當前學界對20世紀中期台灣記遊文學的學術討論頗為有限，且多半是透過現代散文研究的框架進行考察，本文嘗試另闢蹊徑，引用晚近新生成的「旅行文學」概念，重探半世紀前三位女作家域外見聞的文學再現。首先，本文藉由西方理論對「旅行」內在結構的觀察，商榷「旅行文學」概念的適用問題，另一方面也論證三位女作家記遊作品的長處就在於對旅行結構本質的體察、描寫與再現。接著，本文第三節探討旅行及其書寫再現之於1950、1960年代台灣社會有何意涵，除了揭露特定民族、性別、意識形態立場如何影響了文學內容及其表現方式，也分析女作家如何在旅行文學文本中開闢相對自主的言說與批判空間。其後，為了探究女作家何以能在旅行文學上有所開創，本文第四節從現代女性旅行敘事的特徵來說明，女性作者書寫旅行經驗時經常訴諸的文學技巧，其實是旅行方式、性別處境、文化位置等因素交織下所促生的文本共相。綜合上述三個層次的探討，本文主張：在知性的滿足與文字美學的品賞之外，「辨『異』與認『同』」實乃20世紀中期台灣女作家域外書寫的一項重要核心價值。

This paper ventures to study the mid-20th century travel writing by three women writers, Hsu Chung-pei, Chung Mei-yin, and Wang Yen-ju, under the concept of ＂the economy of travel＂ proposed by Georges Van Den Abbeele. In doing so, this paper discusses how women writers open up a relatively democratic space for criticism on social and gender issues under the martial law rule. In order to observe what effects the intrinsic quality of women's travel literature brings to the constitution of literary narrative, this paper also analyzes the travel experiences and the transition of identity represented in the texts. To sum up, it is not only the intellectuality and prose aesthetic, but also the process of identifying a local and domestic self from the foreign others that defines the significance of women writers' travel literature in the mid-20th century Taiwan.