张爱玲和白先勇在中短篇小说创作中塑造了很多时代的失落者形象，即这些时代的失落者背负着前一个时代的盛名落寞地活在当下。本文试图对两位作家作品里的时代的失落者形象进行比较。 本文前四章为论述，第五章为结论。第一章分析两位作家的创作背景，对他们的创作时空的社会背景、文化背景和个人成长经历进行分析。第二章和第三章分别就他们所创作的时代的失落者形象的命运进行分析，从中找出作者对时代的失落者形象赋予的不同意义。第四章，分析两位作家塑造时代的失落者形象时所彰显出来的艺术个性，找出异同。 通过分析，笔者认为，两位作家创作的社会背景、文化背景、家庭和教育背景具有相似性，感情经历迥异。这样的差异，致使两位作家对时代的失落者形象赋予了“生”与“死”两种不同的人生形态。生就指向死，死意味着虚无。无论是张爱玲笔下的“生”还是白先勇笔下的“死”，这两种人生形态最终都指向了历史的终结，人生的虚无。这是十足的悲剧，唤起读者的怜悯、同情和痛感，并且引发读者对时代、历史和文化的反思。在塑造时代的失落者形象时，两位作家采用的意识流、传统意象、讽刺和旧白话的艺术手法同中有异，而这同中有异反映出两位作家在创作时代的失落者时的艺术特点是把传统与现代进行融合，但是融合的方式有所不同。张爱玲的融合方式是传统小说为形式加入现代元素，新小说心理，而白先勇则是现代小说形式加入传统文化元素，流露出传统文人的气质。

In novelettes and short stories, Eileen Chang and Pai Hsien-yung created a great many images of lost ones of the times, who survive desolately in today's era, yet burdened with the reputation of the former age. This article tries comparing the images of lost ones of the times the two writers have created. The thesis is discussed in four chapters. Chapter V is the conclusion section.In Chapters I, the contexts including social background, personal growth and cultural background in which Eileen Chang and Pai Hsien-yung created their works are analyzed. Chapters II and III delve into the fate of characters lost in the era in the two writers’ works respectively and explore different meanings of lost ones of the times endowed by Eileen Chang and Pai Hsien-yung. Chapter IV analyzes artistic personalities displayed by images of characters lost in the era in two writers’ books and identifies the similarities and differences. Through analysis, I believe that the two writers share similar social, cultural, family and educational backgrounds, but differ in emotional experiences, which caused the two writers to endow images of lost ones of the times with two different forms of life, “alive" and "dead". Life points to death, while death means nothingness. Whether it is Chang’s "life" or Pai’s "death", these two forms of life ultimately come down to the end of history and the nothingness of life. It’s an absolute tragedy, causing the reader's mercy, compassion and pain, meanwhile arousing their reflection on the age, history and culture. When shaping the images of characters lost in the era, the two writers display their own means of artistic expression including stream of consciousness, traditional images, irony and old vernacular in similarities and differences, which means the adoption of the same artistic characteristics, namely a fusion of tradition and modernity in their works, but difference in the methods of fusion. Chang’s works include modern elements with the traditional novel as its form and the new novel its psychology, while Pai adds elements of traditional culture in a modern form of fiction, a display of his temperament as a traditional scholar.