敦煌本《搜神記》將現存敦煌文獻《搜神記》寫卷八件綴合為七件，整理後對共得36則故事，再根據學者張涌泉與竇懷編審校訂之《敦煌小說合集》為主要參酌的底本，與八卷本、二十卷本進行比較，將所發現、解決的問題整理成文。敦煌本《搜神記》雖然故事篇則不多，其多數的作品仍是「粗陳梗概」的形式來述異搜奇，但仍有〈田崑崙〉、〈王子珍〉、〈梁元皓〉等篇敘事長達千字以上，其作品融入了細節的增飾和場景的描寫，突破唐前志怪小說的簡古型態，篇幅增加且敘事曲折細緻。作品中運用的手法，具有明顯的民間色彩，與唐前志怪小說刻意追摹史傳筆法有其差異。 敦煌本《搜神記》的內容將區分為三個體系討論，系統間的文字有些許出入、字句有差異，無論系統的文字，都有口語化敘事的形式特徵。本文將先從類型學和情節單元來分析文本內容，再以敘事分析討論其故事模式與特色，同時將八卷本、二十卷本相似、同性質的情節分析比較，以探討故事的核心成分與基礎，呈現說明敦煌本《搜神記》的藝術特色。 由於敦煌本《搜神記》的寫卷是經文人潤飾後所產出的文學作品，與口傳的民間文學有其差異，其形式內容就不同於一般文學的表現手法，除了敘事有差異性外，語言上文白表現也不同。因此，比較討論唐五代講唱的敘事手法上的語言藝術形式的特徵來探討敦煌本《搜神記》的藝術特色，並相較於二十卷與八卷本的不同。 本論文於第一章為「緒論」分為四節，主要說明研究動機與目的、前人研究成果、研究範圍與其方法與步驟。第二章中依故事類型主題說明其情節與結構，並與二十卷本、八卷本及它本相似之故事作分析比較。第三章則是以敘事分析的角度來檢視該本的藝術特色，同時比對二十卷本及八卷本相異處，以說明敦煌本《搜神記》是一本介於口頭與書面敘事的文本。再與唐五代講唱作品相似口語形式的表現，已證實是口頭說唱藝術在文本化之後的具體表現，並檢驗與唐代說話藝術間之關係。第四章則是透過文化意蘊的討論，說明敦煌本《搜神記》在敘事背後所潛藏的思想內容和文化意涵，分成三小節討論「孝子故事在志怪敘事傳遞的意涵」、「異類婚戀的文化意涵」及「鬼神怪異故事中的文化意蘊」。最後，第五章「結論」，則是將敦煌本《搜神記》通俗敘事研究的前四章作一整理，並提出相關延伸性的問題值得進一步討論，並供後學者研究參考之。

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.