本文旨在以陳季同（1852－1907）的文學書寫作為個案，觀察其以法文為語言媒介、以中國為書寫主題的文學實踐。陳季同作品中展現出晚清文人在意識到「世界文學」後，如何跨越語言與國族的界線進行回應；並且在定位自身的過程中，不自覺地重塑了對文學的想像。本文聚焦於陳季同八本法文作品中的其中三本進行分析，將翻譯與創作視為不同向度的書寫策略，分別以《吾國》、《中國故事集》以及《黃衫客傳奇》為核心文本，梳理其中語言、文化的界線被模糊之後，可能呈現的國族想像。就翻譯而言，本文分從語音與文字進入，並涉及到抒情文類中的「聲音」以及敘事文類中的「體式」問題：透過陳季同演說稿中的詩作朗誦，以及對《聊齋誌異》的翻譯與改寫，綜論翻譯可能打開的文化縫隙。而在小說創作中，《黃衫客傳奇》則是從故事新編的視角切入，此作以〈霍小玉傳〉以及《紫釵記》作為前文本，透顯出強烈的中國血統；然而其新編之處，卻又是以精純的法國語言以及其文學形式展現。於是，在陳季同的作品中，語言、形式與內容往往交錯複雜，展現出一種似是而非的曖昧，此也正是本文所關注的核心，更是陳季同在文學史上不容忽視的原因。

This study observes the topics on China in the French writings of Tcheng Ki-tong (1852-1907). The works of Tcheng showed how intellectuals of the late Qing dynasty received and responded to the concept of ＂World Literature＂ in a translingual and transnational way. Tcheng's idea of ＂Chinese Literature＂ had also been reconstructed when he was in in the course of ＂self-locating＂. There were a total of eight books by Tcheng, and this article will be focusing on three of them: Mon Pays, Les Contes Chinois, and Le Roman de l'homme Jaune. Tcheng used different strategies for his interpretative works and creative writings, in a time when the boundaries of language and culture had been blurred. With this understanding, this article attempts to explore the national imagination reflected in his books. On the topic of translation strategy, this article examines ＂words＂ and ＂sounds＂ in the works of Tcheng and will touch on problems about ＂rhythm＂ in lyric literature and ＂format＂ in narrative writing. This article also seeks to examine the cultural gap that appeared from translation, by analyzing the reciting of poems in Tcheng's speech drafts, and the translation and rewriting of Strange Tales of Liaozhai. As for Tcheng's novel writing, Le Roman de l'homme Jaune was based on an old, classic Chinese story, rewritten from the Biography of Huo Xiaoyu and The Legend of Purple Hairpin (Zi Chai Ji), and therefore reflects a strong Chinese influence. However, it was written in fluent French, and abided by the literary form of French literature. Tcheng's writings show high complexity in languages, forms and contents, and should not be neglected in the history of literature.