自太史公寫作《史記》伊始，二千年來，由於作者司馬遷自身傳奇般的人生 遭遇和恢宏的治史抱負，使得這部鉅著始終煥發著不平凡的璀璨光彩，也因此吸引了古今中外無數愛好及研究者的目光；更因《史記》本身內容的豐富多元，從而使研究《史記》的道路廓然分有史學及文學兩大方向。前人謂「史家之絕唱，無韻之離騷」，除了肯定《史記》史學方面的成就之外，更對其突出的文學表現給予高度評價。無怪乎劉大杰氏在《中國文學發展史》中，特闢一章專講述「司馬遷及漢代散文」，將《史記》一書位列於正統文學發展脈絡中至為關鍵的一環。 　　的確，若細論《史記》對後代文學所產生的影響，可謂有眾多方面：散文則前有唐宋古文八大家之力倡，後有繼於明代歸有光，乃至清桐城、陽湖派的實踐；而唐宋以降之傳奇、演義更繼承了《史記》的史傳文學精神，故對於小說之影響也是不言可喻。而從《史記》當中許多動人而張力十足的故事加以改編的戲曲雜劇等更是不勝枚舉，其對我國戲劇題材的沾溉亦相當深遠。因此，身為歷史學家的司馬遷無疑已在我國文學史上扮演著舉足輕重的角色。所以劉大杰氏推崇其為「偉大的歷史家，同時也是傑出的散文家，優秀的史傳文學家。」 誠為的論。 　　《史記》濃厚的文學色彩固然令人著迷，然而光是探究《史記》的文學價值而忽略其為史書的身分實在有其侷限性；但倘若只從史學的角度來看待《史記》卻又難免有遺珠之憾。畢竟《史記》是司馬遷用盡一生心力的力作。研究《史記》，我們當然可以透過作家的生平來了解它，相反地，我們也可以經由作品，更深一層地接觸到作家內在的聲音，潛在的意識。故較佳的觀照，必先對作品有充分的認識與了解，深入地探究其表現技巧與創作精神，從而挖掘出作者自身的投射。 　　 自東漢王允以降，歷代多有將《史記》視為「謗書」之論；而班固又謂其「是非頗謬於聖人」 。由是觀之，司馬遷寫作《史記》似乃為一己發憤之需。然則《史記》之立論行文果有如此偏頗之憾？為了尋求這個問題的解答，除了直接以《史記》「太史公曰」的論贊部分著手之外，整理史料更會是一個重要而可行的方向。故本文意欲從史料整理開始，藉由和《史記》原文作比對、檢視，來看看司馬遷當初在運用這些史料時，是以怎樣的角度加以揀擇、又如何鎔裁鍛造人物形象。除了身為一位專業史學家客觀判斷，將史料予以合理的取捨增減外，更希望能另闢蹊徑，看看司馬遷個人的、情感的取捨原則，藉此還原尋求出司馬遷的寫作立場及創作意識，並試圖為這些現象或趨勢提出合理的解釋與分析。

在眾多的三國人物中，呂布絕對稱得上是當世之英雄、一代之豪傑，尤其是武勇更稱得上是《三國演義》第一人；呂布在《三國演義》出現的回數只有十五回，但其形象卻早已深植在讀者心中，也顯現《三國演義》在人物塑造上的精彩生動。 　　呂布有著絕倫的武藝，又有散發著英雄氣概的外貌，卻因內在性格上的缺陷，最終難逃覆亡的命運，成為悲劇英雄；在群雄爭霸中，呂布是個失敗者，更是小說中用來襯托主要人物的次要角色，成為《三國演義》中的反面英雄。 　　以小說的人物形象來說，呂布這個角色刻畫得頗為成功，不僅成功地扮演悲哀英雄、詮釋反面英雄，更重要的是，呂布樹立了深植讀者心中的形象：頭戴束髮金冠、手持方天畫戟、騎著赤兔馬、武藝天下無雙。雖然有見利忘義、有勇無謀等負面形象，但無損其三國武勇第一的威名。

