本文以張愛玲（1920-1995）的政治書寫為研究向度，展示張愛玲作為政治－世界作家的激進姿態。《秧歌》（1954）及《赤地之戀》（1954）是兩部具有複雜政治維度之作，卻被籠統定調為反共書寫。本文以超越政治立場判別與歸類的討論，深掘小說的「政治美學」，審視作品對權力結構、意識形態語法，及人民生命狀態的透徹剖析，彰顯小說能與當代政治論述對話的討論潛能。本文先解構「赤地」的律法與治安規範，探討統治權力與人民生命間的三重關係；接著揭示「赤地」的構序、起源與運行，乃體現政權的神學構成；最後提出張愛玲如何以《秧歌》及《赤地之戀》的政治書寫回應世界，確立張愛玲及其小說所彰顯的，跨越地域及時空限制之當代價值。

This paper explores the political writing of Eileen Chang (1920-1995) and elucidates her radical potential as a political-world writer. Despite being predominantly viewed as anti-Communist works, Chang's novels The Rice Sprout Song (1954) and Naked Earth (1954) possess complicated political dimensions. This paper examines the "politics of aesthetics" of the novels by analyzing their incisive critiques of power structures, the syntax of political ideology, and the collective conditions of life. Additionally, it highlights the novels' potential to engage in dialogue with contemporary political debates. This paper is divided into four parts. First, it analyzes how the novels depict the rule of law and police order in the "naked earth"; second, it shows the triplex power relations in the novels between ruling power, the people, and their lives; third, it reveals the origin and structure of "naked earth," embodying the theological regime of political authority; fourth, it argues that Eileen Chang responds to the world through political writing, fully establishing the contemporary value embodied by both herself and her novels, transcending geographical and temporal constraints.