本論文以陳小翠為主要研究對象，藉由其家風濡染、交遊網絡、投稿與工作之經歷，及其傳世之作品集《翠樓吟草》，試圖拼湊出此位詩畫兼善之才媛的文藝創作之生涯。 在閱讀《翠樓吟草》時，筆者便觀察到有兩個問題值得細探： 其一、五四白話文運動後，陳小翠所習用之文言文，由正統而成為傳統，然她卻持續以文言文創作，以致其成為民國後仍致力文言筆耕之諸多女性創作者的其中一位。 其二、陳小翠早年創作得益於父兄之引領甚多，則其往後透過題材之擇取所呈現的獨立創作之樣貌，亦使筆者感到好奇。 經由研究後可知，陳小翠幼年所受之文言教育、家族文風與人際網絡，甚至於其藝文工作，都使得她在民國後，繼續以文言書寫其內心世界。此外，透過寫作所嘗試拓展的交友圈、以詩詞表露自己對時代與歷史之高度興趣與關懷，以及藉由創作所呈現對前人作品之主動閱讀與仿擬，皆可看出陳小翠意欲透過創作，表露自我獨立意識的嘗試。 ;Xiao-cui Chen is the main research target of the thesis. Through familial influence, her network, working experience, as well as Cuilo Yincao, her works collection; the thesis attempts to construct her authorship. While reading her works collection, I found two main approaches to her authorship: 1.After the May Fourth Movement, the classical Chinese, which Chen is acquainted with using, was replaced by the plain Chinese as the main approach of composition. However, she sticks to composing in the classical, which makes her the author who composes in the classical. 2.Her authorship is another factor that interests me. She is initially influenced by her father and brother, but the works in her late years show another way around. Through this thesis, her authorship through the classical is built on her familial education, network, and jobs. In addition, Xiao-cui Chen attempts to reveal her independence through her works, which can be inferred from her network, composition and her imitation of works prior to her age.
