Since Chu T¡¦ien-wen was sixteen years old, she has been an important role in Taiwan literature. Chu T¡¦ien-wen has been influence by her parents and Zhang Ai-ling in Chinese literature for a long time. In the chinese ritual music cultur, she was educated under Hu Lan-cheng and became an author in the style of Zhang Qiang Hu Diao. Therefor, Chu T¡¦ien-wen and her sister Chu T'ien-hsin published San San magazine. However, after been through Nativist Literature Controversy and Hu Lan-cheng's death, she became a screenwriter for the movie, directed by Hou Hsiao-hsien and became one of the important participant of New Movie Movement in Taiwan. To face the problems of cross-srait relations and the visitions for the relatives, leading Chu T'ien-wen walk out military dependents' village and walk out San San and Grand View Garden, the style has also changed from San San ¢w¢w a young girl¡¦s fantasies style through growth theme of military dependents' village style and turned into the metropolis mature style. After Hu Lan-cheng passed away, Chu T'ien-wen swore to accomplish his unfinished ¡§ Woman Theory ¡¨ . To pass down the Female Writing of Woman Theory of Civilization, she decided to use ¡§ the Splendors of Fin de Siècle ¡¨ Notes of a Desolate Man and Words of a Witch. Hu Lan-cheng used to describe Chu T'ien-wen as a Japanese witch, and praised of the youth and beauty of her literature of art, which gives an inspiration to Chu T'ien-wen and to start a journey for witch. In ¡§ the Splendors of Fin de Siècle ¡¨ , giving Chu T¡¦ien-wen an advice as witch who predicted that patriarchal society were devastated. And in Notes of a Desolate Man that a desolate man who had feminine soul to offer Japanese witching dance for god. In Words of a Witch as witching word to fly from time and death that become unique to Chu T'ien-wen¡¦s Witched Writings.

朱天文由於家學淵源，很早即接觸了父親口中所說的好的作品－張愛玲的文本，而張愛玲的才氣與華麗的文字很讓朱天文著迷，而朱天文早期的作品的確是深受張愛玲的影響，然而，學者將張愛玲的文學地位抬至極高，且整理出受到張愛玲所影響的作家名單，當然，朱天文亦名列其中。本章主要是整理出所謂「張派」的研究名單，究竟是何種文風特色的作家作品被列名，主要的論者有哪些？他們又是持何種觀點呢？而回到朱天文早期的創作文本，張愛玲是否真的對朱天文造成莫大的影響？面對張愛玲，朱天文又有何種看法以及觀感，這對於其文學實踐又產生了什麼作用呢？ 真要談朱天文，就得從三三時期開始說起，從創辦、集刊名稱、體例，以及週遭活動開始觀察，胡蘭成的文章思想以及啟蒙又對其產生如何的影響。 在黃錦樹評論朱天文的文章當中，點出《荒人手記》是對胡蘭成的致意，並引用胡蘭成〈來寫朱天文〉文中的比喻，將朱天文與日本祭祀的巫女相比併，究竟朱天文在文學創作上呈現何種特色呢？本文將回歸朱天文的創作文本，並藉由審視黃錦樹與王德威的說法，並且參考張瑞芬的研究，探討朱究竟是向張愛玲致意或是向胡蘭成靠攏？並且透過「巫」的意象觀察朱天文的書寫以何姿態展現，以及為什麼要以「巫」的姿態書寫。 本文從朱天文的三三時期開始耙梳，觀察朱天文的文章從早期張愛玲的影響與胡蘭成的文學淵源，乃至最後成功叛逃張派作品，自成天文風格的文學創作，看這位臺灣當代重要的小說家是如何以文字煉金術士的功夫奢靡地實踐文學這華麗的修行。