歷來研究明清小說的宦官敘事，多聚焦於明末魏忠賢及其禍國殃民的權宦事蹟與形象，而「立生祠」的情節被視為形塑宦官負面形象的方式之一。但明代劉瑾、王堂、孫隆、劉璟等權宦已有生祠，隨著宦官勢力越加龐... more 歷來研究明清小說的宦官敘事，多聚焦於明末魏忠賢及其禍國殃民的權宦事蹟與形象，而「立生祠」的情節被視為形塑宦官負面形象的方式之一。但明代劉瑾、王堂、孫隆、劉璟等權宦已有生祠，隨著宦官勢力越加龐大，生祠數量也增多，藉此傳達朝廷之外的權威，故宦官生祠敘事有其重要性，本文聚焦於明清小說並參照筆記，探究宦官生祠敘事之呈現、演變及其意義。 首先，「生祠賜額與從祀孔廟的意圖」呈現出「政統與道統話語權之爭」，魏祠以前的宦官「帝王賜額」名稱較少被記載，而《斥奸書》、《檮杌閑評》、《天雨花》中的魏祠祠額為帝王所賜，具有「政統」合法性，且多以仁德等儒家德目命名，以彰顯「賢德」之「賢宦」形象，及對於國家之貢獻和地方百姓的「恩惠」。至於魏祠「從祀孔廟的意圖」則開啟立宦官生祠於孔廟和太學旁之風氣，宦官取得儒家「道統」之話語權，且致力於使其形象「化奸為賢」；而《警世陰陽夢》、《斥奸書》、《剿闖通俗小說》、《天雨花》中之宦官生祠則多選址於都城、西湖等名勝，以達到宣揚「權宦」勢力之效果。 其次，「生祠塑像、喜容與建築」神化了明代宦官之形象，正史中「權宦」因耗費鉅資立生祠、建築僭越禮制而飽受批評，故多為「奸／惡宦」的負面形象，小說與筆記中的宦官生祠存在的時間不長，多隨著其失勢而被毀，但卻可能因對於當地有貢獻之「賢宦」形象，而保留塑像於生祠改建成的建築中；從《斥奸書》、《檮杌閑評》、《鼓掌絕塵》、《鎮海春秋》可見生祠塑像服飾、配件僭用帝王儀制，反映出作者批判「權宦」的意圖；《斥奸書》與《天雨花》延續並強化「奸宦」形象，指出生祠建築與擺設僭用帝王儀制，是導致帝王駕崩和明亡的重要原因。清代在明代小說的生祠敘事基礎上增加細節，反映出中央官員與地方仕宦對於「權宦」是否有功於地方的不同態度，宦官與地方仕宦也共同形塑出游移於賢宦、奸／惡宦之形象，故梳理明清小說與筆記中的宦官生祠敘事之呈現與演變，可理解明清宦官敘事的多元性及意義。
本文論「三言二拍一型」之城隍敘事意義與價值，及在小說史上之重要性。首先，「城隍的江南出身」反映出明末江南城市的繁榮，而小說編創者的出身、仕宦行跡與出版地（如蘇州與南京）多有地緣關係，故以江南... more 本文論「三言二拍一型」之城隍敘事意義與價值，及在小說史上之重要性。首先，「城隍的江南出身」反映出明末江南城市的繁榮，而小說編創者的出身、仕宦行跡與出版地（如蘇州與南京）多有地緣關係，故以江南城市為主要故事背景，城隍出身與任職地域則多無關聯。而凡人成城隍之資格為品德高尚（如清廉、忠）的文官，因二者的職務相對應，城隍的裝扮近於陽世官員形象，反映出時人認知的城隍職能。 其次，城隍的「冥界行政官職能」與地方官相近，並可「監督地方官與協助破案」，即使偏遠的貴州也在此信仰範圍內。又，城隍職能尚有與土地相近之「維護地方安寧」，小說的明代前文本反映出當時道教重視並收編城隍信仰；而南宋至明代的城隍與土地職能近似，反映出城隍管轄當地精怪，及未與土地職能區隔的民間信仰特色。最後是「城隍廟之空間敘事意義」，城隍廟有隱惡揚善的公開場所功能，也有模糊神聖與世俗空間、見證男女私情的意義，而「祈雨與求籤」情節則反映城隍、巫覡信仰和道教的交融。「三言二拍一型」呈現出明代官方較唐代更重視城隍信仰敘事，故編創者抬升城隍的重要性和地位，靈驗的城隍形象也反映出明代盛行此信仰之因、城隍廟多元的空間敘事意義，及以宗教勸世之編創目的，可見城隍敘事在小說史上之重要性。
歷來研究較少分析《儒林外史》的抒情性與地景之關係，《儒林外史》描寫南京時多以文人閒情為主，主要關心「美景」，故以「煙水氣」形容其抒情意境，分為以下三小節討論：「雨花臺的風雅士庶」探討杜慎卿、蓋寬... more 歷來研究較少分析《儒林外史》的抒情性與地景之關係，《儒林外史》描寫南京時多以文人閒情為主，主要關心「美景」，故以「煙水氣」形容其抒情意境，分為以下三小節討論：「雨花臺的風雅士庶」探討杜慎卿、蓋寬和荊元遊雨花臺的抒情性；「玄武湖的高士／隱士」討論莊紹光在玄武湖花園中「抒情意境」的建立與崩壞；至於「秦淮河畔的名士」則以敘述者士大夫視角為主的南京書寫，介於「士遊」與「庶遊」之間。而「蘇杭金粉香」則是「市井閒情」，關注焦點多為「遊人」和「食物」，較近於平民品味，又分為兩小節討論：「西湖的士遊代表」探討在「士遊」文化下的馬純上，是由士人到庶民旅遊型態的過渡代表；而「虎丘的道學家與旅遊者」討論王玉輝在旅遊途中的觸景傷情，呈現人、景、情融合的抒情性，因而削弱其道學家形象。總之，「文人閒情」與「市井閒情」各自呈現出不同階層的抒情方式，並凸顯出明清旅遊文化之下所產生的文本特色。 Historically, there has been less analysis of the relationship between the lyricism and the landscape of Unofficial History of Scholars, which describes Nanjing as the main site of literary leisure. The description is mainly concerned with “beauty”, so it is described as “smoke”. The lyrical conception is divided into the following three sub-sections: “The Elegant Gentry of Yuhuatai” discusses the lyricism of Du Shenqing, Ge Kuan and Jing Yuan; “The Hermits of Xuanwu Lake” discusses Zhuang Shaoguang’s “lyrical vision” in the Garden of Xuanwu Lake. The establishment and collapse of the “Qinghuai Riverside” was written in Nanjing. This work is dominated by the literati’s perspective in its discussion of the traveling literati and regular people. The “Perfume of Women in Suhang” discusses “city leisure”. The focus is mostly on “tourists” and “food”, which is closer to the taste of regular people. It is divided into two sections: the first is “The representative literati tourists at West Lake”. Ma Chunshan represents the culture of tourist among the literati and normal civilians; and “Taoists and tourists” discusses Wang Yuhui’s sentiment about travel, fusing the lyricism of people, the landscape and sentiment of scenery, and thus weakening the image of the Taoist. In short, “literary leisure” and “city leisure” each present different forms of lyricism, and highlight the textual features produced under the tourism culture of the Ming and Qing dynasties.
This article observes the relationship between the Courtesan and the celebrity in The
Flowers in ... more This article observes the relationship between the Courtesan and the celebrity in The Flowers in a Sea of Sin and Continuing the Flowers in a Sea of Sin, to discuss the different ways that Zeng Pu and Zhang Hong write the prostitutes and transform the tradition of the Courtesan Novel. First, Sai Jinhua cooperates with the patriots. From changing her stage names several times, we can see the process of Westernization. Fu Caiyun is the “beauty of the characterization” and become the object for celebrities to watch; Cao Menglan began to “exchange the Western information” and expand the communication with the celebrities. And then, she became Sai Jinhua for the “diplomatic negotiator”, which highlights that when Fu Caiyun converts stage name, the relationship would be closer to celebrities, and the image is vivid than The Flowers in a Sea of Sin. Second, I discuss the continuity and disillusion imagination of the beauties, and they are “lovers of celebrities”. Both two books are in line with the typical imagination of the beauty of the literati, but the Continuing the Flowers in a Sea of Sin more emphasizes on the narrative style of the Courtesan Novel to reduce the narrative tension. Zeng Pu and Zhang Hong all show the equal exchange of knowledge between the literati and courtesans, which is close to the traditional imagination of the novel of genius and beauty. In addition, the relationship between the copy of South courtesans and celebrities is not stable, but the surface imitation of Qinhuai courtesans and celebrities. The disillusion of imagination of the beauties in “Continuing the Flowers in a Sea of Sin” becomes a subversion of the tradition of the Courtesan Novel. 本文觀察《孽海花》到《續孽海花》的名妓與名士關係，討論曾樸和張鴻以不同方式書寫名妓，並改造狎邪小說傳統。首先是與愛國者合作的賽金花，藝名轉換可見其西化過程，傅彩雲是「美的表徵物」而成為名士的觀賞對象；曹夢蘭則開始「交換西方資訊」，並拓展與名士的交際，為「外交的談判者」賽金花鋪路，足見《續孽海花》較凸顯傅彩雲轉換藝名後，和名士越趨親近的關係，其形象塑造更勝於《孽海花》。其次從「名士情之所歸」，討論佳人想像的延續與破滅。二書的文人化南妓皆符合典型佳人想像，但《續孽海花》更強調藉由狎邪小說的敘事模式調節敘事緊張。曾樸與張鴻皆呈現文人與名妓在學問與知識的交流關係，此乃近於才子佳人想像傳統。另外，北京仿文人化南妓和名士之關係並不穩固，只是表面模仿秦淮名妓與名士的密切交往，佳人想像的破滅成為《續孽海花》改造狎邪小說傳統的展現方式。
In A Brief History of Chinese Fiction , the famous critic Luxun regards Journey
to the West as m... more In A Brief History of Chinese Fiction , the famous critic Luxun regards Journey
to the West as mythological and playful fiction, relocating the value of“searching for
the mind lost from the concept of another critic Xie Zhaozhe, and culminating in the
Buddhist possibility of“perfecting the mind”. Also, he finds the mythological
elements of the fiction in two of the novel’s chapters containing the magical fights
between hero and god or demons. In chapter six, God Erlang transforms himself
successively into five animals, fighting with the stubborn hero, Sun Wukong, and
subduing him with the assistance of all the gods. It is similar to the fight in the chapter
sixty-one, where Bull Demon King and the hero change their shapes into six creatures
and then the former succumbs to the latter with the help of the celestial beings.
