1997年完成了「香港三部曲」之後，施叔青為她的香港情愛找到文字歸宿。隨後她並沒有稍作歇息，而是立刻回眸故鄉，企圖再以十年來擘造另一部更為切身的歷史小說「台灣三部曲」。從鹿港到台北，然後負笈紐約再遷移香港，最後回歸台灣，施叔青的人生地圖不斷移動，讓她有多元跨界的視野。施叔青的美學追求，經歷過現代主義、女性主義，以及後殖民主義的思想洗禮，其思想承接與轉折，並不是驟然完成的。在她早期的現代主義作品，就已經可以看出她亟欲建構以女性為主體的追尋。到香港時期施叔青開始注意歷史，並積極建立她的近代史觀。從香港到台灣的歷史書寫，不僅象徵了她自己的思想道路又將邁入全新的階段，也展現她以女性小歷史重新詮釋男性大歷史的解構企圖。她在歷史事件的罅縫中，穿插了許多既真實且虛構的庶民人物，形塑屬於她個人的近代史觀。多少被禁錮的小歷史，都因她的書寫而獲得釋放。然而，在小說不斷累積之際，作者的文字似乎也被墓誌銘般的大歷史所糾纏。可以看出，作者企圖以文字的力量去解構歷史中的無數記憶，歷史卻也轉化成巨大幽靈在文字中四處飄蕩。因此，本文一方面擬透過德勒茲重新詮釋傅柯而提出的「檔案」與「圖示」概念，分析施叔青如何在性別和後殖民的框架下去展現歷史記憶與書寫技藝。另一方面，也詴圖探討施叔青的「台灣三部曲」在近代史觀的形塑過程中除魅張力所蘊含的兩難，以及歷史幽靈與作家之間的角力。

Immediately after 1997 when her serial novels ＂Hong Kong Trilogy＂ had been completed, Shih Shu-Ching began to move her eyes back to her homeland Taiwan and spent another decade to embark upon a new writing project of historical novels called ＂Taiwan Trilogy＂ which is closer to her own life experience. This enormous project not only symbolizes a new stage in her way of thinking, but also unfolds her ambition to deconstruct the male macrohistory by new interpretation in the writing of the female microhistory. Shih Shu-Ching fills the narrative of the real and fictional folk people in the crack of the history, and reshapes new perspectives on history. Many micro-histories have been set free from the trammels of the macrohistory in her novels. However, in the course of her writing, Shih's mind is also obsessed with the tombs of the macrohistory. The power of words in the novels may perhaps liberate numerous caged souls in history, but, contradictorily, the texts she created are also haunted by those ghosts. Consequently, this project proposes to apply Deleuze's interpretation on Foucault's concepts of archive and diagram to analyze how Shih Shu-Ching situates her historical memory and writing skills within the frame of the gender and postcolonial. Furthermore, the tension of dilemma that confronts her interpretation of modern history from the viewpoint of postcolonial feminism is also inquired in this project.