偵探敘事在台灣文學場域上的發生與形成，其意義指涉著一種新興通俗文類的移植與開展、深化與轉化的現象。偵探敘事的範圍，涵括的不只是由作家創作的虛構小說，也可能是西方偵探小說的翻譯介紹、強調真人實事的筆記體裁、對西方偵探小說的臨摹改寫，甚且可能是反偵探敘事的仿諷等等。偵探敘事作為一種通俗文類，尤其是其敘事成規與意識型態原是以西方偵探小說為主要源流的情形下，如何進入台灣的文學場域?進而在台灣「發生」?如何「形成」?彼時台灣的大眾，如何接受、消化、吸收、甚至享受這種新興文類?偵探敘事雖是新興文類，其與過去的種種文學創作傳統有所承繼?偵探敘事的興起，至偵探小說的完成，與彼時台灣人們的精神生活、娛樂生活有何關聯?塑造出怎麼樣的文化圖景?偵探敘事在台灣的發生點與關鍵點的摸索，都是本文主要關懷所在。 本文共計六章。第一章緒論，為全文框架說明。第二章偵探敘事生成的社會╱文學脈絡，由外緣與內緣進行偵探敘事發生空間的建構，說明大眾媒體、通俗文化、社會版新聞與偵探敘事形成的關聯，以中國傳統公案小說與日本的犯罪小說作為台灣偵探敘事的內在源流及期待視野的意義。第三章偵探敘事的起點，討論台灣文學場域上的偵探敘事發生的開端。這開始並非固著性的起點，而是每一次文本敘事取徑的參考點。本章分別就日治初期報紙上漢文、和文的偵探敘事、「實話」系統的寫作及西方偵探小說譯介的情況加以考察。第四章偵探敘事的小說化，日治時期台灣偵探敘事由實向虛、由翻譯到創作，呈現小說化的進程。由翻譯改寫到「連作」合寫、以及俠義章回化小說的偵探敘事，標誌了偵探敘事文類在台灣的實踐已臻成熟，乃至於滑稽模仿與兒童故事的再呈現，是其敘事成規反向思考及向外滲透，由此考察偵探敘事虛構化的進程。第五章偵探敘事生成的文化圖景，由作者、文本、讀者三個面向，分別討論偵探敘事的生成中所呈現的文化意義，殖民性、現代性與通俗性在敘事文本中的展現。第六章結論，總結全文，並且開啟未來研究的可能性。 / In my thesis on detective narrative in Taiwan under Japanese colonization, I focus on the emergence and evolvement of the new popular genre to clarify how people accept, adapt and appropriate the western-stemmed genre into local fiction. The era under Japanese colonization between 1895 and 1945 was a beginning of novelty and innovation; however, it was not the end of tradition and convention. Both cultures of late Qing China and late Meiji Japan, as well as western modern civilization introduced into Taiwan by China and Japan, all made colonial Taiwan an arena of modernity, coloniality and traditional values. I drew attention to popular literature and culture, another dimension different from the elite or high literature and was buried under the canonized discourse of resistance and decolonization in Taiwanese literary studies. The popular fiction in Taiwan reveals the subconsciousness hidden in the society at the turning point of modernization and colonization. First of all, I start my survey from the social and literary context of emergence of detective narrative in Taiwan by mentioning the formation of modern mass media in nineteenth century Taiwan as well as the literary tradition of Chinese and Japanese literature, Gongan fiction and crime fictions. This part helps me to clarify the literay field of the emergence of detective narrative. Secondly, I pinpoint three starting-points of the emergence of detective narrative: Japanese and Chinese detective fictions in newspapers in early Japanese colonization, the police procedural, as well as the translation and introduction of modern western detective fiction. Thirdly, I point out some milestones of fictionization of detective narrative in Taiwan, including the form of “translation-rewriting”, the collaboration of several writers, the chivalric novelization, the children’s stories and the parody of western detective convention. Finally, I examine the cultural visions in the emergence and evolvement of detective narrative in Taiwan during Japanese ruling period through three aspects: the writers, the texts and the readers’ aspects and explore the coloniality, modernity and the popularity of the new popular genre in Taiwan.