Although such a possibility is observed, Luxun might ignore the essential relationship
between the two chapters. Therefore, our research intends to reconstruct in the two
chapters the “successive transformation in magical matches”, and to develop the
theme of “perfecting the mind” through a dialectical approach. We would firstly
compare the differences of two chapters in the beginning, articulating the concept of
“foils” related with the characters and its allegorical meaning, and, afterwards,
reaching the idea of “submission”.
本文以馮夢龍〈簡帖僧巧騙皇甫妻〉與《情史．金山僧惠明》為討論範圍，從行動元與情節探討其如何以白話和文言編纂局騙敘事，並探討可能的編纂意圖。本文分為「開局與行局」與「收局」兩部分，首先探討「主謀：... more 本文以馮夢龍〈簡帖僧巧騙皇甫妻〉與《情史．金山僧惠明》為討論範圍，從行動元與情節探討其如何以白話和文言編纂局騙敘事，並探討可能的編纂意圖。本文分為「開局與行局」與「收局」兩部分，首先探討「主謀：簡帖僧／僧惠明」與「幫兇：老嫗、〈簡帖僧〉僧兒、皇甫松／丈夫」，從主謀和幫兇的行動足見簡帖僧的設局較縝密、行騙手法較多元，不知情的幫助者對照出簡帖僧的心機，倒敘的敘事方式凸顯話本尚奇的適俗性；而僧惠明和幫兇的關係較單純，反映〈僧惠明〉旨在局騙情節背後的「情仇」。 其次則討論「客體兼反對者的反擊：周氏／皇甫妻」和「反對者（行者與皇甫松）的揭發與幫助者（明太祖／錢大尹）的懲罰」，從周氏／皇甫妻對於僧惠明／簡帖僧的反擊來看，除了符合讀者善惡終有報的心理期待，也反映出馮夢龍編纂此故事時的意圖。明太祖和錢大尹的角色功能雖同，各自反映明太祖的佛教政策，和文人作家以讀者較熟悉的人物來創作，而兩則文本共同的背景皆是明代公案小說的興起和僧尼淫亂的現象。總之，〈簡帖僧〉較有話本尚奇的適俗性，故重視鋪排巧騙的局騙情節，公案小說的懸疑性較強；而〈僧惠明〉則表達出情仇相依的主題，旨在規範「情」的界線，以情害情的暴徒須受罰。
In this paper, the “mysterious strange recorded” ‘the guest from Huashan’ and the Six Dynasties ... more In this paper, the “mysterious strange recorded” ‘the guest from Huashan’ and the Six Dynasties and Tang and Five Ghost Stories discussion range ‘the guest from Huashan’ the inheritance and transformation of a story, the Imaginary and as intended. Inheritance and Transformation of view, can be divided into Spirit gratitude, ‘the guest from Huasha’ inherited the Six animals of Spirits gratitude plot, "mysterious mind" on Fox, stressed and ‘the guest from Huashan’ the Fox Spirit the ability to predict the same purpose, but ‘the guest from Huashan’ slightly changed, so the fox spirit can predict their monastic catastrophe. And other circumstances of Fox the mound / tomb's relationship with the barbarian as treasures from the perspective of mythology cut, you can mound / tomb fox demon of death and rebirth; the latter is common in Chinese fiction, the Fox Spirit gift thing associated with and Taoist outside Tang, in line with the identity of the ascetics, showing the author does not exclude the use of Taoist elements in the creation of the novel.
Magic for Italy can be divided into Spirit begging for life, Spirit practice, anti-introduce ourselves pillow mat tradition. In ‘the guest from Huashan’ Fox Spirit not only can calmly select Help, the party super element of the name is also in line of Spirits the begging for life story of the help usually of higher status, the Gremlin practice is Tang and Five Dynasties by the influence of Taoism. As for the pillow mat tradition of anti-introduce ourselves as in the Fox Spirit party over ridicule, in addition to introduce ourselves to pillow mat Backwash, also in line with the fox spirit of monasticism. In short, the combination of visible when the re-creation of the literati from ‘the guest from Huashan’ each motif, in addition to inheriting outside the traditional anti-traditional, thus creating the Six Ghost Stories taste, this post on the order of the Six Ghost Stories, under open Five fox spirit repair chain story, so it is important.
In“Xiao Shuo Lin” , “tsong-lu” mostly described the exotic images in using “documentary” strokes ... more In“Xiao Shuo Lin” , “tsong-lu” mostly described the exotic images in using “documentary” strokes to “record new things” , but in this technique of writing , translators had implied the critic about “world powers” and “the uncivilized” between them. After the Eight-Nation Alliance, world powers are concerned by the late Qing Dynasty. Although the invention of all kinds of artifacts and institutional, it still can not stop many casualties in the war. On the one hand, the translators praised the civilized powers. On the other hand, they ignored the casualties caused by the war . In addition, the translators of“tsong-lu” did not completely accept for the revolutions, so it reflects the different attitude to revolutions in“Xiao Shuo Lin”.
Although uncivilized people have some superstitions, there also exist women’s rights that different from European and American feminist, although translators did not comment on this phenomenon of civilized or not. The concerns about foreign countries in the late Qing of China was still visible, and some particular issues that translators concerned (such as feminism, revolution, etc.) .In addition, there is no negative evaluation for primitive peoples about their lifestyles, and translators maintain its consistent objective strokes. It is also in line with the style of “tsong-lu” itself. Therefore, to study“tsong-lu” in“Xiao Shuo Lin”, is helpful to understand the exotic images that except in fictions in the late Qing. We do not just see the exotic as “others” to imitate, but based on the fact that generated by foreign news, and translators also accepted foreign information from these news to judge if China is civilized or uncivilized. Due to the formation of different genres,“tsong-lu” played a role that differs from imagination of fiction, and it is “real”.
In this paper, I analyze the performance and the meaning of the scandal of
the literati jokes in... more In this paper, I analyze the performance and the meaning of the scandal of
the literati jokes in The Harmonic History of Shei-Tao, and how to show the
reflection of the morality of the Ming Dynasty. In the first part, I discuss the
jokes of “scholars”, and the theme is “not Good at writing: weakening talents
of scholars” and “pedantic: the disappearing morality of scholars”, reflecting
the dialectical relationship of “true scholar” and “pedantic”. The “true scholar”
is the ideal image pursued by the literati, but it is the “pedantic” in reality. In
the second part, I discuss the jokes of “officials”, focus on the theme of “to
lobby illegally: the abuse of officials request another’s help”, “to usurp power
for personal motives: the power of the officials’ dictatorship” and “to be greedy
for money: the trend of officials seeking wealth greedily”. Reflecting the image
of the officials, the popularity of such scholars’ image at the time, and this is
the irony and allegorical implication of the object in joke fables on superficial. In addition, such joke fables also reflect the Ming Dynasty’s official system on
the other hand, academic status and background, etc., to show the middle
meaning of joke fables; and deep meaning reflects the weaknesses and
advantages of human nature. Although there is no lack of the description of
pursuit of fame, benefit and power, there are still positive human nature about
introspection and opposition to the power of infinite expansion.
“Quiet and nice tranquil words” and“Lotus Lei” in the The story of the Stone is extremely imp... more “Quiet and nice tranquil words” and“Lotus Lei” in the The story of the Stone is extremely important, because both of them are masterpiece of Baoyu. The first part of this paper --“fengliu amazone / Goddess” explores nominal title and common ground of Qing Wen and Siniang for fiction themes, and highlights the source/ author from “fengliu” creative principle of Baoyu. “Fengliu” fictional characters-- Qing Wen and Lin Siniang who is all around Baoyu are “stunning” and “talented”, thus they are pampered. However, these prominent women cannot still help but unlucky. The fiction is the epitome of the female of fate, so“quiet and nice tranquil word” and“Lotus eulogy” is the daughter of the main romantic eulogy. “beautiful concubine of loyalty/ servant” is discussed in the second part of the identity of the low status, one for concubine and one for a girl slave, but her husband/ master was taken for two different ways of treatment, reflecting the author praised the attitude to love of Baoyu, and in contrast to Heng Wang, who only cares about sexual passion. Baoyu made different evaluations on Siniang and Qing Wen, etiquette practices are key points of Siniang and Qing Wen get the reputation or not.
