從〈遲暮〉（1933）到〈憶西風〉（1994），八十餘篇，結集為《流言》（1944） 和《張看》（1976），並散見《餘韻》等其他著作之中。張愛玲散文重視直觀美學，多以分寫、散寫的語錄，隨筆呈現人生的機趣和蒼涼，被譽為「流言體」，頗受名家推崇。 在歷來（以王德威為主）的張愛玲系譜研究當中，多半以她的小說成就作為論述重點，事實上這恐怕不能窺探張愛玲文學影響之全貌。四０年代上海孤島時期的張愛玲，小說與散文的寫作是並行的，二者產量亦不相上下。當時文壇上散文風格與她可以比並的是蘇青（1914-1982），二人且為好友。蘇青的《浣錦集》、《飲食男女》，在女性觀點上與張愛玲頗有桴鼓相應之勢。同一時期的胡蘭成，也與張愛玲文體相互影響，而後胡蘭成才於五０年代日本完成《山河歲月》、《今生今世》諸作。 七０年代以朱西甯為首的「三三文學集團」，以及後來發展出來的「閨秀文學」諸人，如袁瓊瓊、蘇偉貞、蔣曉雲、朱天文、朱天心，向來被視為張派傳人主力。然而稍早的李藍《在中國的夜》以及同時期的鄭寶娟、張讓（盧慧貞）、甚至袁瓊瓊、洪素麗，都在散文作品中受到張愛玲程度不等的啟發。寖至九０年代的戴文采、周芬伶、蔡珠兒，是年輕世代中猶有張愛玲散文遺風的承繼者。正如張愛玲的散文集《流言》－「寫在水上的字」，它不持久，又像謠言傳得一樣快。在不同時期不同文類的遙寄、傾慕、愛戀與變造之中，張愛玲的流言人生，傳奇文學，成了一齣永不落幕的戲劇，與一個永不醒來的長夢。 本論文重點，在於依時代先後，剖析並羅列台灣當代文學中女性散文作品/ 作家與張愛玲文本的關係，並旁及胡蘭成與張愛玲影響傳承等問題。張愛玲散文特色與技巧，則分散於各章處理之。

More than eighty pieces of Ai-Ling Chang’s of prose, from “Late Twilight” (1933) to “Memory in Western Wind” in (1994), were either collected in Rumor (1944) and Chang’s Viewpoints (1976), or published sporadically in Residual Flavor. In the style of the separated and partitioned dialogues’ record, Chang’s prose displays direct aesthetics, spontaneously showing the chance, interest and sadness of life. These works were honored as the “Fashion Style”. The vast majority of previous research on Chang’s writings, especially those by David D.W Wang, always focused on her contribution to novel writing, but not on her influence on the wider literary field. Chang’s writings at sole-island stage in Shenghai in the 1940s combined both novel and prose, and were equal in quantity. Chin Su (1914-1982) was the only one who can be considered her peer and they befriended each other. The viewpoint on women in Su’s “Scarf Washing” and “General Men and Women” was quite competitive with Chang’s. At the same period, Lan-cheng Hu and Chang interacted with each other in writing style. Hu later completed several masterpieces such as “Years in Country” and “ My Life” in the 1950s in Japan. Shinein Jui, heading the Shan-shan literature group in the 1970s, and representatives of “Feminine Literature”, such as Cheu-cheu Yen, Weijan Su, Shiauyen Chaung, Tenwen Jui and Tenshin Hui, were all looked at as the main successors of Chang. Li Lan’s “At China’s Night” published earlier and Li’s contemporary writers, Pojen Chen, Jaun Chang, Cheu-cheu Yen and Suli Hong, were all influenced in various degrees by Chang in prose writing. Up to the 1990s, Wenchai Dai, Fenlin Chiu and Jur Tsai were considered Chang’s followers in the young generation. As described in Chang’s prose Rumor, rumor means words written on waters, not maintained long, spread fast, though. Ai-Ling Chang’s rumor style of life and her literature’s legend became an ever-lasting drama and a never waking-up dream at different stages in various matters of expectation, admiration falling-in-love and transformation. This paper analyzes the relationship between Taiwanese contemporary feminine writers/writings and Ai-Ling Chang in a temporal sequence. The paper approaches laterally the succession issue of Lan-cheng Hu and Chang. The uniqueness of Chang’s prose and her skillfulness will be described in detail in each chapter.