【作者】 王军明；

【导师】 王平；

【作者基本信息】 山东大学 ， 古代文学， 2014， 博士

【摘要】 古代小说序跋始于汉,终于清。清代小说序跋既是古代小说序跋的终结者,同时也是古代小说序跋的高潮,有着不同于前代的诸多特点。论文共分五章。第一章以清代小说序跋产生的环境为对象,论述清代小说序跋产生的政治和文化背景。政治环境宽松与和缓的交替,既给了小说以一定的发展与传播空间,同时又时时警惕小说在色情和暴力的道路上滑行太远。文化的多元既给了小说家言情的免责权,同时也给了序跋者以理来评判和规范小说创作的责权。第二章从小说序跋与小说传播关系入手,首先论述了通俗小说传播的路径,序跋者对于刊本价格的关注清楚地说明了通俗小说的消费已成为中上层文人的专利,经济压力使得一般读者只能通过租赁或借阅的方式来完成对通俗小说的阅读；同时,通俗小说对传统文化的深度思考也对文化精英阶层产生吸引力,叙事的多元化留住了不同的审美体验者。通俗小说序跋关注创作真实和创作手法的“似而不似”、“似谲而正,似则而淫”,体现出鲜明的文人趣味。其次论述了文言小说集的传播与小说序跋的关系。张潮在序言中强调了选材的幽奇和感愤的抒发。郑澍若的序言则首重道统,而黄承增在强调传奇小说题材的“奇”、“真”、‘雅”、“工”的内在审美元素的同时,也没有忽略小说开拓心胸,涤烦祛倦的社会功用。最后,清人小说序跋表现出来较强的宣传意味,借助对小说具体内容的概要性交代、创作主旨的揭橥、创作过程与动机的揭秘、版本源流的勾勒、创作理念的探求以及接受效果的宣扬,进而达到吸引受众,并刺激购买的目的。但也有部分清代小说序跋表现出来的广告意识较弱,具体表现在：部分序跋和小说自身的宣传没有关联；封面或回前的识语在直接或间接地为小说营销造势：序跋明确传达着对小说文本的负面评价；部分小说没有序跋。第三章主要考评小说序跋者与作者的关系。文言小说序跋中多次提及其采风俗,资谈塵,拓胸襟,开无限文心的艺术功用,因而文言小说得到文人的广泛接受,达官贵宦参与到文言小说的创作和小说序跋的写作之中,不仅在序跋中有对作者或序跋者身份的介绍,更喋喋不休地述说二人的交往史以及高情厚谊,二者关系大体清楚；而清代通俗小说虽然也取得了很高的文学成就,虽然在社会接受土也荻得了较高的认可.但由于作者多为社会中下层文人,且经济状况堪忧,社会交往面不够宽广,所以序跋者多为作家本人。即使由其他人作序,也多为佚名,有笔名的大多也付之阙如。通俗小说中的自序占到了全部序跋的一半比重。作为自序,作者对于自己的创作过程、创作动机自可言之凿凿,取信于读者,而为其他类型的序跋者所无法取代。其他人包括小说作者的师友、朋友,或为校刊者、书坊主。序跋者如果是作者的师友故旧,则多从接受效果来为作者站台呼吁。序跋者如果是小说的校刊者,则多从版本的角度对作品予以介绍或介绍序跋者的小说观。也有的通俗小说的序跋者只是一个读者,和作者毫无关联,则会介绍自己和小说的因缘。文言小说作者和序跋者的关系较通俗小说为单纯,序跋基本上就只是自序和亲朋故旧的序跋两种,像赵起杲这样的序跋者在文言小说中并不多见。第四章则从小说序跋入手来透视小说读者的身份。透过对通俗小说序跋者身份的梳理,雄辩地论证了清代通俗小说的读者对整个社会各个阶层的涵盖。文言小说的读者相对较窄,似仅限于文人这一社会阶层,因为文言小说大多故事性不强,且叙事简清洗练,语言古奥,如果没有一定的语言功底和相当的文学素养,则近乎嚼蜡。即使有些故事性,像《儒林外史》,又由于小说题材和下层读者生活的陌生感,而不被读者理解和接受。清代读者的不良阅读趣味得到满足,清代小说存在着严重的淫亵问题,类似的叙事要素的添加有迎合读者不良审美趣味的嫌疑,从社会担当的角度来考察,小说作者和书坊主都负有不可推卸的责任。清代小说序跋者多能从正面对读者加以引导,而不完全为了市场的占有度,为了商业的利润。清代小说序跋文人化倾向日益明显,表现出对婉曲叙事风格的偏爱,强调意在言外,追求弦外之音、微言大义,反对径情直叙,一览无余。在叙事上强调人奇、事奇、手法奇。文学精神上表现为对道统的坚守第五章则重在讲述清代小说序跋中涉及到的小说理论。清人的小说序跋中提及“奇”的有四十多篇,可见“奇”作为清代小说重要的审美特征所言非虚,如果说明代及清初的小说在追求着事奇,人奇的话,到了清代中后期,“奇而不奇’的理论被推出,使得清代小说理论在明代的基础上有了质的飞跃。虚实之争虽是明代的老话题,但不同于明代对虚构的赞许,清代更偏向于选材真实、言皆有据,虽然赞成虚构的在整个清代也有一定的市场。更多还原