歷來研究清代小說教亂敘事的，多圍繞在描寫不同民間教派的小說特色，討論民間教派在小說中如何被呈現。而本論文則在前人研究之上，結合官方史料、民間紀載、教派內部文獻、文人筆記與野史等材料，思考描寫... more 歷來研究清代小說教亂敘事的，多圍繞在描寫不同民間教派的小說特色，討論民間教派在小說中如何被呈現。而本論文則在前人研究之上，結合官方史料、民間紀載、教派內部文獻、文人筆記與野史等材料，思考描寫明清民間教亂的小說敘事何以在清代紛呈而出，並以「文化生產」、「小說類型學」和「敘事學」為研究方法，討論清代小說教亂敘事中的共性與殊性，藉由建構「清代小說教亂敘事群」，可見作為跨類型小說的小說教亂敘事在清代的不同時期、不同／同一作者的創作之下，反映出共同的價值觀與歷史意識；而「敘事學」的研究方法則可結合「承衍」之概念，討論清代教亂小說之間的相互關係，不論是描寫同樣或不同的民間教亂題材，都可見個別教亂小說的敘事特色。 本論文將主要分為四章，第二章討論「清代出版文化：序跋、評點與圖像」，分別從小說序跋、評點與圖像探討清代出版文化的變化，如何影響小說作者的創作心態與目的，而從其交遊圈所輻射的序跋與評點者、出版商；又如何在清代小說禁毀令的文網下，隱微地呈現出共同的意識形態與各異的呈現手法特色。第三章則是「民間教派、幫會人物形象的解構與重構」，討論民間教派、幫會人物形象的重疊性與相似性之意義，並指出其顛覆與游離的形象意涵。第四章是「多重的政教辯證關係」，在變化的政教關係之下，討論人物形象如何影響小說中所敘述的政教關係，而政教合作與衝突的其敘事意義為何？第五章則討論「多元的政教戰爭模式與情感論述」，政教關係影響了政教戰爭的模式，教亂小說中出現的情感論述，可做為官方觀點的參照，並挖掘情感論述的不同面貌如何呈現出作者的歷史意識。從上述議題即可見清代不同作者與不同時期的教亂小說，既有共同的意識形態與價值觀，也有其多元化的敘事特色及其意義，故研究清代教亂小說對於重新理解清代小說史有其重要性。
本論文以明末「平妖」故事為研究範圍，探討世變之中神魔敘事的呈現方式，藉由跳脫傳統的類型小說框架，以更大的神魔文本架構觀察明末「平妖」故事。本論文的「平妖」故事之有兩個組成要素，一是「興妖與「平妖... more 本論文以明末「平妖」故事為研究範圍，探討世變之中神魔敘事的呈現方式，藉由跳脫傳統的類型小說框架，以更大的神魔文本架構觀察明末「平妖」故事。本論文的「平妖」故事之有兩個組成要素，一是「興妖與「平妖」的表層結構，二是「世變」的深層主題。而本論文的主要討論文本為《新平妖傳》及其後十年間陸續出版的三部「平妖」故事──《七曜平妖全傳》、《禪真逸史》與《禪真後史》。此故事模式的焦點為神魔敘事，而神魔敘事多與「真幻」、「正邪」觀念相關，故本論文先於第二章探討明末清初文人如何在小說的周邊材料，及小說序跋與評點中形塑神魔敘事的觀念，並討論馮夢龍如何繼承、轉變前人的小說理論，由此可發現馮夢龍提出的「真情」雖是新詞，卻能用以綰合前人小說理論已重視的「藝術真實」與「生活真實」；而其「正邪觀」則是「正邪兩立」的傳統正邪觀。而第三章則從小說序跋、評點到「平妖」故事文本內部的真幻與正邪觀，可知「亦正亦邪」和「真幻交織」是《新平妖傳》的神魔敘事特色，並而此特色反映出在世變之下的文人焦慮感，一方面是文人對於自我出處進退的游移；二方面是文人對於社會、家國的忠奸難辨之困惑，因此透過神魔角色的去妖魔化、神聖性的消解以隱喻世變，而這也是《新平妖傳》較20 回本《平妖傳》突出的特色。至於第四章則以《新平妖傳》的神魔敘事特色為心，探討其所影響的「平妖」故事，足見「以神魔寫世變」是「平妖故事」的共同敘事策略，此敘事策略反映出官方與民間不同的審美意識，官方採取政治正統與儒家的立場，將起義者形象妖魔化；而民間重視法術變幻，擅長使用法術的角色能衝撞體制，表現出百姓對於世變氛圍的不滿。另外，在此共同的敘事策略之下，上述「平妖」故事描述世變的方式也有所不同，《新平妖傳》以「妖由人興／心」強調「人力」在世變時代的重要性；而《七曜平妖全傳》相較之下則較強調「天命」，因此多有自然災難的書寫；至於《禪真逸史》與《禪真後史》的〈敘〉中皆呈現出「以史為鑑」的創作意圖，因此以前朝歷史（即梁武帝、唐貞觀末年）影射明末萬曆史實。最後是第五章結論，藉由此角度之觀察，足見明末「平妖」故事為神魔小說開出更寬廣的一條道路，明末「神魔小說衰退期」之說有待重新省視，而「平妖」故事不但在其創作譜系中有承衍的意義，也有在明清小說史上的重要性。
歷來研究明清小說的宦官敘事，多聚焦於明末魏忠賢及其禍國殃民的權宦事蹟與形象，而「立生祠」的情節被視為形塑宦官負面形象的方式之一。但明代劉瑾、王堂、孫隆、劉璟等權宦已有生祠，隨著宦官勢力越加龐... more 歷來研究明清小說的宦官敘事，多聚焦於明末魏忠賢及其禍國殃民的權宦事蹟與形象，而「立生祠」的情節被視為形塑宦官負面形象的方式之一。但明代劉瑾、王堂、孫隆、劉璟等權宦已有生祠，隨著宦官勢力越加龐大，生祠數量也增多，藉此傳達朝廷之外的權威，故宦官生祠敘事有其重要性，本文聚焦於明清小說並參照筆記，探究宦官生祠敘事之呈現、演變及其意義。 首先，「生祠賜額與從祀孔廟的意圖」呈現出「政統與道統話語權之爭」，魏祠以前的宦官「帝王賜額」名稱較少被記載，而《斥奸書》、《檮杌閑評》、《天雨花》中的魏祠祠額為帝王所賜，具有「政統」合法性，且多以仁德等儒家德目命名，以彰顯「賢德」之「賢宦」形象，及對於國家之貢獻和地方百姓的「恩惠」。至於魏祠「從祀孔廟的意圖」則開啟立宦官生祠於孔廟和太學旁之風氣，宦官取得儒家「道統」之話語權，且致力於使其形象「化奸為賢」；而《警世陰陽夢》、《斥奸書》、《剿闖通俗小說》、《天雨花》中之宦官生祠則多選址於都城、西湖等名勝，以達到宣揚「權宦」勢力之效果。 其次，「生祠塑像、喜容與建築」神化了明代宦官之形象，正史中「權宦」因耗費鉅資立生祠、建築僭越禮制而飽受批評，故多為「奸／惡宦」的負面形象，小說與筆記中的宦官生祠存在的時間不長，多隨著其失勢而被毀，但卻可能因對於當地有貢獻之「賢宦」形象，而保留塑像於生祠改建成的建築中；從《斥奸書》、《檮杌閑評》、《鼓掌絕塵》、《鎮海春秋》可見生祠塑像服飾、配件僭用帝王儀制，反映出作者批判「權宦」的意圖；《斥奸書》與《天雨花》延續並強化「奸宦」形象，指出生祠建築與擺設僭用帝王儀制，是導致帝王駕崩和明亡的重要原因。清代在明代小說的生祠敘事基礎上增加細節，反映出中央官員與地方仕宦對於「權宦」是否有功於地方的不同態度，宦官與地方仕宦也共同形塑出游移於賢宦、奸／惡宦之形象，故梳理明清小說與筆記中的宦官生祠敘事之呈現與演變，可理解明清宦官敘事的多元性及意義。
本文論「三言二拍一型」之城隍敘事意義與價值，及在小說史上之重要性。首先，「城隍的江南出身」反映出明末江南城市的繁榮，而小說編創者的出身、仕宦行跡與出版地（如蘇州與南京）多有地緣關係，故以江南... more 本文論「三言二拍一型」之城隍敘事意義與價值，及在小說史上之重要性。首先，「城隍的江南出身」反映出明末江南城市的繁榮，而小說編創者的出身、仕宦行跡與出版地（如蘇州與南京）多有地緣關係，故以江南城市為主要故事背景，城隍出身與任職地域則多無關聯。而凡人成城隍之資格為品德高尚（如清廉、忠）的文官，因二者的職務相對應，城隍的裝扮近於陽世官員形象，反映出時人認知的城隍職能。 其次，城隍的「冥界行政官職能」與地方官相近，並可「監督地方官與協助破案」，即使偏遠的貴州也在此信仰範圍內。又，城隍職能尚有與土地相近之「維護地方安寧」，小說的明代前文本反映出當時道教重視並收編城隍信仰；而南宋至明代的城隍與土地職能近似，反映出城隍管轄當地精怪，及未與土地職能區隔的民間信仰特色。最後是「城隍廟之空間敘事意義」，城隍廟有隱惡揚善的公開場所功能，也有模糊神聖與世俗空間、見證男女私情的意義，而「祈雨與求籤」情節則反映城隍、巫覡信仰和道教的交融。「三言二拍一型」呈現出明代官方較唐代更重視城隍信仰敘事，故編創者抬升城隍的重要性和地位，靈驗的城隍形象也反映出明代盛行此信仰之因、城隍廟多元的空間敘事意義，及以宗教勸世之編創目的，可見城隍敘事在小說史上之重要性。
歷來研究較少分析《儒林外史》的抒情性與地景之關係，《儒林外史》描寫南京時多以文人閒情為主，主要關心「美景」，故以「煙水氣」形容其抒情意境，分為以下三小節討論：「雨花臺的風雅士庶」探討杜慎卿、蓋寬... more 歷來研究較少分析《儒林外史》的抒情性與地景之關係，《儒林外史》描寫南京時多以文人閒情為主，主要關心「美景」，故以「煙水氣」形容其抒情意境，分為以下三小節討論：「雨花臺的風雅士庶」探討杜慎卿、蓋寬和荊元遊雨花臺的抒情性；「玄武湖的高士／隱士」討論莊紹光在玄武湖花園中「抒情意境」的建立與崩壞；至於「秦淮河畔的名士」則以敘述者士大夫視角為主的南京書寫，介於「士遊」與「庶遊」之間。而「蘇杭金粉香」則是「市井閒情」，關注焦點多為「遊人」和「食物」，較近於平民品味，又分為兩小節討論：「西湖的士遊代表」探討在「士遊」文化下的馬純上，是由士人到庶民旅遊型態的過渡代表；而「虎丘的道學家與旅遊者」討論王玉輝在旅遊途中的觸景傷情，呈現人、景、情融合的抒情性，因而削弱其道學家形象。總之，「文人閒情」與「市井閒情」各自呈現出不同階層的抒情方式，並凸顯出明清旅遊文化之下所產生的文本特色。 Historically, there has been less analysis of the relationship between the lyricism and the landscape of Unofficial History of Scholars, which describes Nanjing as the main site of literary leisure. The description is mainly concerned with “beauty”, so it is described as “smoke”. The lyrical conception is divided into the following three sub-sections: “The Elegant Gentry of Yuhuatai” discusses the lyricism of Du Shenqing, Ge Kuan and Jing Yuan; “The Hermits of Xuanwu Lake” discusses Zhuang Shaoguang’s “lyrical vision” in the Garden of Xuanwu Lake. The establishment and collapse of the “Qinghuai Riverside” was written in Nanjing. This work is dominated by the literati’s perspective in its discussion of the traveling literati and regular people. The “Perfume of Women in Suhang” discusses “city leisure”. The focus is mostly on “tourists” and “food”, which is closer to the taste of regular people. It is divided into two sections: the first is “The representative literati tourists at West Lake”. Ma Chunshan represents the culture of tourist among the literati and normal civilians; and “Taoists and tourists” discusses Wang Yuhui’s sentiment about travel, fusing the lyricism of people, the landscape and sentiment of scenery, and thus weakening the image of the Taoist. In short, “literary leisure” and “city leisure” each present different forms of lyricism, and highlight the textual features produced under the tourism culture of the Ming and Qing dynasties.
