张爱玲深受古典小说影响已成学界共识，但更准确而言，张爱玲是对古典小说中的世情小说一脉尤为瞩目。通过爬梳张爱玲的创作方法与古典世情笔法的勾连，我们能看到张爱玲的小说如何从古典世情小说的旧写法中跳脱出来，又在新文学的背景下成长为现代世情小说的样貌。在此过程中，张爱玲对古典世情笔法的阐发、演绎和应用，均能为当下世情小说的写作提供借鉴。 绪论大致梳理了历来研究者对张爱玲与中国古典文学，特别是张爱玲与古典世情小说二者关系的研究，并从创作诗学的角度指出这一论题仍具有当下意义。一般对于张爱玲与古典世情小说的讨论都聚焦于二者的共同点，忽视张爱玲对古典世情笔法的改写和发展。但正是这种改写和发展，能揭示一个作家如何将他山之石为我所用，也能让后来者借此窥探其中的写作奥秘。 第一章从叙事技法的角度，指出张爱玲的短篇小说对古典世情小说叙事的结构、肌理和动力的借鉴。第一节提出，受古典世情小说“圆形”叙事的启发，张爱玲的短篇小说常常呈现出一种“弧形”结构，并且在情节上突出了古典世情小说没有的悬念。第二节认为“草蛇灰线”和“穿插藏闪”两种长篇世情小说笔法，均是通过线索的重复让小说肌理更为紧密，而张爱玲的短篇小说对此也有借鉴，但在用法上更趋向简洁。第三节从叙事动力角度讨论人物对峙法、空间转移法两种古典世情笔法的使用，以及二者在张爱玲小说中的延伸和变化。 第二章从美学元素入手，探讨张爱玲在小说色调、器物和意境三方面对古典世情笔法的传承。第一节指出张爱玲前期和后期小说具有华丽和朴素两种不同色调，而这种不同根本来源于古典世情小说中“参差的对照”与“白描”两种笔法。第二节认为“器物”在张爱玲的现代小说中承担着比在古典世情小说中更为丰富的美学功能，“物化”和“拟人”两种路径相反的修辞共同刻画出小说中物与人的关系。第三节将“意境”视为张爱玲小说与古典世情小说共通的美学方法，也指出张爱玲是用陌生化的手法创造出了一种“隔”的小说意境。 第三章关注张爱玲从古典世情小说继承而来的写实观。第一节指出古典世情小说的写实观并非反对虚构，而是要求在虚构中写出真实感。在张爱玲看来，这种写实观仍延续在清末民初的社会小说和一部分“五四”新文学作家身上。第二节论述张爱玲在古典世情小说写实观的影响下生成了对“事实”的偏好，而世情小说之虚构性与真实性、戏剧性与写 实性的两两对立，则以“传奇”和“流言”两种形态出现在张爱玲的小说中。 结语将张爱玲小说与古典世情小说视作一个连续的小说传统，讨论这一传统在当代的延续。贾平凹、金宇澄、王占黑等作家专注于世俗、世态、世故的描写，白先勇、朱天文、林奕含等则聚焦于人情、言情的描摹，二者都可视作世情小说精神在张爱玲之后的延续和更新。 世情小说传统如江河奔流，如今支流众多，也渐趋悄无声息。但它的影响源远流长，后来者当自觉于这一传统，回溯古典世情小说与张爱玲的遗产，寻找当代世情的新写法。

Eileen Chang’s being influenced by classical Chinese novels has been a consensus in the academic circles, but more accurately, she paid attention to the classical Shiqing novels in particular. By pointing out the brushwork of classical Shiqing novels in Eileen Chang's novels, we can see how Eileen Chang's novels have emerged from the old writings of classical Shiqing novels, and have grown into the appearance of modern Shiqing novels in the context of the New Literature. In this process, Eileen Chang's interpretation and application of the classical Shiqing brushwork can provide reference for the current creative writing. The introduction generally summarizes the research of the relationship between Eileen Chang and Chinese classical literature, especially Eileen Chang and classical Shiqing novels, and points out that this topic still has the present meaning from the perspective of creative poetics. Generally speaking, the study on Eileen Chang and classical Shiqing novels focus on the commonality of the two, ignoring Eileen Chang's rewriting and development of classical Shiqing brushwork. It is this rewriting and development that reveals how a writer can learn from others, and also allows the latecomers to explore the method of writing. From the perspective of narrative technique, the first chapter points out the similarities between Eileen Chang’s short stories and the classical Shiqing novels on the structure, texture and motivation. In the first section, inspired by the "circular" narrative of classical Shiqing novels, Eileen Chang's short stories often present a "curve" structure, and in the plot highlights the suspense that classical Shiqing novels do not have. The second section demonstrates that "Cao she hui xian" and "Chuan cha cang shan" are the repetition of clues, which are also used in Eileen Chang's short stories in a different way. In the third section, from the perspective of narrative dynamics, the author discusses the use of the two methods of transferring in classical Shiqing novels, and the extension and change of the two in Eileen Chang's novels. The second chapter begins with the aesthetic elements and discusses Eileen Chang's inheritance of classical sentiment in the three aspects of novel: color, object and artistic conception. The first section points out that Eileen Chang's early and late novels have two different colors， gorgeous and simple, and this difference comes from the two styles of "contrast" and "white painting" in classical Shiqing novels. The second section thinks that "the artifact" bears a richer aesthetic function in Eileen Chang's modern novels than in the classical Shiqing novels. The opposite of the "materialization" and "personification" rhetoric together portrays the relationship between objects and humans in the novel. In the third section, "artistic conception" is regarded as the common aesthetic method between Eileen Chang's novels and classical Chinese novels. It also points out that Eileen Chang uses defamiliarization to create a new kind of artistic conception called "separation" in her novels. The third chapter focuses on Eileen Chang's realistic view from the classical Shiqing novels. The first section points out that the realistic view of classical Shiqing novels is not against fiction, but requires a sense of reality in fiction. In Eileen Chang's view, this kind of realistic view continues in the social novels of the late Qing Dynasty and the early Republic of China and some of the "May 4th" writers. The second section discusses Eileen Chang's preference for "facts" under the influence of the stereotypes of classical Chinese fiction, while "legend" and "rumor" can be seen as two opposites in Eileen Chang's novels. The conclusion regards Eileen Chang and classical Shiqing novels as the tradition of the Shiqing tradition, and discusses the continuation of this tradition in contemporary. Writers such as Jia Pingwa, Jin Yucheng, and Wang Zhanhei focus on the secular world descriptions. Bai Xianyong, Zhu Tianwen, and Lin Yihan focus on the description of human feelings and romance. Both can be regarded as the continuation and update of the spirit of the Shqing novels after Eileen Chang. The tradition of the Shiqing novels is like a river, which are gradually quieter because of many tributaries. Later writers should be conscious of this tradition and trace back the legacy of Shiqing novels, looking for new ways to write about the contemporary world.