取材自張愛玲的名作〈傾城之戀〉（1944），李歐梵所著的《范柳原懺情錄》（1998）是范柳原向白流蘇懺情的「續」愛情故事。這個故事的引人入勝之處除了在於其「續」愛情故事之外，更在於其形式：由二十一封「范柳原的原信」與「斷簡殘篇」所組成，集書信、日記、懺情錄與其它文類（後敘、補遺、訪問）於一體，釋放出獨特的張力。本文指出《范柳原懺情錄》的外在形式為具有對話性質的書信，但實際卻是「想像性對話」的日記與「排他性獨語」的懺情錄，排除了收信人白流蘇的回應。白流蘇成為一個缺席式的存在，徒然空有對話所必須具備的「外在性」，而范柳原也只能維繫「個人與自己的孤獨關係」以及「個人與文本的語言文字關係」，無法與白流蘇進行真正的實質對話與懺悔。就內容而言，《范柳原懺情錄》是以〈傾城之戀〉為本，企圖與舊文本進行對話。但是《范柳原懺情錄》的「戲仿」卻未能在直接引用舊文本之外，另外創造差異，建立新意，進而與〈傾城之戀〉共同形成「互文」與「同存結構」。

Adapted from Eileen Chang's "Love in a Fallen City" (1944), Oufan Lee's The Confessions of Liuyuan Fan (1998) focusing on the narrator's repentance to Liusu Pai is a sequel to the love story.The form of the text, however, does not imitate the earlier text. It is with the form that the text distinguishes itself. Composed of "Fan's 21 letters" and "Fragments," the text integrates letters, diaries, confessions and other genres into one, overwhelming the reader with the hybridity of the various genres. The present paper points out that in the form of dialogical letters, "Fan's 21 letters" are actually "diaries" with imaginative dialogues and "confessions" with exclusive monologues. Using Liusu's absent presence as mediation, Fan's letters eliminate Liusu's response and invalidate Liusu's exteriority required for establishing dialogues. As a consequence, Fan can only maintain his lonely relation with the self and his linguistic relation with the text.The content of the text is based on "Love in a Fallen City," intending to engage in dialogue with the earlier text by parodying its love story. But much to the reader's sorriness, the parody of the text does not result in meaningful differences and create intertextual significance. The Confessions of Liuyuan Fan can accordingly neither comment on nor compose a simultaneous order with the earlier text.