This article observes the relationship between the Courtesan and the celebrity in The
Flowers in ... more This article observes the relationship between the Courtesan and the celebrity in The Flowers in a Sea of Sin and Continuing the Flowers in a Sea of Sin, to discuss the different ways that Zeng Pu and Zhang Hong write the prostitutes and transform the tradition of the Courtesan Novel. First, Sai Jinhua cooperates with the patriots. From changing her stage names several times, we can see the process of Westernization. Fu Caiyun is the “beauty of the characterization” and become the object for celebrities to watch; Cao Menglan began to “exchange the Western information” and expand the communication with the celebrities. And then, she became Sai Jinhua for the “diplomatic negotiator”, which highlights that when Fu Caiyun converts stage name, the relationship would be closer to celebrities, and the image is vivid than The Flowers in a Sea of Sin. Second, I discuss the continuity and disillusion imagination of the beauties, and they are “lovers of celebrities”. Both two books are in line with the typical imagination of the beauty of the literati, but the Continuing the Flowers in a Sea of Sin more emphasizes on the narrative style of the Courtesan Novel to reduce the narrative tension. Zeng Pu and Zhang Hong all show the equal exchange of knowledge between the literati and courtesans, which is close to the traditional imagination of the novel of genius and beauty. In addition, the relationship between the copy of South courtesans and celebrities is not stable, but the surface imitation of Qinhuai courtesans and celebrities. The disillusion of imagination of the beauties in “Continuing the Flowers in a Sea of Sin” becomes a subversion of the tradition of the Courtesan Novel. 本文觀察《孽海花》到《續孽海花》的名妓與名士關係，討論曾樸和張鴻以不同方式書寫名妓，並改造狎邪小說傳統。首先是與愛國者合作的賽金花，藝名轉換可見其西化過程，傅彩雲是「美的表徵物」而成為名士的觀賞對象；曹夢蘭則開始「交換西方資訊」，並拓展與名士的交際，為「外交的談判者」賽金花鋪路，足見《續孽海花》較凸顯傅彩雲轉換藝名後，和名士越趨親近的關係，其形象塑造更勝於《孽海花》。其次從「名士情之所歸」，討論佳人想像的延續與破滅。二書的文人化南妓皆符合典型佳人想像，但《續孽海花》更強調藉由狎邪小說的敘事模式調節敘事緊張。曾樸與張鴻皆呈現文人與名妓在學問與知識的交流關係，此乃近於才子佳人想像傳統。另外，北京仿文人化南妓和名士之關係並不穩固，只是表面模仿秦淮名妓與名士的密切交往，佳人想像的破滅成為《續孽海花》改造狎邪小說傳統的展現方式。
In A Brief History of Chinese Fiction , the famous critic Luxun regards Journey
to the West as m... more In A Brief History of Chinese Fiction , the famous critic Luxun regards Journey
to the West as mythological and playful fiction, relocating the value of“searching for
the mind lost from the concept of another critic Xie Zhaozhe, and culminating in the
Buddhist possibility of“perfecting the mind”. Also, he finds the mythological
elements of the fiction in two of the novel’s chapters containing the magical fights
between hero and god or demons. In chapter six, God Erlang transforms himself
successively into five animals, fighting with the stubborn hero, Sun Wukong, and
subduing him with the assistance of all the gods. It is similar to the fight in the chapter
sixty-one, where Bull Demon King and the hero change their shapes into six creatures
and then the former succumbs to the latter with the help of the celestial beings.
Although such a possibility is observed, Luxun might ignore the essential relationship
between the two chapters. Therefore, our research intends to reconstruct in the two
chapters the “successive transformation in magical matches”, and to develop the
theme of “perfecting the mind” through a dialectical approach. We would firstly
compare the differences of two chapters in the beginning, articulating the concept of
“foils” related with the characters and its allegorical meaning, and, afterwards,
reaching the idea of “submission”.
本文以馮夢龍〈簡帖僧巧騙皇甫妻〉與《情史．金山僧惠明》為討論範圍，從行動元與情節探討其如何以白話和文言編纂局騙敘事，並探討可能的編纂意圖。本文分為「開局與行局」與「收局」兩部分，首先探討「主謀：... more 本文以馮夢龍〈簡帖僧巧騙皇甫妻〉與《情史．金山僧惠明》為討論範圍，從行動元與情節探討其如何以白話和文言編纂局騙敘事，並探討可能的編纂意圖。本文分為「開局與行局」與「收局」兩部分，首先探討「主謀：簡帖僧／僧惠明」與「幫兇：老嫗、〈簡帖僧〉僧兒、皇甫松／丈夫」，從主謀和幫兇的行動足見簡帖僧的設局較縝密、行騙手法較多元，不知情的幫助者對照出簡帖僧的心機，倒敘的敘事方式凸顯話本尚奇的適俗性；而僧惠明和幫兇的關係較單純，反映〈僧惠明〉旨在局騙情節背後的「情仇」。 其次則討論「客體兼反對者的反擊：周氏／皇甫妻」和「反對者（行者與皇甫松）的揭發與幫助者（明太祖／錢大尹）的懲罰」，從周氏／皇甫妻對於僧惠明／簡帖僧的反擊來看，除了符合讀者善惡終有報的心理期待，也反映出馮夢龍編纂此故事時的意圖。明太祖和錢大尹的角色功能雖同，各自反映明太祖的佛教政策，和文人作家以讀者較熟悉的人物來創作，而兩則文本共同的背景皆是明代公案小說的興起和僧尼淫亂的現象。總之，〈簡帖僧〉較有話本尚奇的適俗性，故重視鋪排巧騙的局騙情節，公案小說的懸疑性較強；而〈僧惠明〉則表達出情仇相依的主題，旨在規範「情」的界線，以情害情的暴徒須受罰。
In this paper, the “mysterious strange recorded” ‘the guest from Huashan’ and the Six Dynasties ... more In this paper, the “mysterious strange recorded” ‘the guest from Huashan’ and the Six Dynasties and Tang and Five Ghost Stories discussion range ‘the guest from Huashan’ the inheritance and transformation of a story, the Imaginary and as intended. Inheritance and Transformation of view, can be divided into Spirit gratitude, ‘the guest from Huasha’ inherited the Six animals of Spirits gratitude plot, "mysterious mind" on Fox, stressed and ‘the guest from Huashan’ the Fox Spirit the ability to predict the same purpose, but ‘the guest from Huashan’ slightly changed, so the fox spirit can predict their monastic catastrophe. And other circumstances of Fox the mound / tomb's relationship with the barbarian as treasures from the perspective of mythology cut, you can mound / tomb fox demon of death and rebirth; the latter is common in Chinese fiction, the Fox Spirit gift thing associated with and Taoist outside Tang, in line with the identity of the ascetics, showing the author does not exclude the use of Taoist elements in the creation of the novel.