大抵面對一連串戰敗、不平等條約的陰霾，英法日德美各國殖民勢力的入侵，民初上海因為歷史造成地域血緣上的混雜性，掙扎於「華╱洋」夾縫內，注定要以邁向「現代化」作為自我建構身分和翻轉形象的策略。彼時一波波新政策、新思維和新文化景觀衝擊著上海，民初上海的文化歷史舞台，上演著政治性、戰鬥性和革命性等直截的激烈論爭，以及文學性、哲學性和藝術性等間接的表述詰疑。民初上海，因為其獨特的身世背景――租界空間、華洋文化、都市治理、建築形構和住民型態等――已構成一個豐富的文本；如今，再加上歷來研究者建立在這個文本上的批評研究――懷舊記憶、商品消費、新聞產製、建築美學和社會空間實踐等――使它構成一個更為多義和可解讀的龐大文本。 程小青（1893—1976）創作的《霍桑探案》，作為民初新興的偵探文類，交會著地理學、都市學、社會學、新聞學、犯罪學、心理學、科學和醫學等多方視域，確實值得加以探勘。本論文雖立基在前人對於上海學的研究基礎上，卻針對「偵探――文本――都市文化」之間的緊密關係，作一個更為清晰的分層處理。從《霍桑探案》泰半取材自上海市井民間的文化故事與社會平日的案件觀之，其以小博大之視野，呼應了近現代中國政潮起伏、社會局勢凌替，和民生人心動盪之圖景，則不容小覷。是而，本論文將聚焦於程小青的偵探小說，對其上海文化圖景之內蘊與意涵，作層層之釐析。論文主體分別由地理空間層面、文化記憶層面、傳媒消費層面和醫學科學層面，逐次地展開「街道的表情學」、「日常生活的實踐」、「跨時空之旅」和「從偵察路線圖探討民初上海的醫病關係」層層深入的剖析。 以地理空間層面言，《霍桑探案》不以考究學理和艱深詞彙的地理學介紹為目的，倒是反過來鑑照了民初上海的地理空間，鮮活地捕捉每個街道的表情──從馬路上的黃包車、馬車、汽車和電車，到街坊里弄的舊石庫門、新石庫門和洋房，均豐富了民初上海立體多層的歷史記憶。 就文化記憶層面言，《霍桑探案》透過「偵探」的日常生活以實踐一種與市民經常性、韻律性和對話式的互動關係，從而對老上海文化記憶與摩登上海文化風情進行建構。在建構過程中，「小食挑子、老虎灶、孵茶館」和「舞廳、戲院、西餐廳」不啻成為兩組強大的反差和對比，霍桑和包朗將第二組概念視為歧出，力圖拉近與第一組概念的距離，似乎想以此贖救上海文化逐漸掉失、歪斜、墮落的「本」。 在傳媒消費層面上，以《霍桑探案》作為探討的個案，文本中所展現的「新聞圖景」和「偵探遊戲」，所蘊涵著脈絡化的意義，可從傳媒和消費兩個層面來辨析。以傳媒角度言，新聞報紙不僅被挪用、編織、進入小說的偵探版圖，又成為偵探偵查時不可或缺的一個重要依據。 由醫學科學層面言，綜合「敘事層面」、「地理景觀」、「身體空間」三層面探討的「偵察路線圖」，可歸納出《霍桑探案》不只勾勒偵探個人的「探案歷程」，還過渡到對社會「醫／病關係」的想像。 本論文以文學研究為主，偵探理論和文化研究為輔，分為地理空間、文化記憶、傳媒消費和醫學科學等層面論述之，以此勾勒出一幅嶄新的民初上海文化圖景，豐富了偵探小說、上海都市和文化研究的區塊。

雷蒙‧錢德勒為冷硬派偵探小說的開山始祖之一，其文學地位卻不限於通俗小說大家。 其簡潔有力的文學筆觸及對於現代美國社會的深刻批判，讓他名列當代美國代表作家之列。 在錢德勒的筆觸下，洛杉磯城被深切刻畫成重要性不亞於偵探的重要主角。 故此，我在本論文將探討錢德勒對於洛杉磯身為美國現代大城的空間呈現，試圖找出其再現對於美國城市文學與偵探小說的積極影響。 在第二至第四章的本文中，第二章處理私家偵探與其出沒的洛杉磯之間的關係。 我發現漫遊者的概念也可被應用在冷硬派私家偵探的明查暗訪，這兩者在顯示現代城市的現代性方面，都是代表性的謀介。 透過漫遊者偵探的私家之眼，真實與想像的洛杉磯同時歷歷在目，而勒婓伏爾與索雅的空間理論為理解錢德勒筆下洛杉磯真實與想像的城市空間再現的一大利器。 故此，第三章運用索雅的第三空間概念來探討錢德勒的空間再現，發現其筆下墮落之城的種種暗黑角落，都是第三空間的再現，因為它們都顯現一種被宰制的空間呈現，別同於洛杉磯被大力推銷為夢想之城的想像空間。 第四章處理另一個被忽視但重要的第三空間。 藉由私家偵探親身探索洛杉磯城中不同族群的空間，我發現這些空間也是另一種第三空間的呈現，因為這些空間亦屬於被宰制壓迫的空間，而錢德勒對於洛杉磯城的空間再現並未遺忘這些他者族群被壓迫的空間，故此更能證明錢德勒不愧為刻畫現代化美國社會的文學大師。 / Raymond Chandler is a prestigious detective-story writer and the founding father of the hard-boiled detective fiction school, but he is not limited to this sub-genre of the crime fiction. His laconic style and the socially critical depiction of Los Angeles elevates him as a great writer in literature, high-brow and low-brow. Los Angeles city in his depiction becomes another protagonist of Chandler’s Philip Marlowe stories. In this thesis, I attempt to adopt a spatial reading of the Los Angeles city he depicts, so as to explore the meanings of the real and imagined spaces and their possibilities of resistance for future interpretations. Besides the first chapter as the introduction and the last chapter as the conclusion, in Chapter Two, I will first compare the private detective to the flâneur, thereby discovering the contribution of these figures to the discovery and representation of modernity in modern cities. Furthermore, I will utilize Lefebvre’s and Soja’s trialectics of spatiality to examine the real and imagined spaces in Chandler’s novels. By doing so, in Chapter Three I argue that Chandler’s vivid spatial representations of Los Angeles, especially the dark side of the city, are actually the real-and-imagined Thirdspace that represents the dominated spaces against the promotion of Los Angeles as a dream city. In Chapter Four, though Chandler’s spaces convincingly reflect the modernity of Los Angeles as a modern city, I further discover another possible site for the space of representation in his stories: the space of the racial Other. This discovery of another Thirdspace proves Chandler isn’t as much a racist as alleged, and it is the counter-space that provides the possibility of resistance for many future hard-boiled detective fiction writers of different ethnicities, and this can explain why Chandler’s hard-boiled detective has been massively appropriated.

