《聊齋志異》尚奇風格論

Abstract

《聊齋志異》以神人鬼狐精靈為對象，自建時空座標，使人與萬物相通，極盡想像的能事，而以尚奇風格致勝文苑，展現藝術的極致，成為我國奇幻文學的經典。惟歷來有關其尚奇風格之論題?少，故本文以《聊齋志異》文本為底本，蒲松齡生平、著作相關記述，及《聊齋志異》評注與為基本文獻，融會文言小說之發展演變、小說美學、及文學理論與批評相關論述，試由《聊齋志異》尚奇風格類型、決定因素、審美特?、藝術價值，及作意好奇所產生之流弊，探賾索隱，以論析《聊齋志異》尚奇風格的美學根源、特質，及與傳統會通新變的關係，進而體現《聊齋志異》的美學價值。

Liao Zhai Zhi Yi (LZZY, Strange Chinese Stories) employs gods, human beings, ghosts, foxes and elves as the subject and builds private temporal and spatial coordinates to relate mankind and substances in the most imaginary way; moreover, it expresses the optimal artistic extremity in an excellent Gothic style and thus become a classis of Chinese Gothic Literature. Due to the rarity of the papers discoursing Gothic style, this paper attempts to inquire the category of Gothic style,determined factors, aesthetic characteristics, artistic values and the demerits arising from the curiosity of LZZY as to discourse the aesthetic foundation and properties and the relation with the tradition and further to embody the aesthetic values of LZZY via the text and annotations of LZZY as the fundamental and autobiography and works of Pu, Song-ling (the Author) as the literature along with the developmental alteration and novelistic aesthetics and the related essays of literature theories and criticisms of classical Chinese novels.