峰塔》、《易經》，簡稱《雷》、《易》）為對象，關注張以英文來處理中國題材的表現，並探討該部小說在內、外緣脈絡的文化譯寫向度。本文首先耙梳《雷》與《易》裡的儒、道意象，析論張將主角的成長故事，鑲嵌進傳統文化觀的象徵意涵。並從張寫於1960年代的〈自介〉一文，探討張以檢視西方讀者對中國的認知偏見，及其借鑑自新文學的剖白，為呼應著她在《雷》、《易》裡以非美化之筆，來揭示民初中國社會文化變革的敘事表現。最後，勘查收錄〈自介〉的《世界作家》叢書，指出該書以「世界」概念來詮釋張愛玲作品的中國特點，足以折射《雷》、《易》的文化譯寫定位與價值。

This essay focuses on Eileen Chang’s (1920-1995) two-volume autobiographical novel The Fall of the Pagoda (Pagoda) and The Book of Change (Change) written in the mid-1960s, and explores Chang’s motivation of developing the western readers’ understanding about the early 20th century China through her bilingual writing practice in the novel. Firstly, the essay points out the paternal characters in Pagoda are intentionally represented as remnants of the declining China rooted in the Confucianism, and discovers that Chang, in Change, especially foregrounds the female issues by connecting the adolescent patronage’s concerns with the Yin-yang gender concept and the philosophy of Taoism. Subsequently, by examining Chang’s self-introduction published in the World Author series, it traces Chang’s mentioning of May Fourth “New Literature” as the writing paradigm, arguing that Chang’s target of writing Pagoda and Change was to clarify the western readers’ misunderstanding about the early Republic of China. Finally, this essay indicates that the editorial discourse of World Authors not only portrayed Chang as an acclaimed Chinese novelist, but it also shaped Chang’s bilingual writings as the successful literary representation of cultural China. Through the textual and contextual exploration of Pagoda and Change, this essay concludes that the novel is not merely Chang’s autobiographical piece, but it could be regarded as the transcultural medium in which Chang transmitted her deep observation on the social transformation of the early 20th century China to the internationally non-Chinese readers.