《自由談》是戰後台灣第一本暢銷國內外的民間雜誌，發行時間從1950年4月到1987年11月為止，沒有官方撐腰而能歷經整個戒嚴時期，並取得巨大成功，是來自於雜誌背後所擁有的海派文化資本、商業手腕，以及因地制宜的在地轉化。本論文以《自由談》為中心，首先比較民國上海《旅行雜誌》，踏察海派文學／文化與台灣當代文學／文化的關聯。其次藉由觀光客凝視（The Tourist Gaze）、世界主義（Cosmopolitanism）和美學世界主義（Aesthetic Cosmopolitanism）等理論，分析《自由談》裡最大宗的國內外遊記，說明藏匿在官方論述保護色之下的「世界想像」，有意無意溢出戒嚴臺灣所限制的禁忌究竟為何。最後集中關注《自由談》的小說，一樣先分析海派小說的在地化轉變，說明如何可能成為台派鴛鴦蝴蝶小說；之後再聚焦以國外為主要敘述空間的嚴肅小說，討論這些小說如何區分自我與他者、確認差異（difference）和認同（identity），進而隔海回望，漸漸打造出不同於官方主導文化、嶄新的「台灣想像」。 / The Rambler（《自由談》） was the first private magazine in post-war Taiwan that sold well domestically and internationally. Published from April 1950 to November 1987 without government support, the magazine thrived throughout the entire martial law period because of the combination of the cultural capital of the Shanghai School, effective business tactics, and a local transformation that underpinned its operation. In this study, The Rambler and its predecessor, China Traveler（《旅行雜誌》）, were compared to investigate the relationship between the Shanghai School literature and contemporary Taiwanese literature. Travelogues collected in The Rambler were subsequently analyzed through the perspectives of tourist gaze, cosmopolitanism, and aesthetic cosmopolitanism to illustrate how the world imagination was influenced by the ruling Nationalist Party, which, wittingly or unwittingly, revealed officially stated taboos in Taiwan under martial law. The local transformations in the Shanghai School fiction reflected in The Rambler were also discussed in this study. Finally, fiction in The Rambler with settings that occurred beyond the borders of Taiwan were examined to discuss how characters in these fictions distinguish between the self and the others, perceived their difference, and identified with their identity to create a different imagination of Taiwan from the officially created one.