Magic for Italy can be divided into Spirit begging for life, Spirit practice, anti-introduce ourselves pillow mat tradition. In ‘the guest from Huashan’ Fox Spirit not only can calmly select Help, the party super element of the name is also in line of Spirits the begging for life story of the help usually of higher status, the Gremlin practice is Tang and Five Dynasties by the influence of Taoism. As for the pillow mat tradition of anti-introduce ourselves as in the Fox Spirit party over ridicule, in addition to introduce ourselves to pillow mat Backwash, also in line with the fox spirit of monasticism. In short, the combination of visible when the re-creation of the literati from ‘the guest from Huashan’ each motif, in addition to inheriting outside the traditional anti-traditional, thus creating the Six Ghost Stories taste, this post on the order of the Six Ghost Stories, under open Five fox spirit repair chain story, so it is important.
In“Xiao Shuo Lin” , “tsong-lu” mostly described the exotic images in using “documentary” strokes ... more In“Xiao Shuo Lin” , “tsong-lu” mostly described the exotic images in using “documentary” strokes to “record new things” , but in this technique of writing , translators had implied the critic about “world powers” and “the uncivilized” between them. After the Eight-Nation Alliance, world powers are concerned by the late Qing Dynasty. Although the invention of all kinds of artifacts and institutional, it still can not stop many casualties in the war. On the one hand, the translators praised the civilized powers. On the other hand, they ignored the casualties caused by the war . In addition, the translators of“tsong-lu” did not completely accept for the revolutions, so it reflects the different attitude to revolutions in“Xiao Shuo Lin”.
Although uncivilized people have some superstitions, there also exist women’s rights that different from European and American feminist, although translators did not comment on this phenomenon of civilized or not. The concerns about foreign countries in the late Qing of China was still visible, and some particular issues that translators concerned (such as feminism, revolution, etc.) .In addition, there is no negative evaluation for primitive peoples about their lifestyles, and translators maintain its consistent objective strokes. It is also in line with the style of “tsong-lu” itself. Therefore, to study“tsong-lu” in“Xiao Shuo Lin”, is helpful to understand the exotic images that except in fictions in the late Qing. We do not just see the exotic as “others” to imitate, but based on the fact that generated by foreign news, and translators also accepted foreign information from these news to judge if China is civilized or uncivilized. Due to the formation of different genres,“tsong-lu” played a role that differs from imagination of fiction, and it is “real”.
In this paper, I analyze the performance and the meaning of the scandal of
the literati jokes in... more In this paper, I analyze the performance and the meaning of the scandal of
the literati jokes in The Harmonic History of Shei-Tao, and how to show the
reflection of the morality of the Ming Dynasty. In the first part, I discuss the
jokes of “scholars”, and the theme is “not Good at writing: weakening talents
of scholars” and “pedantic: the disappearing morality of scholars”, reflecting
the dialectical relationship of “true scholar” and “pedantic”. The “true scholar”
is the ideal image pursued by the literati, but it is the “pedantic” in reality. In
the second part, I discuss the jokes of “officials”, focus on the theme of “to
lobby illegally: the abuse of officials request another’s help”, “to usurp power
for personal motives: the power of the officials’ dictatorship” and “to be greedy
for money: the trend of officials seeking wealth greedily”. Reflecting the image
of the officials, the popularity of such scholars’ image at the time, and this is
the irony and allegorical implication of the object in joke fables on superficial. In addition, such joke fables also reflect the Ming Dynasty’s official system on
the other hand, academic status and background, etc., to show the middle
meaning of joke fables; and deep meaning reflects the weaknesses and
advantages of human nature. Although there is no lack of the description of
pursuit of fame, benefit and power, there are still positive human nature about
introspection and opposition to the power of infinite expansion.
“Quiet and nice tranquil words” and“Lotus Lei” in the The story of the Stone is extremely imp... more “Quiet and nice tranquil words” and“Lotus Lei” in the The story of the Stone is extremely important, because both of them are masterpiece of Baoyu. The first part of this paper --“fengliu amazone / Goddess” explores nominal title and common ground of Qing Wen and Siniang for fiction themes, and highlights the source/ author from “fengliu” creative principle of Baoyu. “Fengliu” fictional characters-- Qing Wen and Lin Siniang who is all around Baoyu are “stunning” and “talented”, thus they are pampered. However, these prominent women cannot still help but unlucky. The fiction is the epitome of the female of fate, so“quiet and nice tranquil word” and“Lotus eulogy” is the daughter of the main romantic eulogy. “beautiful concubine of loyalty/ servant” is discussed in the second part of the identity of the low status, one for concubine and one for a girl slave, but her husband/ master was taken for two different ways of treatment, reflecting the author praised the attitude to love of Baoyu, and in contrast to Heng Wang, who only cares about sexual passion. Baoyu made different evaluations on Siniang and Qing Wen, etiquette practices are key points of Siniang and Qing Wen get the reputation or not.
歷來研究清代小說教亂敘事的，多圍繞在描寫不同民間教派的小說特色，討論民間教派在小說中如何被呈現。而本論文則在前人研究之上，結合官方史料、民間紀載、教派內部文獻、文人筆記與野史等材料，思考描寫... more 歷來研究清代小說教亂敘事的，多圍繞在描寫不同民間教派的小說特色，討論民間教派在小說中如何被呈現。而本論文則在前人研究之上，結合官方史料、民間紀載、教派內部文獻、文人筆記與野史等材料，思考描寫明清民間教亂的小說敘事何以在清代紛呈而出，並以「文化生產」、「小說類型學」和「敘事學」為研究方法，討論清代小說教亂敘事中的共性與殊性，藉由建構「清代小說教亂敘事群」，可見作為跨類型小說的小說教亂敘事在清代的不同時期、不同／同一作者的創作之下，反映出共同的價值觀與歷史意識；而「敘事學」的研究方法則可結合「承衍」之概念，討論清代教亂小說之間的相互關係，不論是描寫同樣或不同的民間教亂題材，都可見個別教亂小說的敘事特色。 本論文將主要分為四章，第二章討論「清代出版文化：序跋、評點與圖像」，分別從小說序跋、評點與圖像探討清代出版文化的變化，如何影響小說作者的創作心態與目的，而從其交遊圈所輻射的序跋與評點者、出版商；又如何在清代小說禁毀令的文網下，隱微地呈現出共同的意識形態與各異的呈現手法特色。第三章則是「民間教派、幫會人物形象的解構與重構」，討論民間教派、幫會人物形象的重疊性與相似性之意義，並指出其顛覆與游離的形象意涵。第四章是「多重的政教辯證關係」，在變化的政教關係之下，討論人物形象如何影響小說中所敘述的政教關係，而政教合作與衝突的其敘事意義為何？第五章則討論「多元的政教戰爭模式與情感論述」，政教關係影響了政教戰爭的模式，教亂小說中出現的情感論述，可做為官方觀點的參照，並挖掘情感論述的不同面貌如何呈現出作者的歷史意識。從上述議題即可見清代不同作者與不同時期的教亂小說，既有共同的意識形態與價值觀，也有其多元化的敘事特色及其意義，故研究清代教亂小說對於重新理解清代小說史有其重要性。
