城市不僅是代表著一個空間的地理概念，更與城市背後的權力、符碼、書寫主體有關，故筆者以洛陽這座文化古都作為探討對象，探討其在不同的時空背景下、透過不同的書寫者、觀看方式，同一座城市，卻有著不同的書寫面向，多重的空間論述，似乎則隱含了深刻的象徵性。因此，本文試圖以《洛陽伽藍記》與橫吹曲辭〈洛陽道〉二者對於洛陽書寫的不同方式，探析其背後的敘事差異性，且筆者也發現，同樣是以「追憶」的方式來書寫洛陽城，北朝士人楊衒之筆下的《洛陽伽藍記》與南朝文人筆下〈洛陽道〉的敘事重點則完全不同。其一：楊衒之筆下的洛陽著重於建構一個正統性、或是權力的角逐空間，甚或是透過洛陽這座城市的殘破之感展現遷鄴後的憐惜之情。其二：南渡士人筆下的〈洛陽道〉則著重於描寫文化古都的春情美好，試圖尋找出熟悉的記憶，拼湊洛陽城市意象之美。總括來看，北朝楊衒之與南朝士人是以不同的視角來書寫洛陽城，雖以「追憶」的方式來書寫城市，卻有著完全不同的書寫面向

A city does not simply represent a geographical locus; it deeply associates power, signifier as well as writing subjectivity. In this paper, I aim to examine the ancient city of Luoyang to investigate the multiple facets of city writing through diverse writers, periods of time, and points of view. I would suggest that through discoursing the spatial imagery of Luoyang city, the writing narratology itself reveals a profound symbolism. The paper mainly compares and contrasts the different narratology in discoursing Luoyang city in The Notes to Luoyang Buddhist Temple and The Broadway to the East Capital. I found that while both adopting the literary technique of nostalgia to write about Luoyang city, Yang Xuanzhi, a poet of the Northern Dynasties, and the anonymous poet of the Southern Dynasties deploy completely different narratology respectively in in The Notes to Luoyang Buddhist Temple and The Broadway to the East Capital. Luoyang city is represented by Yang Xuanzhi as a locus of struggle in terms of political authenticity and power. Also, the image of a ruined city is highlighted in order to call attention to the emotion of pity after the relocation of the capital. Yet, the anonymous poet of the Southern Dynasties focuses on the beauty of this ancient, cultivated city so as to recollect and reconstruct the memories of this magnificent city and its good old days. This paper concludes that through these two writers of different dynasties as they reminisce the city by diverse narrative points of view, Luoyang city represents multiple spatial imageries as well as symbolic resonances