【Abstract】 Ancient novels prefaces and postscripts began in the Han and end in the Qing Dynasty. The Qing Dynasty is not only the ancient novels prefaces and postscripts terminator, but also the climax, which is different from the many characteristics of the previous generation.The thesis consists of five chapters. The first chapter in the novels of the Qing Dynasty and the environment as the object, discusses the political and cultural background of the Qing Dynasty Novels prefaces and postscripts. Loose political environment alternation and gentle, both to the novel with the development and dissemination of space, but also constantly on the lookout for novels inpornography and violence on the glide path too far. Cultural multi-both to thedisclaimer novelist romance, but also to the prefaces and postscripts’evaluationand standard novels to make.The second chapter starts from the relationship between the novels prefaces and postscripts novels and spread, first discusses the propagation path of popular fiction, preface and postscript to "price concerns clearly illustrates the popular novel consumption has become the literati of the patent, the economic pressure makes the general reader can only rent or borrow way to complete the popular fiction reading; at the same time, the popular novel deep thinking on the traditional culture also appeal to the cultural elite, narrative multiplication retaindifferent aesthetic experience. The prefaces and postscripts writing real concernand creative expression "like and not like","like a deceitful and. like her, while"reflects the taste of literati distinct. Secondly, discusses the relationship betweenclassical Chinese novels set propagation and preface and postscript. In the preface Zhang Chao emphasized to express material you Qi and affection. Zheng Shuruo’s preface first road system, and Huang Chengzeng emphasized theLegendary Novels "odd","true","Ya","work" the intrinsic aesthetic elements at the same time, also do not neglect the novel to broaden the mind, di annoyingand tired of social function. Finally, the novels prefaces and postscripts strongpropaganda means, depending on the specific content of the summary sexgeneration novels, creative ideas. reveals the process of creation and themotivation of the secret, edition, outline of the creation concept search as well asto accept the effect of the spread. so as to attract the audience, and stimulate the purchase for the purpose of. But there are also part of the Qing DynastyNovels prefaces and postscripts show advertisement consciousness is weak,specifically manifested in:no association of prefaces and postscripts and novelself promotion; cover or back to the general language in directly or indirectly for the novel marketing campaign; and clearly communicated with the text of the novel negative evaluation; part of the novel no preface and postscript.The third chapter mainly appraisal and the novels prefaces and postscripts.Classical Chinese novels prefaces and postscripts repeatedly referred to thecustoms, information about the dust, extension of mind, art function on infinite inclassical Chinese novels, so widely accepted literati, rich official involved in the creation of classical Chinese novels and the novels prefaces and postscriptswriting, the author or the identity of the prefaces and postscripts introduced not only in the prefaces and postscripts, more chatter without stop about two peoplehistory and your highly esteemed kindness and invaluable friendship, the relationship between the two generally clear; and the popular novels in Qing Dynasty and has achieved very high literary achievements, although in the socialacceptance can get a high recognition, but because the author is in the middle and lower classes literati, and economic condition, social contact surface is not wide enough the preface and postscript, so more for the writer. Even if the otherperson is preface, anonymous, a pseudonym mostly vif.In the popular novels in the preface accounted for half the proportion of all theprefaces and postscripts. As the preface, the author for his creative process,creative motivation since them do, to win the trust of the readers, and for other types of preface and postscript can not be replaced. Others include the author of the novel’s friends, friends, or for the school paper, owner of the book workshop.And if is the author’s friends friends, many from the acceptance of the appeal tothe platform. And if those are novel magazine, mostly from version angle to the work described in the novels prefaces and postscripts or view. Some popular novels prefaces and postscripts is only a reader, and a writer without association,will introduce their karma and novels. The relationship between the author andthe classical Chinese novels and more popular novels was simple, and basicallyjust preface and postscript two friends and relatives, such as Zhao Qigao anddoes not see more in classical Chinese novels.The fourth chapter from the novel prefaces and postscripts of reader identityperspective. Through analyzing the prefaces and postscripts identity carding.eloquently demonstrates the popular novels of the whole social classes covering.The classical Chinese novel reader is relatively narrow, like only literati’s social class. because classical Chinese novels most stories is not strong, and thenarrative is concise. language is archaic. if there is no certain language skills and considerable literary attainments. almost chewed wax. Even some of the stories,like "the scholars", and the strangeness of novels and the lower the reader lives,but not by readers to understand and accept. Bad reading interest readerssatisfied in the Qing Dynasty, Qing Dynasty novel exist serious problems ofnarrative elements of obscene, similar with bad taste to meet readers’ suspicion,from social responsibility perspective, the author of the novel and the bookshopowners can not shirk responsibility. Qing Dynasty Novels prefaces and postscripts who can lead from the front to the reader to be, not completely in order to occupy the market, in order to commercial profit. Novels of the Qing Dynasty and the literati tendency was obvious day by day, showing theeuphemism narrative style preferences, emphasize the pursuit of The meaning is implied., overtones, sublime words with deep meaning, feeling against the size of people, take in everything in a glance. In the narrative that odd, odd, odd thingstechnique. The spirit of literature is to stick to the traditional.The fifth chapter focuses on the novel theory relates to the Qing Dynasty Novelsprefaces and postscripts. The preface and postscript "odd" mentioned in thearticle has more than40, visible "Qi" as an important aesthetic features of novels in the Qing Dynasty said non trivial, if the description generation and early Qingnovels in the pursuit of something odd, odd things to people, in the late Qing Dynasty,"strange but not strange" theory was pushed the Qing Dynasty novel theory, makes a qualitative leap in the Ming Dynasty on the basis of the.Although the actual argument is an old topic in Ming Dynasty, but different fromMing Dynasty to Qing Dynasty fiction approval, tend to be more true, words areaccording to material, although in favor of fiction in the Qing Dynasty also has the certain market.更多还原