本文以謝雪漁發表於1937年《風月報》之長篇小說〈日華英雌傳〉為研究對象，探討其中的女性形象、中日文化想像以及其呼應國策（日本帝國）的書寫方式。本論文擱置認同議題或是親日／抗日的立場，提出跨文化身分編輯的概念。謝雪漁在此篇小說展現的是，在日／華、傳統／現代、東洋／西洋多重文化之間的空間（in-between spaces）編輯當下的身分。本文以非關認同的立場出發，提出跨文化性（transculturality）的概念。跨文化與多元文化不同，後者假設在一個國家內部存在著許多各自不同的文化，由彼此的外部差異來強化單一文化自身內部的同質性。而跨文化性則認為文化本身就內建了差異，不同文化之間也形成動態的網路。塑造個人身分認同越來越像是把不同文化的組成要素經由選取、刪除、排列組合而編輯成符合當下需要的「布局」。延續跨文化身分編輯的概念，筆者也企圖重啓詹明信對國族寓言的論證以及後續學者對此概念的批評與採用。筆者認為詹明信的「國族」並非「國族認同」，而是關於現代性情境下政治、社會、歷史的問題意識（problematic），而寓言作為一種文學再現，乃是意符與意指之間的斷裂、指向意義的曖昧與異質性。筆者以國族寓言來看待〈日華英雌傳〉，其研究旨趣不但不是將這篇小說視為日本帝國主義與國族主義的傳聲筒，而是強調文本的內部歧異如何躲閃單一的國族位置，在呼應國策的表象下重新編輯變動挪移中的身分位置。

This paper examines the popular fiction written by Xie Xue-yu, "The Heroines of Japan and China", by focusing on three aspects: women's images, imagination of Chinese and Japanese culture, and the way the author advocates national policies in the novel. This paper withholds the issue of constant and stable identity and whether or not the author is pro-Japan. Instead I raise the concept of transcultural identity editing to show how Xie Xue-yu moves across in-between spaces of Japan/China, tradition/modernity, East/West.This paper explores transcultural flows, which is different from multiculturalism. The latter assumes that there exist many kinds of cultures within a nation, and each of these cultures is homogeneous within itself and differentiates itself from other cultures through external comparison. But transculturality proposes that each culture has built within itself internal differences and interacts with other cultures to form a dynamic network. To construct personal identity is more like choosing, deleting, and arranging elements from various cultures to build up a configuration that attends to the needs at the moment.I also attempt to revisit the thesis of national allegory as proposed by Fredric Jameson. I think the term "national" as used by Jameson does not mean "national identity." Instead, the term refers to a problematic regarding politics, society, and history in the conditions of modernity. And contemporary allegory can be characterized by the fracture between the signifier and the signified, as well as the ambiguity and heterogeneity of meanings. This paper does not regard the fiction as a mouthpiece of Japanese imperialism and nationalism; instead, I emphasize how the internal textual differences evade a single national position in order to re-arrange multiple positions under the surface of conforming to official policies.