保羅•奧斯特的〈紐約三部曲〉被歸類為「反偵探小說」（anti-detective novel）。在這三個故事裡，因緣際會背負了偵探角色的主角們，試圖還原事件的真相，卻個個受挫，甚至迷失在糾纏的線索與沈重的身份認同的遊戲中。他們像是一腳踏進了令人暈眩的泥沼，非但沒法用理智脫困，還愈陷愈深，隨著迷宮裡的音樂瘋狂起舞。 鈴鈴鈴不時搖著鈴鼓迷惑他們的聲響來自一串一串的文字：當他們想藉語言探求「真實」時，才發現無論語言或是理智都從來不是靜止與透明的。此外，與偵探行為息息相關的「命名」（naming）問題，也是〈紐約三部曲〉中的一個焦點。主角們的名字彷彿細軟的藤蔓般糾結在一塊，命名的議題以有趣的方式被呈現在這部小說中。本篇論文還要探討這部小說如何處理讀者與作者的辯證關係，因為讀者一走進這本小說便參與了作者精心設計的巨大遊戲。 本篇論文將研討〈紐約三部曲〉反映的三個問題：再現的問題、命名的侷限性，以及讀者與作者耐人尋味的關係。再現的問題會放到德希達(Jacques Derrida)提出的「延異」（differance）觀念下解釋—事物的意義不可能立即被揭露，而是永遠處在一種「延異」的狀況下。小說中主角們對唯一真實的追尋因而不可能被應許，而是遭遇一而再、再而三的延遲。另一方面，〈紐約三部曲〉對命名的功能性有所保留。本論文將疊合本小說中對命名的質疑與波赫士短篇小說裡對命名的不信任，說明奧斯特對命名的解構。〈紐約三部曲〉對命名抱持矛盾的態度：命名既幫助人們架構他們的世界，卻又滑溜溜的歪曲了人們的自我認識，讓他們被自身的自主性的假象蒙蔽。此外，讀者和作者究竟是不是維繫著一種同盟關係呢？本論文試圖闡釋存在〈紐約三部曲〉中，他們之間相互依存、卻又競逐對文意的解釋權的關係。只不過，躲在文字的簾幕後偷看著的黑影，始終是作者的吧？！ 〈紐約三部曲〉訴說的是一個追尋的故事。這個歷程沒有終結、沒有絕對的答案，只有故事拖長了腳步的身影。這個反偵探故事否定了許多關於理智的邏輯，但是它為書寫開闢了另一種可能：書寫與閱讀可以是無限延長的生命肌理。文字從不直接給予人們他們孜孜尋找的解答，他們只告訴你你將在文字中漂流的命運。 / Labelled as an anti-detective novel, The New York Trilogy defies the traditional detective process and instead renders the experience for man to distill and to locate meaning as an agonizing one. The protagonists in The Trilogy undertake the roles of the detective, hoping to reveal a sole truth behind the entangled situation. Yet they are not only frustrated in disclosing meaning, but thrown into extreme bafflement. Their identities fall apart, wriggling in the maze built by spiral words, crossed names and the ongoing efforts to define the relations. The protagonists find everything they used to hold as truth shudder. Language no longer stands for a limpid means to represent the real but rather shakes their beliefs. When they try to name and to draw their realm of autonomy over the flowing phenomena, they find naming a problematic strategy to define the world. Furthermore, as detective-readers who attempt to decode the text, the protagonists are desperate to comprehend their relations with the “writer” of their books, as the reader does in reading The Trilogy. This thesis attempts to probe into three prominent issues raised in The New York Trilogy: dubious representation, problematic naming strategy, and the peculiar bond between the reader and the writer. The doubtful representation in the novel will be examined under what Derrida suggests in “Differance”: Meaning can never be fully present, but remains in a state of differance. The protagonists in the three stories cannot disclose an overriding truth, but float in such a wave of doubts, uncertainties, and changing phenomena of the world. Also, the problematic strategy of naming will be compared with Borges’suspicion towards naming. Under both cases, naming serves as an extreme yet slippery means for man to draw his territory. In addition, the relation between the reader and the writer in the novel is investigated. The detecting process in the novel embodies the pursuit of the reader out of the text. Thus reading and writing are delineated as an everlasting journey. When the detective and the criminal as well as the reader and the writer seem to be in contest for the power of explanation, the pairing relation actually forms a close tie: The detective cannot live without the criminal; the reader and the writer need the eyesight of each other to survive. The New York Trilogy is not a journey providing answers but a whirl to disrupt the truth. Declining any definite inspiration, it nevertheless obliquely affirms the value of reading and writing. After exhausting complexities of the cases, only the reader remains. And what is heard even after one closes the pages is the voice of the reader encircling within the space. And the voice keeps telling and telling until the story belongs to him. We as readers will keep narrating the story with our little voice.