本論文以明末「平妖」故事為研究範圍，探討世變之中神魔敘事的呈現方式，藉由跳脫傳統的類型小說框架，以更大的神魔文本架構觀察明末「平妖」故事。本論文的「平妖」故事之有兩個組成要素，一是「興妖與「平妖... more 本論文以明末「平妖」故事為研究範圍，探討世變之中神魔敘事的呈現方式，藉由跳脫傳統的類型小說框架，以更大的神魔文本架構觀察明末「平妖」故事。本論文的「平妖」故事之有兩個組成要素，一是「興妖與「平妖」的表層結構，二是「世變」的深層主題。而本論文的主要討論文本為《新平妖傳》及其後十年間陸續出版的三部「平妖」故事──《七曜平妖全傳》、《禪真逸史》與《禪真後史》。此故事模式的焦點為神魔敘事，而神魔敘事多與「真幻」、「正邪」觀念相關，故本論文先於第二章探討明末清初文人如何在小說的周邊材料，及小說序跋與評點中形塑神魔敘事的觀念，並討論馮夢龍如何繼承、轉變前人的小說理論，由此可發現馮夢龍提出的「真情」雖是新詞，卻能用以綰合前人小說理論已重視的「藝術真實」與「生活真實」；而其「正邪觀」則是「正邪兩立」的傳統正邪觀。而第三章則從小說序跋、評點到「平妖」故事文本內部的真幻與正邪觀，可知「亦正亦邪」和「真幻交織」是《新平妖傳》的神魔敘事特色，並而此特色反映出在世變之下的文人焦慮感，一方面是文人對於自我出處進退的游移；二方面是文人對於社會、家國的忠奸難辨之困惑，因此透過神魔角色的去妖魔化、神聖性的消解以隱喻世變，而這也是《新平妖傳》較20 回本《平妖傳》突出的特色。至於第四章則以《新平妖傳》的神魔敘事特色為心，探討其所影響的「平妖」故事，足見「以神魔寫世變」是「平妖故事」的共同敘事策略，此敘事策略反映出官方與民間不同的審美意識，官方採取政治正統與儒家的立場，將起義者形象妖魔化；而民間重視法術變幻，擅長使用法術的角色能衝撞體制，表現出百姓對於世變氛圍的不滿。另外，在此共同的敘事策略之下，上述「平妖」故事描述世變的方式也有所不同，《新平妖傳》以「妖由人興／心」強調「人力」在世變時代的重要性；而《七曜平妖全傳》相較之下則較強調「天命」，因此多有自然災難的書寫；至於《禪真逸史》與《禪真後史》的〈敘〉中皆呈現出「以史為鑑」的創作意圖，因此以前朝歷史（即梁武帝、唐貞觀末年）影射明末萬曆史實。最後是第五章結論，藉由此角度之觀察，足見明末「平妖」故事為神魔小說開出更寬廣的一條道路，明末「神魔小說衰退期」之說有待重新省視，而「平妖」故事不但在其創作譜系中有承衍的意義，也有在明清小說史上的重要性。
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Papers by 佳瀅 謝
首先，「生祠賜額與從祀孔廟的意圖」呈現出「政統與道統話語權之爭」，魏祠以前的宦官「帝王賜額」名稱較少被記載，而《斥奸書》、《檮杌閑評》、《天雨花》中的魏祠祠額為帝王所賜，具有「政統」合法性，且多以仁德等儒家德目命名，以彰顯「賢德」之「賢宦」形象，及對於國家之貢獻和地方百姓的「恩惠」。至於魏祠「從祀孔廟的意圖」則開啟立宦官生祠於孔廟和太學旁之風氣，宦官取得儒家「道統」之話語權，且致力於使其形象「化奸為賢」；而《警世陰陽夢》、《斥奸書》、《剿闖通俗小說》、《天雨花》中之宦官生祠則多選址於都城、西湖等名勝，以達到宣揚「權宦」勢力之效果。
其次，「生祠塑像、喜容與建築」神化了明代宦官之形象，正史中「權宦」因耗費鉅資立生祠、建築僭越禮制而飽受批評，故多為「奸／惡宦」的負面形象，小說與筆記中的宦官生祠存在的時間不長，多隨著其失勢而被毀，但卻可能因對於當地有貢獻之「賢宦」形象，而保留塑像於生祠改建成的建築中；從《斥奸書》、《檮杌閑評》、《鼓掌絕塵》、《鎮海春秋》可見生祠塑像服飾、配件僭用帝王儀制，反映出作者批判「權宦」的意圖；《斥奸書》與《天雨花》延續並強化「奸宦」形象，指出生祠建築與擺設僭用帝王儀制，是導致帝王駕崩和明亡的重要原因。清代在明代小說的生祠敘事基礎上增加細節，反映出中央官員與地方仕宦對於「權宦」是否有功於地方的不同態度，宦官與地方仕宦也共同形塑出游移於賢宦、奸／惡宦之形象，故梳理明清小說與筆記中的宦官生祠敘事之呈現與演變，可理解明清宦官敘事的多元性及意義。
其次，城隍的「冥界行政官職能」與地方官相近，並可「監督地方官與協助破案」，即使偏遠的貴州也在此信仰範圍內。又，城隍職能尚有與土地相近之「維護地方安寧」，小說的明代前文本反映出當時道教重視並收編城隍信仰；而南宋至明代的城隍與土地職能近似，反映出城隍管轄當地精怪，及未與土地職能區隔的民間信仰特色。最後是「城隍廟之空間敘事意義」，城隍廟有隱惡揚善的公開場所功能，也有模糊神聖與世俗空間、見證男女私情的意義，而「祈雨與求籤」情節則反映城隍、巫覡信仰和道教的交融。「三言二拍一型」呈現出明代官方較唐代更重視城隍信仰敘事，故編創者抬升城隍的重要性和地位，靈驗的城隍形象也反映出明代盛行此信仰之因、城隍廟多元的空間敘事意義，及以宗教勸世之編創目的，可見城隍敘事在小說史上之重要性。
Historically, there has been less analysis of the relationship between the lyricism and the landscape of Unofficial History of Scholars, which describes Nanjing as the main site of literary leisure. The description is mainly concerned with “beauty”, so it is described as “smoke”. The lyrical conception is divided into the following three sub-sections: “The Elegant Gentry of Yuhuatai” discusses the lyricism of Du Shenqing, Ge Kuan and Jing Yuan; “The Hermits of Xuanwu Lake” discusses Zhuang Shaoguang’s “lyrical vision” in the Garden of Xuanwu Lake. The establishment and collapse of the “Qinghuai Riverside” was written in Nanjing. This work is dominated by the literati’s perspective in its discussion of the traveling literati and regular people. The “Perfume of Women in Suhang” discusses “city leisure”. The focus is mostly on “tourists” and “food”, which is closer to the taste of regular people. It is divided into two sections: the first is “The representative literati tourists at West Lake”. Ma Chunshan represents the culture of tourist among the literati and normal civilians; and “Taoists and tourists” discusses Wang Yuhui’s sentiment about travel, fusing the lyricism of people, the landscape and sentiment of scenery, and thus weakening the image of the Taoist. In short, “literary leisure” and “city leisure” each present different forms of lyricism, and highlight the textual features produced under the tourism culture of the Ming and Qing dynasties.
Flowers in a Sea of Sin and Continuing the Flowers in a Sea of Sin, to discuss the different ways that Zeng Pu and Zhang Hong write the prostitutes and transform the tradition of the Courtesan Novel. First, Sai Jinhua cooperates with the patriots. From changing her stage names several times, we can see the process of Westernization. Fu Caiyun is the “beauty of the characterization” and become the object for celebrities to watch; Cao Menglan began to “exchange the Western information” and expand the communication with the celebrities. And then, she became Sai Jinhua for the “diplomatic negotiator”, which highlights that when Fu Caiyun converts stage name, the relationship would be closer to celebrities, and the image is vivid than The Flowers in a Sea of Sin. Second, I discuss the continuity and disillusion imagination of the beauties, and they are “lovers of celebrities”. Both two books are in line with the typical imagination of the beauty of the literati, but the Continuing the Flowers in a Sea of Sin more emphasizes on the narrative style of the Courtesan Novel to reduce the narrative tension. Zeng Pu and Zhang Hong all show the equal exchange of knowledge between the literati and courtesans, which is close to the traditional imagination of the novel of genius and beauty. In addition, the relationship between the copy of South courtesans and celebrities is not stable, but the surface imitation of Qinhuai courtesans and celebrities. The disillusion of imagination of the beauties in “Continuing the Flowers in a Sea of Sin” becomes a subversion of the tradition of the Courtesan Novel.
本文觀察《孽海花》到《續孽海花》的名妓與名士關係，討論曾樸和張鴻以不同方式書寫名妓，並改造狎邪小說傳統。首先是與愛國者合作的賽金花，藝名轉換可見其西化過程，傅彩雲是「美的表徵物」而成為名士的觀賞對象；曹夢蘭則開始「交換西方資訊」，並拓展與名士的交際，為「外交的談判者」賽金花鋪路，足見《續孽海花》較凸顯傅彩雲轉換藝名後，和名士越趨親近的關係，其形象塑造更勝於《孽海花》。其次從「名士情之所歸」，討論佳人想像的延續與破滅。二書的文人化南妓皆符合典型佳人想像，但《續孽海花》更強調藉由狎邪小說的敘事模式調節敘事緊張。曾樸與張鴻皆呈現文人與名妓在學問與知識的交流關係，此乃近於才子佳人想像傳統。另外，北京仿文人化南妓和名士之關係並不穩固，只是表面模仿秦淮名妓與名士的密切交往，佳人想像的破滅成為《續孽海花》改造狎邪小說傳統的展現方式。
to the West as mythological and playful fiction, relocating the value of“searching for
the mind lost from the concept of another critic Xie Zhaozhe, and culminating in the
Buddhist possibility of“perfecting the mind”. Also, he finds the mythological
elements of the fiction in two of the novel’s chapters containing the magical fights
between hero and god or demons. In chapter six, God Erlang transforms himself
successively into five animals, fighting with the stubborn hero, Sun Wukong, and
subduing him with the assistance of all the gods. It is similar to the fight in the chapter
sixty-one, where Bull Demon King and the hero change their shapes into six creatures
and then the former succumbs to the latter with the help of the celestial beings.