《水滸傳》的創作從南宋初年至明代中葉，這四百多年來流傳的水滸故事，經過說書人的講演鋪陳、文人的潤飾增色，逐漸成熟完整，匯聚成一部精彩絕倫的通俗小說。小說設計了一百零八位英雄，這些好漢被賦予了不同出身、獨特相貌，以及各式穿著，繪製出一幅多彩多姿的水滸圖卷。《水滸傳》在人物登場時，往往以一套贊賦介紹人物從頭到腳的衣著，為讀者在腦海中畫出一個具體而鮮明的形象。由於「服飾」是一個人的「社會肌膚」，透過「服飾」我們可得知其身分地位、審美觀念、性格投射與所處的社會風尚，甚至能反映群體文化。《水滸傳》服飾琳瑯滿目，筆者透過文本的分析，將一百零八好漢的衣著，分為首服、上衣、下裳與足服、腰佩四類，逐一考掘形制內容、演化，宋、元、明三代服制與人物的穿用取向。其次探討服飾的質料與顏色，將質料分為棉麻、絲織、毛皮、金屬四類，研究服飾表現的物質文化；服色則採紅、青、白、黑、黃五色分述，闡發《水滸傳》服飾的穿搭美學。把人物服飾對應《水滸傳》的創作背景，瞭解小說反映出來宋、元、明三代紡織工藝的發達，帶動商品經濟活絡，形成豐富多樣的衣飾時尚以及崇奢僭禮的風氣。最後將服飾與人物形象結合探討，論述小說如何運用服飾勾勒《水滸傳》臉譜，研究服飾對人物外在的身分界定，與文本內在的書寫意涵。本論文從服飾的角度審視《水滸傳》，從中歸納出服飾是人物刻劃的途徑，是小說渲染情節的方法，也是社會風俗的具體反映，更是梁山好漢犯禁思想的表現，總結出《水滸傳》是通俗小說服飾書寫的轉型階段。 / The creation of The Water Margin went through a roughly 400-year span, starting from the beginning of Southern Song to the mid-Ming Dynasty. Stories of The Water Margin, performed, polished, refined and compiled by storytellers and poets, were made into one epic popular fiction, within which 108 outlaws, endowed with distinct backgrounds, appearances, and dress, made an animated landscape of Water Margin. The Water Margin introduces most of its characters’ complete outfits through a set of words of praise on their debuts, thereby portraying solid, bright images in its readers’ mind. Dress are socialized skin from which we tell one’s social status, aesthetics, projected nature, contemporary trends, and even collective culture from those of others’. The Water Margin presents 108 outlaws in a wide array of clothing which, in my textual analyses, was categorized into caps, garments, skirts and footwear, and waist ornaments. I explore the contents of their designs and transformations over time, and how people in Song, Yuan and Ming Dynasties designed and decided their dress in terms of wearing and functioning. Next, I’d discuss the textile—categorized into cotton and gunny, silk, hide and leather, and metal, in order to study the material culture embedded in dress—along with colors—red, cyan, white, black, and yellow included, so as to elaborate on the aesthetics of dressing. Comparing dress with the social context of The Water Margin’s creation gives insight to the highly-developed textile crafting in Song, Yuan, and Ming Dynasty, a crafting which promoted a booming commodity economy and thereby formed a miscellaneous dressing fashion and a luxury-worshiping, etiquette-violating atmosphere. Combining dress with the characters, I reason how each figure was shaped with what he or she wore, and study how one’s dressing defined his/her extrinsic identity and the textual implications inherited in the fiction. This thesis aims at scrutinizing The Water Margin through dress, concluding that dressing is a path to characters’ depictions, a manner with which the plot was embellished, a concrete reflection on social customs, as well as a representation of the 108 outlaws’ thinking of breaking prohibitions. The Water Margin, therefore, was at the stage of dressing depiction’s transformation in popular fictions.

東方朔為西漢時期漢武帝人臣，因其博聞閎覽、言詞敏捷、機智聰穎又性格滑稽，而於史籍留名。自漢魏六朝小說文人藝術加工後，其形象漸趨轉變而為天上仙人。今民間傳說中，除了既有的形象延續外，還增添了民俗的色彩，而與民間信仰及節日風俗產生聯繫，豐富了東方朔的傳說體系。據東方朔的形象特質，可將相關傳說分作「機智型」、「博物型」、「神仙型」三類；以故事類型分類，則有「不死酒型」、「推遲死期型」、「神奇受孕型」、「見屈原型」、「老頭子型」、「石子變銀子型」等六類。 結合了文人敘事與民間敘事的東方朔傳說，其敘事型態具有穩定模式。各類型傳說的角色多具備「給主人公出難題」、「難題被解答」的角色功能，而情節皆以「起因──過程──結果」的序列，依時間先後排列，形成單線式、對立式等情節類型。而透過傳說中的環境特質，可反映出求仙風氣鼎盛、迷信讖緯流行、佛教道教大興等社會的時代與風俗背景。 此外，東方朔傳說還照應了民間信仰與節日風俗，如歲星、太白星等星辰的崇拜，算卦、盲藝人、相聲界等行業祖師的信奉，又與元宵節的由來有所依附，則東方朔傳說實豐厚了中國文化特質與民俗風貌。 / Donfang-Shuo, a Western Han Dynasty scholar-official in Emperor Wu period, left a glorious reputation in history for his erudite knowledge, glib tongue, many smart conversations and humorous words and deeds. During the Six Dynasties period, the image of Donfang-Shuo was gradually transformed into the Daoist immortal in Chinese mythology by the literature and arts; he became an immortal legend who had miraculous birth and supernatural powers. Nowadays, along with the continuation of Donfang-Shuo’s existing image, these folktales have been added more connections with folk customs. The connections with folk beliefs, customs and festivals enriched the integrity of the folktales system of Donfang-Shuo. Folktales about Donfang-Shuo could be categorized into six types, including the types of ‘the immortal wine’, ‘changing other’s destiny ’, ‘the unusual phenomenon of birth’, ‘meeting Qu-Yuan’, ‘elders’, and ‘the Midas touch ’. Combining intellectual narration and folk narration, the narrative pattern of the folktales of Donfang-Shuo had certain modes and features. First, most characters in the six types of folktales above had common functions in the plot, including giving tough questions or solving the questions. Second, from the perspective of plot, the stories basically developed by the timeline, following the order of ‘cause-process-consequence’ and then forming the plot of one-way type or confronting positions. Through examining the background features provided by these folktales, the author found the folktales of Dongang-Shuo could reflect the social circumstances and custom background during the Han Dynasty age, the age which was filled with superstitious beliefs, folk customs and the Chinese mythology about Buddhism and Daoism. In addition, Dongfang-Shuo legends also had important influences on folk customs and some festivals. For instance, the belief of his embodiment of ‘Sui’(歲,or Jupiter) and ‘Taibai’(太白,or Venus) led to the worship of the stars, even Donfang-Shuo himeslf was worshiped by lots of fortune tellers and was believed to be one of the earliest ancestors of Daoism. His humorous and wise legends were highly praised by many Chinese story tellers and who worked in Chinese comic dialogues as well. Moreover, Donfang-Shuo had deep relation with the origin of Lantern Festival. To conclude, the folktales system of Donfang-Shuo truly nourished the Chinese culture and enriched the style and features of folk customs.