本文將以鍾文音《奢華的時光－我的上海華麗與蒼涼紀行》為研究文本，欲探討在漫遊者的視界下所凝視的上海，於文本中的時空呈現與特點，繼而明晰文本的視域與城市意象。由於此書寫以移動為前提，可說是空間、書寫者與文本三者相輔相成的結果，故本文以書寫者的角度出發，考察主體經驗在空間中的感知，同時，藉Kevin Lynch觀看城市的方法和王志弘記憶再現的概念，歸納文字和影像兩者所透露的訊息，從中找出鍾文音關注的焦點，並討論背後的意識形態。正文會先說明漫遊者的形象，接著闡述鍾文音在上海的空間感知和凝視對象，及以此發展出的懷舊敘述。其次，將個人與上海的連結，擴大範圍，拉至文化景點的層次，討論鍾文音從名人故居的歷史現場觀看，及經典人物追尋，是否也是在漫遊者的視角下詮釋。最後，本文將討論「海上花」意象在文本中的形塑，此節欲從歷史脈絡去探究「海上花」的誕生及該時代的社會民情，並分析此意象如何在當代餘韻續存，或浮華更甚往昔。本研究發現，鍾文音眼中的上海是一個極個人風格的城市人文風貌，以人物烘托城市氛圍，以物記憶城市，企圖不在重構空間、歷史，而在重構時光。Benjamin的漫遊者精神，在全球化的語境下，鍾文音展現的其實是一種揉合觀光式觀看的漫遊者視域。

This study aims to explore Shanghai City in the field of vision under a flâneur’s gaze with ＂Shanghai Dream-The Travel Notes of My Resplendent and Desolate Shanghai Trip＂ by Wen-yin Chung as the research material, as well as the presentation of time and space in and the characteristics of the text, to further analyze the field of vision and city image in the text. Because this writing was based on the travelling, it can be seen as a result of space, the writer, and the text complementing one another. Thus, this study explores the perception in space in the subject experience from the writer’s angle while summarizing the messages from the text and the images using Kevin Lynch’s way to observe a city and Chih-hung Wang’s concept of memory reconstruction in order to find out Wen-yin Chung’s focus and discuss the ideology behind it. The main body of this paper first introduces the image of a flâneur and illustrates Wen-yin Chung’s space perception and target(s) of gaze in Shanghai, as well as the nostalgic descriptions based on them. Then, this paper connects individuals and Shanghai to expand the scale by pulling up the level to the aspect of cultural scenic spots, discussing whether Wen-yin Chung also made interpretation from the viewpoint of a flâneur as she observed from the historical spots of famous people’s former residences and pursued the traces of classical figures. Lastly, this paper talks about the formation of the image of ＂Flowers in Shanghai＂ in the text. This section studies the birth of ＂Flowers in Shanghai＂ and the customs and traditions of the society back then following the historical context and analyzes why the charm of this image still lingers in the present age or why the flamboyance of it is even more than before. According to the findings of this study, in Wen-yin Chung’s eyes, Shanghai is a city with a very strong personal style in the cultural aspect. She showed the atmosphere of the city using characters, and recorded the city using objects. Her attempt was not to reconstruct the space or history, but the era. In the context of globalization, what Wen-yin Chung showed was in fact a field of vision of a flâneur blended with sightseeing observations based on Benjamin’s flâneur spirit.