[[alternative]]A study on the historical tales of genies composed in Ming and Ching Dynasties

博士[[abstract]]自從魯迅《中國小說史略》問世以來，很少有小說研究者不受其影響，其建立的中國小說類型架構具有極為重要的典範意義，成為許多研究者詮釋、解讀中國古代小說的主要範式。然而，包含魯迅本人，乃至於後起不少研究者其實都已隱約覺察到魯迅所架構的小說類型並不是沒有調整、討論的空間，其中有為數不少的作品同時具備有多種類型的特徵，無法被簡單加以歸類。當類型歸屬曖昧難明，直接導致的是研究者評價、解讀作品產生了混亂與偏差，因而不少作品長期遭受忽視，甚或是接受了極為不公平的批判。 本篇論文選擇跳脫既定的類型觀念，重新探討《平妖傳》、《封神演義》、《三寶太監西洋記通俗演義》、《女仙外史》以及《鋒劍春秋》五部作品。這五部作品長期夾處在「講史」及「神魔」兩種類型之間，難以清楚劃分歸類，因此除了研究上對於文本的解讀顯得極為不足外，更是充斥著各種先入為主、不甚公允的偏見評價。 最為妥當的作法莫過於將這五部作品自行劃出一種名為「神魔講史」的新類型，並且重新以不帶任何先見的眼光重新檢視這類作品，進而發掘出專屬於這類作品的優點與特色。論文研究大致分為三個部份：第一部分是針對這種「歷史」與「神魔」融合的創作風格進行溯源，從史傳以降的敘事傳統中梳理出神怪（魔）元素與歷史敘事間不斷參雜、交融的脈絡。第二部份針對五部作品一一進行檢視，就各部作品創作素材（故事本事）、寫作策略以及創作思想與主題進行仔細的探討，重新發現這五部作品的特色與價值。第三部份則針對五部作品在故事題材、情節設計、主題意涵以及角色物件的構思與運用所呈現出來的共同特質進行整理歸納，藉以總結出這類作品的共性。 本篇論文從一種新的類型角度，透過從題材到文本內容呈現的詳細檢視，將作者的創作思維以及作品的思想內涵發掘出來，藉以凸顯這類作品的思想深度以及文學性價值，略微修正學界長期未經深入探討卻先入為主產生的負面評價。[[abstract]]Hardly any fiction researchers have been free from the far-reaching influence imposed by Lu Xun ever since his “A Brief History of Chinese Fiction” was published decades ago. The structure types of Chinese fictions established by Lu Xun are regarded as a paradigm that has guided many researchers to annotate and interpret ancient Chinese fictions over the past years. Nevertheless, many researchers of the younger generation, including Lu Xun himself, had indistinctly sensed that no one could affirm the structure types created by Lu Xun had no room for adjustment and improvement as they noted a number of works had been classified as more than one structure type because these works were unable to fit into any single type. Researchers were confused by the ambiguous classification and had hard time understanding the classification method. As a result, the evaluations and interpretations made by researchers were disorganized and biased. This is why many works have been neglected and unfairly criticized for a long time. The author reexamined five works, namely, “Subjugation of Demons”, “The Legend of Deification”, “The Popular Romance of Eunuch Sambo’s Voyage to the West”, “The Unofficial History of Female Immortals”, and “The Warring Period of Swords”, from a brand new standpoint without using the classification method established long time ago. Actually, the five works have been classified ambiguously somewhere between “historical tales” and “genies” for a long time because there was no way to classify them with no doubt at all. Discouraged by the ambiguous classification method, many researchers were reluctant to interpret the texts. What’s more, there are all kinds of biased evaluations made by malicious researchers out of their preconceived notions. “Historical tales of genies”, a brand new category devised by this paper, is most appropriate for the five works. The works were examined once again with no prejudice in an attempt to identify the advantages and features associated with the works. This paper is divided into three parts. In Part 1, thorough search was made to investigate the style of creation in which “history” and “genies” were blended with each other; the context of demons (devils), which had been constantly mingled with historic narrations, were sorted out from the narrative tradition subsequent to historical fictions. In Part 2, the five works were examined one after another; the materials involved in creations (story line), the writing strategies, the ideas guiding the creation, and the topics of the five works were carefully examined so as to recover the characteristics and values associated with the five works. In Part 3, the common characteristics manifested by various elements of the works, such as the subject matter of story, the plot design, the implication of subject matter, the conception of the roles and objects, were classified and summarized so as to sum up the characteristics of this category. Starting with a brand new structure type, this paper carefully examined the five works’ topics and texts, and thus identified the authors’ thinking behind their creations as well as the thoughts implied by the five works so as to present the thoughts and literary merits of the works contained in this category and, at the same time, moderately revise the negative evaluations made by researchers out of preconceived notions without in-depth exploration.[[tableofcontents]]第一章：緒論 01 第一節 問題意識的導出 02 第二節 文本選擇與版本說明 04 第三節 研究成果回顧 07 第四節 研究方法與架構 15 第二章：歷史與神魔的交會 17 第一節 「異」化的史傳書寫 18 第二節 雜史與雜傳中神怪與歷史的進一步交融 24 第三節 傳奇與變文中的神異敘事 29 第四節 講史平話中的神怪要素 35 第五節 明清章回小說中的「神魔講史」 41 第三章：《平妖傳》的歷史本事與改編探析 45 第一節 歷史本事解析 45 第二節 《三遂平妖傳》的改編 53 第三節 《新平妖傳》的改編 63 第四章：《封神演義》歷史本事、寫作策略及創作思想探析 71 第一節 歷史本事解析 71 第二節 《封神演義》的寫作策略 84 第三節 《封神演義》的創作思想 91 第五章：《西洋記》歷史本事、寫作策略及創作思想探析 105 第一節 歷史本事解析 106 第二節 《西洋記》的寫作策略 120 第三節 《西洋記》的創作思想 126 第六章：《女仙外史》歷史本事、寫作策略及創作思想探析 137 第一節 歷史本事解析 137 第二節 《女仙外史》的寫作策略 147 第三節 《女仙外史》的創作思想 156 第七章：《鋒劍春秋》歷史本事、寫作策略及創作思想探析165 第一節 歷史本事解析 165 第二節 《鋒劍春秋》的寫作策略 177 第三節 《鋒劍春秋》的創作思想 184 第八章：「神魔講史」創作析論——故事與情節 191 第一節 故事題材的發想與構成 192 第二節 情節的設計與架構 195 第三節 情節設計的意涵與思維 219 第九章：「神魔講史」創作析論——角色與物件 227 第一節 人、物的構成與設定 227 第二節 人、物塑造的手法與特點 239 第十章： 結論 257 參考資料 261 附表一 神魔講史出現之陣法整理 281 附表一 神魔講史出現之寶物整理 289 附表二 神魔講史出現之坐騎整理 307[[note]]學號: 898010045, 學年度: 10