Although such a possibility is observed, Luxun might ignore the essential relationship
between the two chapters. Therefore, our research intends to reconstruct in the two
chapters the “successive transformation in magical matches”, and to develop the
theme of “perfecting the mind” through a dialectical approach. We would firstly
compare the differences of two chapters in the beginning, articulating the concept of
“foils” related with the characters and its allegorical meaning, and, afterwards,
reaching the idea of “submission”.
其次則討論「客體兼反對者的反擊：周氏／皇甫妻」和「反對者（行者與皇甫松）的揭發與幫助者（明太祖／錢大尹）的懲罰」，從周氏／皇甫妻對於僧惠明／簡帖僧的反擊來看，除了符合讀者善惡終有報的心理期待，也反映出馮夢龍編纂此故事時的意圖。明太祖和錢大尹的角色功能雖同，各自反映明太祖的佛教政策，和文人作家以讀者較熟悉的人物來創作，而兩則文本共同的背景皆是明代公案小說的興起和僧尼淫亂的現象。總之，〈簡帖僧〉較有話本尚奇的適俗性，故重視鋪排巧騙的局騙情節，公案小說的懸疑性較強；而〈僧惠明〉則表達出情仇相依的主題，旨在規範「情」的界線，以情害情的暴徒須受罰。
Magic for Italy can be divided into Spirit begging for life, Spirit practice, anti-introduce ourselves pillow mat tradition. In ‘the guest from Huashan’ Fox Spirit not only can calmly select Help, the party super element of the name is also in line of Spirits the begging for life story of the help usually of higher status, the Gremlin practice is Tang and Five Dynasties by the influence of Taoism. As for the pillow mat tradition of anti-introduce ourselves as in the Fox Spirit party over ridicule, in addition to introduce ourselves to pillow mat Backwash, also in line with the fox spirit of monasticism. In short, the combination of visible when the re-creation of the literati from ‘the guest from Huashan’ each motif, in addition to inheriting outside the traditional anti-traditional, thus creating the Six Ghost Stories taste, this post on the order of the Six Ghost Stories, under open Five fox spirit repair chain story, so it is important.
Although uncivilized people have some superstitions, there also exist women’s rights that different from European and American feminist, although translators did not comment on this phenomenon of civilized or not. The concerns about foreign countries in the late Qing of China was still visible, and some particular issues that translators concerned (such as feminism, revolution, etc.) .In addition, there is no negative evaluation for primitive peoples about their lifestyles, and translators maintain its consistent objective strokes. It is also in line with the style of “tsong-lu” itself. Therefore, to study“tsong-lu” in“Xiao Shuo Lin”, is helpful to understand the exotic images that except in fictions in the late Qing. We do not just see the exotic as “others” to imitate, but based on the fact that generated by foreign news, and translators also accepted foreign information from these news to judge if China is civilized or uncivilized. Due to the formation of different genres,“tsong-lu” played a role that differs from imagination of fiction, and it is “real”.
the literati jokes in The Harmonic History of Shei-Tao, and how to show the
reflection of the morality of the Ming Dynasty. In the first part, I discuss the
jokes of “scholars”, and the theme is “not Good at writing: weakening talents
of scholars” and “pedantic: the disappearing morality of scholars”, reflecting
the dialectical relationship of “true scholar” and “pedantic”. The “true scholar”
is the ideal image pursued by the literati, but it is the “pedantic” in reality. In
the second part, I discuss the jokes of “officials”, focus on the theme of “to
lobby illegally: the abuse of officials request another’s help”, “to usurp power
for personal motives: the power of the officials’ dictatorship” and “to be greedy
for money: the trend of officials seeking wealth greedily”. Reflecting the image
of the officials, the popularity of such scholars’ image at the time, and this is
the irony and allegorical implication of the object in joke fables on superficial. In addition, such joke fables also reflect the Ming Dynasty’s official system on
the other hand, academic status and background, etc., to show the middle
meaning of joke fables; and deep meaning reflects the weaknesses and
advantages of human nature. Although there is no lack of the description of
pursuit of fame, benefit and power, there are still positive human nature about
introspection and opposition to the power of infinite expansion.
Books by 佳瀅 謝
本論文將主要分為四章，第二章討論「清代出版文化：序跋、評點與圖像」，分別從小說序跋、評點與圖像探討清代出版文化的變化，如何影響小說作者的創作心態與目的，而從其交遊圈所輻射的序跋與評點者、出版商；又如何在清代小說禁毀令的文網下，隱微地呈現出共同的意識形態與各異的呈現手法特色。第三章則是「民間教派、幫會人物形象的解構與重構」，討論民間教派、幫會人物形象的重疊性與相似性之意義，並指出其顛覆與游離的形象意涵。第四章是「多重的政教辯證關係」，在變化的政教關係之下，討論人物形象如何影響小說中所敘述的政教關係，而政教合作與衝突的其敘事意義為何？第五章則討論「多元的政教戰爭模式與情感論述」，政教關係影響了政教戰爭的模式，教亂小說中出現的情感論述，可做為官方觀點的參照，並挖掘情感論述的不同面貌如何呈現出作者的歷史意識。從上述議題即可見清代不同作者與不同時期的教亂小說，既有共同的意識形態與價值觀，也有其多元化的敘事特色及其意義，故研究清代教亂小說對於重新理解清代小說史有其重要性。
首先，「生祠賜額與從祀孔廟的意圖」呈現出「政統與道統話語權之爭」，魏祠以前的宦官「帝王賜額」名稱較少被記載，而《斥奸書》、《檮杌閑評》、《天雨花》中的魏祠祠額為帝王所賜，具有「政統」合法性，且多以仁德等儒家德目命名，以彰顯「賢德」之「賢宦」形象，及對於國家之貢獻和地方百姓的「恩惠」。至於魏祠「從祀孔廟的意圖」則開啟立宦官生祠於孔廟和太學旁之風氣，宦官取得儒家「道統」之話語權，且致力於使其形象「化奸為賢」；而《警世陰陽夢》、《斥奸書》、《剿闖通俗小說》、《天雨花》中之宦官生祠則多選址於都城、西湖等名勝，以達到宣揚「權宦」勢力之效果。
其次，「生祠塑像、喜容與建築」神化了明代宦官之形象，正史中「權宦」因耗費鉅資立生祠、建築僭越禮制而飽受批評，故多為「奸／惡宦」的負面形象，小說與筆記中的宦官生祠存在的時間不長，多隨著其失勢而被毀，但卻可能因對於當地有貢獻之「賢宦」形象，而保留塑像於生祠改建成的建築中；從《斥奸書》、《檮杌閑評》、《鼓掌絕塵》、《鎮海春秋》可見生祠塑像服飾、配件僭用帝王儀制，反映出作者批判「權宦」的意圖；《斥奸書》與《天雨花》延續並強化「奸宦」形象，指出生祠建築與擺設僭用帝王儀制，是導致帝王駕崩和明亡的重要原因。清代在明代小說的生祠敘事基礎上增加細節，反映出中央官員與地方仕宦對於「權宦」是否有功於地方的不同態度，宦官與地方仕宦也共同形塑出游移於賢宦、奸／惡宦之形象，故梳理明清小說與筆記中的宦官生祠敘事之呈現與演變，可理解明清宦官敘事的多元性及意義。
其次，城隍的「冥界行政官職能」與地方官相近，並可「監督地方官與協助破案」，即使偏遠的貴州也在此信仰範圍內。又，城隍職能尚有與土地相近之「維護地方安寧」，小說的明代前文本反映出當時道教重視並收編城隍信仰；而南宋至明代的城隍與土地職能近似，反映出城隍管轄當地精怪，及未與土地職能區隔的民間信仰特色。最後是「城隍廟之空間敘事意義」，城隍廟有隱惡揚善的公開場所功能，也有模糊神聖與世俗空間、見證男女私情的意義，而「祈雨與求籤」情節則反映城隍、巫覡信仰和道教的交融。「三言二拍一型」呈現出明代官方較唐代更重視城隍信仰敘事，故編創者抬升城隍的重要性和地位，靈驗的城隍形象也反映出明代盛行此信仰之因、城隍廟多元的空間敘事意義，及以宗教勸世之編創目的，可見城隍敘事在小說史上之重要性。
Historically, there has been less analysis of the relationship between the lyricism and the landscape of Unofficial History of Scholars, which describes Nanjing as the main site of literary leisure. The description is mainly concerned with “beauty”, so it is described as “smoke”. The lyrical conception is divided into the following three sub-sections: “The Elegant Gentry of Yuhuatai” discusses the lyricism of Du Shenqing, Ge Kuan and Jing Yuan; “The Hermits of Xuanwu Lake” discusses Zhuang Shaoguang’s “lyrical vision” in the Garden of Xuanwu Lake. The establishment and collapse of the “Qinghuai Riverside” was written in Nanjing. This work is dominated by the literati’s perspective in its discussion of the traveling literati and regular people. The “Perfume of Women in Suhang” discusses “city leisure”. The focus is mostly on “tourists” and “food”, which is closer to the taste of regular people. It is divided into two sections: the first is “The representative literati tourists at West Lake”. Ma Chunshan represents the culture of tourist among the literati and normal civilians; and “Taoists and tourists” discusses Wang Yuhui’s sentiment about travel, fusing the lyricism of people, the landscape and sentiment of scenery, and thus weakening the image of the Taoist. In short, “literary leisure” and “city leisure” each present different forms of lyricism, and highlight the textual features produced under the tourism culture of the Ming and Qing dynasties.
