《桃花井》(2011)是上世紀七○年代末，備受矚目的新生代小說家蔣曉雲(1954~ )於闊別台灣文壇30載後首部復出力作。全書以短篇系列小說方式，細訴兩位主角楊敬遠、李謹洲因戰亂而遠離大陸故鄉，輾轉來臺卻面臨人生崩壞，遲暮之齡方回返家鄉的故事。其中敘寫楊敬遠的小說有兩篇，寫作時間較早；李謹洲則有四篇，全為復出之作。本論文即以此六篇小說為對象，探討蔣曉雲如何運用時空敘事技巧，以短篇之姿，描繪大時代的故事。研究發現，於時間上，蔣曉雲擅於使用交錯、跳接的方式，建立流暢的敘事風格；並以多重敘述觀點，連接不同時間段落，建構情節枝節，完整人物形象；於空間上，蔣曉雲則擅於設計場景，形成暗示，以意在言外的方式，細訴筆墨難言的時代悲曲。

Peach Blossom Well＂ (2011) is the first comeback work of the highly anticipated novelist of new generation in the late 1980s - Hsiao-yun Chiang (1954~ ) after she left the literary world in Taiwan for three decades. The novel includes several serial short stories to describe two leading characters, Ching-yuen Yang and Chin-chou Li, who left hometown in Mainland China due to warfare, and moved to Taiwan to face shattering life. The stories also describe their journey to hometown in their late period. There are two short stories describing Ching-yuen Yang which were completed early. There are four short stories describing Chin-chou Li, which were completed after her comeback. This study selected these six short stories as the subjects to investigate how Chiang used temporal and spatial narrative skills, as well as the form of short stories, to depict the stories of that era. This study found that, in the temporal aspect, Chiang is good at using interlacing and skipping skills to create a smooth narrative style, and uses multiple narrative perspectives to connect different time frames, develop plots, and create complete character image. In the spatial aspect, Chiang is good at scene design, and uses hints and implications to describe in detail the tragedy of time.