在二十餘年的作家生涯裡，周芬伶在作品中呈現的觀點，從早期沈靜絕美的閨秀氣質，一路走向反叛父權的越界異音。本文採取Pierre Bourdieu（皮耶‧布迪厄，1930-2002）的場域概念，雙軌閱讀文學場域的結構與周芬伶慣習起源，審視她觀點的流變，以說明身為作家的佔位，實共構於文學與社會中。本文視周芬伶的閨秀文學期，是威權政體刻意培植閨秀文學，與其中文系出身和單純生活環境的互映下生成。解嚴後，西方知識的引進、言論自由與風起雲湧的社會運動，以致文壇階級受到挑戰，也出現文學典律解構的現象。彼時周芬伶歷經婚姻失敗、疾病與車禍等磨難，開始從女性主義中汲取養分來重新檢視婚姻與性別議題，終使她背別閨秀，走向女性主義書寫，並以不同時期的觀點流變在女性意識書寫陣營中取得佔位；其具透明性的私我書寫，於消費市場中亦獲得矚目。藉此場域觀點的分析，我們更能掌握文學作品與社會結構的關聯性，描繪文學與社會彼此鑲嵌的樣貌。

From feminine tranquility and exquisiteness to anti-patriarchal and rebellious howling, Chou Fen-ling has altered perspectives in her works in two decades. The study adopts Pierre Bourdieu's field theory to observe this altering process of Chou's writing perspectives by putting the structure of literary field and the genesis of her disposition of habitus in parallelism, in order to explain how her position as a writer was established in the literary and social contexts. The study recognizes Chou's early works as a result of her simple life style, Chinese major background and the reinforced ＂kuei-hsiu＂ literary genre during the period of martial law in Taiwan. However, right after the lifting of martial law, the hierarchy of literary filed was challenged and traditional literature was de-canonized due to the import of Western thoughts, the freedom of speech, and numerous social movements. Meanwhile, Chou suffered from divorce, illness, and car accidence; she began to absorb nourishment from feminism and re-examined the issues of marriage and gender. Turning her back to ＂kuei-hsiu＂ literature and applying different feminists' perspectives, Chou eventually became a feminist writer and achieved the position in the field of feminist literature. Nonetheless, the transparency of her exposing-self writing style won the publicity and put her in the position of consumption market. Thus, by appropriating Bourdieu's field theory, the relationship between literary works and social contexts is revealed, and also the picture of how literature and society are embedded in each other can be well depicted.