國立臺灣師範大學國文學系李志宏2015-11-172015-11-172010/08-20http://grbsearch.stpi.narl.org.tw/GRB_Search/grb/show_doc.jsp?id=2131276http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/75052從明清以迄現代，明代四大奇書的影響性始終受到注目。從明代四大奇書的接受史 來看，相關文獻探討和藝術分析的研究成果可謂汗牛充棟；然而，惟就「奇書」之命名 而言，歷來對於四大奇書在文體創造及其書寫性質的共性表現方面的討論，至今並未能 產生一致且明確的共識。明代四大奇書之間是否存在一種創作系譜上的聯繫？似乎是一 個有待進一步考察的問題。目前針對此一問題進行討論並提出具體看法者，當以浦安迪 (Andrew H. Plaks)所提出的「奇書文體」和李豐楙所提出的「奇傳體」觀點最為重要。 以上兩位學者立足於史傳書寫傳統的認識上，分別從儒學精神和道教義理的實踐角度， 深入探討「奇書」的文體特質及其結構方式，並且各自提出具有啟發性的論點，無疑提 供後繼研究者持續深入分析的參考徑路。不論從創作生成或刊刻傳播的角度來說，明代 四大奇書的出現無疑具有重要的歷史意義和價值。在「演義」的基礎上，晚明以來人們 對於此一文體/文類屬性的表達形式及其話語性質的理解，似乎已存有某種程度的共識。 因此，倘要從共時性角度就明代四大奇書敘事的創作本質進行探討，則理當先從「演義」 的觀念出發，重新思考奇書本身的話語表現，從中確立其書寫性質。基於上述觀點，本 計畫擬以「『演義』敘事學」為題，綜整前人論述成果，特就明代四大奇書敘事進行分 析，以此說明小說文本的歷史性及其書寫性質，並進一步從中針對明代四大奇書敘事在 話語建構中的共性表現及其創作本質進行反思，期能以此作為後續考察「奇書文體」的 理論基礎。From the Ming and Qing dynasties to modern, the impact of “The Four Masterworks of the Ming Novel” is always obtaining more attention. In respect of the accepted history of “The Four Masterworks of the Ming Novel”, the results of research which are the discussion of document and analysis of art have accumulated an extensive literature. However, on the name of “qishu”, all the discussions which on the universality of style and literary nature in “The Four Masterworks of the Ming Novel” have failed to bring a consistent and clear consensus. Is there a the graphical links of creation between “The Four Masterworks of the Ming Novel”? It seems to be a pending further investigation. At present for this matter discussed and put forward specific ideas, the most important arguments are "stylistic of qishu " advanced by Andrew H. Plaks and “stylistic of qizhuan” advanced by Li Feng-mao. Based on the concept of the tradition of historical writing, these two scholars digged into the style characteristics and structure of "qi-sue" from the Confucian and Taoist practice perspective, and both put the forward innovative arguments. There is no doubt to provide a reference on in-depth analysis for successor continuously. No matter what the angle which is from the creation to generate or block-printed communication, the emergence of “The Four Masterworks of the Ming Novel” has an important historical significance and value. On the basis of “Yanyi”, people who since the late Ming dynasty want to understand around the expressions and the nature of the discourse about style/genre, there seems to have a certain degree of consensus. Therefore, if you want to explore the nature of creation about “The Four Masterworks of the Ming Novel” from synchronical angle , you have to base on the concept of "Yanyi" to rethink performance of “qisue” itself, and confirm its nature of writing. In view of above-mentioned viewpoint, the scheme is intended to set “narratologies of Yanyi” as a topic. I want to integrate the previous results of research for the analysis of narrative, and explain the historic of novel and its nature of writing, and rethink profoundly on the universality of the discursive formation around “The Four Masterworks of the Ming Novel” . I hope that I can use above-mentioned viewpoint as a theoretical basis to review "stylistic of qi-shu " continuously.演義敘事敘事學四大奇書