歷來論早期海派作家，一向與新感覺派以下等諸多男性作家脫離不了關係，他們的影象手法與現代感也向為人所注意，他們的疾病書寫多以男人凝視下的女病人為主軸，女性成為被觀看的客體，新感覺派由引領風騷的一群風流才子所組成，他們的出現就像慧星一般燦爛，他們在性別角色的建立與描述的美學突破上，卻沒有為我們帶來太多大破大立的驚喜。本文挑選海派三位重要作家蘇青、張愛玲、王安憶，討論她們的疾病書寫與影像手法，藉以說明女性的疾病書寫，以自身出發，重點在「病恙」（（illness），而非只是疾病（disease），是受苦的主體，且深入心靈，擴大為家族或民族的巨大心理病態。她們的影象手法亦是多采多姿，使小說更為立體化與圖像化。如此海派小說的美學更為鮮明，而能與京派小說並峙。本文探討女性文本，自有女性視角，但與男性作家並不衝突，反而可以成為參照系統，相互補充。

Studies on the Shanghai School have been focused mainly on male writers, particularly those of the neo-sensualist cricle. Regarding the subject of illness, these male writers typically took sick women as the protagonists, turning women to be objects of male gaze. A group of shining talents, these liberal neo-sensualists were noted for their skills in image-making and keen awareness of modernity. Their handle of gender roles, however, was less than impressive in ideologies as well as aesthetics. To make a contrast, this article turns to female writers, taking Su Qing, Chang Ei-leen, and Wang An-yi as examples of writing on illness. These writers set forth with personal experience; dealing with human sickness from the perspective of women. Their description of sickness focuses on ”illness” rather than mere ”disease.” Humans in illness are thus subjects experiencing sufferings. With this, these three writers probe into the heart and soul of their characters, eventually extending the scope to the tremendous mental disorder of family or the nation. On the other hand, these female writers are also distinguished in image-making, inventing various techniques for round and pictorial representation. With this, they contribute to the style of Shanghai School, making their fiction-writings worthy counterparts to those of the Beijing School. This study investigates female texts from a female perspective. It harbors no opposing intention, but rather hopes to provide a perspective for male writers' reference, and eventually for mutual complement.