Flowers in a Sea of Sin and Continuing the Flowers in a Sea of Sin, to discuss the different ways that Zeng Pu and Zhang Hong write the prostitutes and transform the tradition of the Courtesan Novel. First, Sai Jinhua cooperates with the patriots. From changing her stage names several times, we can see the process of Westernization. Fu Caiyun is the “beauty of the characterization” and become the object for celebrities to watch; Cao Menglan began to “exchange the Western information” and expand the communication with the celebrities. And then, she became Sai Jinhua for the “diplomatic negotiator”, which highlights that when Fu Caiyun converts stage name, the relationship would be closer to celebrities, and the image is vivid than The Flowers in a Sea of Sin. Second, I discuss the continuity and disillusion imagination of the beauties, and they are “lovers of celebrities”. Both two books are in line with the typical imagination of the beauty of the literati, but the Continuing the Flowers in a Sea of Sin more emphasizes on the narrative style of the Courtesan Novel to reduce the narrative tension. Zeng Pu and Zhang Hong all show the equal exchange of knowledge between the literati and courtesans, which is close to the traditional imagination of the novel of genius and beauty. In addition, the relationship between the copy of South courtesans and celebrities is not stable, but the surface imitation of Qinhuai courtesans and celebrities. The disillusion of imagination of the beauties in “Continuing the Flowers in a Sea of Sin” becomes a subversion of the tradition of the Courtesan Novel.
本文觀察《孽海花》到《續孽海花》的名妓與名士關係，討論曾樸和張鴻以不同方式書寫名妓，並改造狎邪小說傳統。首先是與愛國者合作的賽金花，藝名轉換可見其西化過程，傅彩雲是「美的表徵物」而成為名士的觀賞對象；曹夢蘭則開始「交換西方資訊」，並拓展與名士的交際，為「外交的談判者」賽金花鋪路，足見《續孽海花》較凸顯傅彩雲轉換藝名後，和名士越趨親近的關係，其形象塑造更勝於《孽海花》。其次從「名士情之所歸」，討論佳人想像的延續與破滅。二書的文人化南妓皆符合典型佳人想像，但《續孽海花》更強調藉由狎邪小說的敘事模式調節敘事緊張。曾樸與張鴻皆呈現文人與名妓在學問與知識的交流關係，此乃近於才子佳人想像傳統。另外，北京仿文人化南妓和名士之關係並不穩固，只是表面模仿秦淮名妓與名士的密切交往，佳人想像的破滅成為《續孽海花》改造狎邪小說傳統的展現方式。
to the West as mythological and playful fiction, relocating the value of“searching for
the mind lost from the concept of another critic Xie Zhaozhe, and culminating in the
Buddhist possibility of“perfecting the mind”. Also, he finds the mythological
elements of the fiction in two of the novel’s chapters containing the magical fights
between hero and god or demons. In chapter six, God Erlang transforms himself
successively into five animals, fighting with the stubborn hero, Sun Wukong, and
subduing him with the assistance of all the gods. It is similar to the fight in the chapter
sixty-one, where Bull Demon King and the hero change their shapes into six creatures
and then the former succumbs to the latter with the help of the celestial beings.
Although such a possibility is observed, Luxun might ignore the essential relationship
between the two chapters. Therefore, our research intends to reconstruct in the two
chapters the “successive transformation in magical matches”, and to develop the
theme of “perfecting the mind” through a dialectical approach. We would firstly
compare the differences of two chapters in the beginning, articulating the concept of
“foils” related with the characters and its allegorical meaning, and, afterwards,
reaching the idea of “submission”.
其次則討論「客體兼反對者的反擊：周氏／皇甫妻」和「反對者（行者與皇甫松）的揭發與幫助者（明太祖／錢大尹）的懲罰」，從周氏／皇甫妻對於僧惠明／簡帖僧的反擊來看，除了符合讀者善惡終有報的心理期待，也反映出馮夢龍編纂此故事時的意圖。明太祖和錢大尹的角色功能雖同，各自反映明太祖的佛教政策，和文人作家以讀者較熟悉的人物來創作，而兩則文本共同的背景皆是明代公案小說的興起和僧尼淫亂的現象。總之，〈簡帖僧〉較有話本尚奇的適俗性，故重視鋪排巧騙的局騙情節，公案小說的懸疑性較強；而〈僧惠明〉則表達出情仇相依的主題，旨在規範「情」的界線，以情害情的暴徒須受罰。
Magic for Italy can be divided into Spirit begging for life, Spirit practice, anti-introduce ourselves pillow mat tradition. In ‘the guest from Huashan’ Fox Spirit not only can calmly select Help, the party super element of the name is also in line of Spirits the begging for life story of the help usually of higher status, the Gremlin practice is Tang and Five Dynasties by the influence of Taoism. As for the pillow mat tradition of anti-introduce ourselves as in the Fox Spirit party over ridicule, in addition to introduce ourselves to pillow mat Backwash, also in line with the fox spirit of monasticism. In short, the combination of visible when the re-creation of the literati from ‘the guest from Huashan’ each motif, in addition to inheriting outside the traditional anti-traditional, thus creating the Six Ghost Stories taste, this post on the order of the Six Ghost Stories, under open Five fox spirit repair chain story, so it is important.
Although uncivilized people have some superstitions, there also exist women’s rights that different from European and American feminist, although translators did not comment on this phenomenon of civilized or not. The concerns about foreign countries in the late Qing of China was still visible, and some particular issues that translators concerned (such as feminism, revolution, etc.) .In addition, there is no negative evaluation for primitive peoples about their lifestyles, and translators maintain its consistent objective strokes. It is also in line with the style of “tsong-lu” itself. Therefore, to study“tsong-lu” in“Xiao Shuo Lin”, is helpful to understand the exotic images that except in fictions in the late Qing. We do not just see the exotic as “others” to imitate, but based on the fact that generated by foreign news, and translators also accepted foreign information from these news to judge if China is civilized or uncivilized. Due to the formation of different genres,“tsong-lu” played a role that differs from imagination of fiction, and it is “real”.
the literati jokes in The Harmonic History of Shei-Tao, and how to show the
reflection of the morality of the Ming Dynasty. In the first part, I discuss the
jokes of “scholars”, and the theme is “not Good at writing: weakening talents
of scholars” and “pedantic: the disappearing morality of scholars”, reflecting
the dialectical relationship of “true scholar” and “pedantic”. The “true scholar”
is the ideal image pursued by the literati, but it is the “pedantic” in reality. In
the second part, I discuss the jokes of “officials”, focus on the theme of “to
lobby illegally: the abuse of officials request another’s help”, “to usurp power
for personal motives: the power of the officials’ dictatorship” and “to be greedy
for money: the trend of officials seeking wealth greedily”. Reflecting the image
of the officials, the popularity of such scholars’ image at the time, and this is
the irony and allegorical implication of the object in joke fables on superficial. In addition, such joke fables also reflect the Ming Dynasty’s official system on
the other hand, academic status and background, etc., to show the middle
meaning of joke fables; and deep meaning reflects the weaknesses and
advantages of human nature. Although there is no lack of the description of
pursuit of fame, benefit and power, there are still positive human nature about
introspection and opposition to the power of infinite expansion.
本論文將主要分為四章，第二章討論「清代出版文化：序跋、評點與圖像」，分別從小說序跋、評點與圖像探討清代出版文化的變化，如何影響小說作者的創作心態與目的，而從其交遊圈所輻射的序跋與評點者、出版商；又如何在清代小說禁毀令的文網下，隱微地呈現出共同的意識形態與各異的呈現手法特色。第三章則是「民間教派、幫會人物形象的解構與重構」，討論民間教派、幫會人物形象的重疊性與相似性之意義，並指出其顛覆與游離的形象意涵。第四章是「多重的政教辯證關係」，在變化的政教關係之下，討論人物形象如何影響小說中所敘述的政教關係，而政教合作與衝突的其敘事意義為何？第五章則討論「多元的政教戰爭模式與情感論述」，政教關係影響了政教戰爭的模式，教亂小說中出現的情感論述，可做為官方觀點的參照，並挖掘情感論述的不同面貌如何呈現出作者的歷史意識。從上述議題即可見清代不同作者與不同時期的教亂小說，既有共同的意識形態與價值觀，也有其多元化的敘事特色及其意義，故研究清代教亂小說對於重新理解清代小說史有其重要性。