歷來對於袁中道的研究課題，多是傾向於探討其修正公安派文風的內容以及相關思想，對於其文學之研究，相較之下則是略顯不足的。學界對於袁中道文學研究多是集中在日記《遊居杮錄》相關研究以及整體文學的探究，整體文學的研究方向，主要是根據劃分時期為研究脈絡，僅有少數篇章有運用文體差異來探究之，但透過整理學界目前的學位論文，發現一個值得研究的問題，那就是尚未出現以文體差異來全面探究其山水文學的學位論文。 　　因此，本論文所要研究的是公安三袁之一袁中道的山水書寫模式與內涵，首要處理的問題是袁中道山水主題在不同文體之間所呈現出的書寫取向及其價值選擇，並試圖研究其中文體差異所呈現出的山水書寫特色及其內涵異同。除了文體差異所產生的文學、思想變化外，山水等自然景物是山水文學的寫作主角，因此，如何描寫和選擇景物亦是一大研究重點，此處將從晚明山水美學風氣和美學技巧分析袁中道的審美視角。本論文即是針對上述所提出之議題做出整理分析，試圖將袁中道之山水文學建構的更加全面。 　　本論文主要是以袁中道的詩文集《珂雪齋集》和日記《遊居杮錄》為研究底本，透過整理上述兩種文本而歸納出以下相關文體類別，主要可以區分為詩歌、遊記、日記和其他文體這四類，而這四類文體就是本論文最主要的研究架構。透過研究袁中道在諸種不同文體之下，其山水書寫所呈現出的景物描繪、審美風格、寫作筆法和思想呈現等面向有何差異，進而歸結出袁中道透過各文體所表現出的書寫異同與特色呈現，同時亦可知諸文體在袁中道心中所代表的文學承載面向。

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奚淞以「手藝人」自居，在文藝創作上有著多元化的表現，他創作小說、散文，並且將文學作品配合畫作一同呈現，或是木刻版畫、或是毛筆畫、油畫等等；另外他還畫佛畫、以毛筆抄經，並且提倡抄經的藝術。綜合來看其文學作品的主題內涵，皆表現出對生命的關愛；而其散文在類型及創作形式上更有著多元的展現，並且呈現出向畫出位的特色。因此以文藝之美為包裝，裝載著一份尊貴莊嚴的生命之愛，奚淞的文學作品可以說是他在寧靜的觀照中，鄭重地呈獻給讀者的一份生命的禮物。本論文即深入奚淞的文學作品，一探其禮物盒子的世界。 本論文計分六章，各章內容摘要如下： 第一章為「緒論」，內容包括本論文的研究動機、研究目的、前人研究成果、研究範圍和侷限、研究方法與步驟等。除了敘述本論文的研究背景之外，並從前人研究成果的檢視中，探尋本論文值得開發探索的空間。 第二章為「奚淞生平經歷及文藝創作」，從奚淞文學作品中探索其從事創作的心靈軌跡，觀察其成長背景、生平經歷以及人格特質，並分析其文藝創作的理念，進而探索這些經歷對其文藝創作的影響。 第三章為「奚淞文學作品的主題內涵」，在這一章中將對奚淞的文學作品進行全面性的觀照，探究其作品中所呈現的主題內涵，從中觀察在不同的生命情境中，奚淞所欲傳達的情感及關懷。 第四章為「奚淞短篇小說的敘事分析」，將從敘事學的角度切入，對奚淞短篇小說的敘事手法進行探究。以敘事學來分析文本，可以清楚地觀察出奚淞短篇小說的表達形式、觀察奚淞如何說故事、如何將其人生經驗傳示給讀者。 第五章為「奚淞散文類型及形式探究」，將針對奚淞散文在類型及形式上的特色進行分析。在散文類型方面，探究其新釀式散文及札記式散文的特色；在散文的創作形式上，將針對奚淞散文中文圖配合、向畫出位的特色進行分析。除此之外，其近作《大樹之歌》更在其原有的類型及形式特色上又有所開拓演化，因此在這一章中將同時針對《大樹之歌》一書深入探究，以觀察奚淞散文在長期的創作實踐裡，形塑出何種個人風貌，並且在風格上有何延續與開拓 第六章為「結論」，針對本論文各章所探索的結果，對奚淞的文學作品做出綜合的評述，並從中推論出奚淞的散文作品在散文發展史上所呈現的意義。

在德希達的《明信片：從蘇格拉底到佛洛伊徳之外》(1987)一書中，〈郵寄〉這個文本由許多交換傳遞的明信片所組成。這些收錄於同一文本中的明信片令我們聯想到書信小說中編纂成冊的信件。許多十七、十八世紀的英國與法國書信經典名著構成了書信文類的主要架構，如吉樂哈格的《葡萄牙修女的情書》(1669)、理查生的《潘蜜拉》(1740)與《克萊麗莎》(1747-1748)、葛芬妮的《祕魯公主的情書》(1747)、盧梭的《茱莉，或新伊珞絲》(1761)以及德拉克勞斯的《危險關係》(1782)。面對這些書信文類的前導者，且處於二十世紀傳統書信寫作式微的時代中，是什麼因素促使德希達創作〈郵寄〉這部書信文本呢？〈郵寄〉的書信文本又與傳統書信小說有何不同呢？ 關於這個議題，我所提出的論點是，德希達的〈郵寄〉企圖解構書信文類。〈郵寄〉一方面強化了書信文類特有的書信特質，另一方面又以明信片的郵件傳遞效果取代替換傳統書信小說的書信文類特質。明信片的郵件傳遞效果主要呈現出「傳送終點」與「預期的收信者」這兩種特定規範的不可能性。明信片總是暗示信件傳送過程中「被攔截」與「多元收信者」的可能性。這樣的特質使明信片得以打破囿於最初起點與最後終點做為邊界的直線軌道。如此的突破有助於德希達解構西方知識體系的架構。明信片的郵件傳遞效果動搖了源自蘇格拉底的知識遺產直線傳承，顯示出知識遺產是經由多元讀者所傳遞的，且容許眾多不同的詮釋方法參與其中。多樣性的想法損毀了「原作與衍生」，「在場與缺席」以及「公開與隱私」之間的二元對立邏輯。明信片「半私密，半公開」(《明信片》62)的形式在多樣化所隱含的不確定性之間來回擺盪，游移不定。這種不確定性正是德希達藉由〈郵寄〉這個文本所要強調的。因此，即使身處電信通訊網絡遍佈的時代，德希達依然期望引發「不受拘束的明信片化帝國」(《明信片》104)的可能性。明信片化的意義並非加速書信寫作的「衰微」(《明信片》104)，而是希望能夠不斷地散佈差異產生的可能性。 在本論文中，我從迂迴、延宕與延異這三項特性來闡述明信片的書信特質。這三項特性同時交織於我對〈郵寄〉這個書信文本的討論中。在第一章〈書信文類：強化與替代〉裡，我提出了〈郵寄〉所呈現的似非而是的矛盾，既強化又替代書信文類的特質。書信文類因此被置於差異的迂迴內，而延遲了其文類身份認同的最後裁定。在第二章〈書信他/她者：欲望投射〉裡，我援引拉岡「小寫他/她者」的概念來闡釋書信寫作行為中的自我建構過程。由於寄信者需要缺席收信者的存在以召喚差異的產生，因此寄信者的自我認同總是不斷地在迂迴的信件傳遞空間中被延宕。第三章〈書信寫作：添補的矛盾〉裡，我將德希達對「添補」的概念與書信寫作中添加與替代的效果作了連結。書信寫作彌補了距離造成的溝通差距，同時也以距離替代了最後與缺席收信者真實相遇的那一刻。第四章〈書信交換：Fort Da消失與返轉的遊戲〉中，我比較了佛洛伊德、拉岡與德希達對於fort da遊戲不同的觀察角度。在書信交換的過程裡，當多元讀者的可能性被納入考量時，書信的傳送與接收便會持續地滯留迂迴於讀者的多元閱讀與詮釋，而延遲了到達預定目的地的時間。在第五章〈書信傳承：知識遺產的明信片〉裡，我探討了德希達對於〈郵寄〉中明信片上蘇格拉底與柏拉圖位置返轉圖所做的種種推敲。這些推測暗示了脫離知識體系直線傳承，迂迴而行的可能性。為了再現知識的意涵而創造出的多元詮釋角度會不斷地延宕知識傳承的最終意義。 / In Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond (1987), the part of “Envois” is composed of many exchanged post cards. This collection of post cards reminds us of the letters compiled in epistolary novels. There is a lot of prestige attached to many seventeenth- and eighteenth-century English and French epistolary novels, such as Gabriel de Guilleragues’ The Portuguese Letters (1669), Samuel Richardson’s Pamela (1740) and Clarissa (1747-1748), Françoise de Graffigny’s Letters from a Peruvian Woman (1747), Jean-Jacques Rousseau’s Julie, ou la nouvelle Héloïse (1761), and Choderlos de Laclos’ Les Liaisons dangereuses (1782). These epistolary novels constitute the main frame of the epistolary genre. Then, confronted with the epistolary predecessors, what prompts Derrida to write the epistolary text of “Envois” in the twentieth century, in which the telecommunications networks appear to overpower the importance of writing letters or post cards? What is the difference between “Envois” and the previous epistolary novels? On this issue, I want to argue in my thesis that Derrida’s “Envois” is intended to deconstruct the epistolary genre by paradoxically valorizing and substituting the postal effects of the post card for the generic identities of epistolary novels. The postal effects of the post card primarily invoke the impossibility of the predestined destination and intended receiver. The post card always implies the possibilities of interception and multiple receivers in the process of transmission. In this way, the post card disrupts the linear path confined in the hierarchical opposites between the original departure point and the final destination. This disruption facilitates Derrida’s attempt to deconstruct the construction of knowledge in the Western intellectual genealogy. The postal effects are applied to destabilize the linear succession of intellectual inheritance originated since Socrates. The inheritance is transmitted by multiple readers and hence susceptible to a myriad of interpretations. The binary logic between the original and the derivative, the present and the absent, and the public and the private is undermined in the multiplicity. The form of the post card, which is “half-private half public” (Post Card 62), oscillates in the indeterminacy of multiplicity. The postal effects of indeterminacy aroused in the post card are what Derrida emphasizes in “Envois.” As a result, even in the age replete with the telecommunications networks, Derrida still proposes the possibility of “the unlimited empire of a postcardization” (104). The postcardization does not mean to precipitate the “decadence” (104) of epistolary writing, but it aims to disseminate and recurrently stimulate the possibility of difference. In my thesis, I propose three perspectives to illuminate the epistolarity of the post card: detour, deferral, and différance. They are interwoven in my discussion of Derrida’s “Envois.” In chapter one “Epistolary Genre: Valorization and Substitution,” I propound a paradox that “Envois” simultaneously valorizes and substitutes for the epistolary genre. “Envois” therefore puts the epistolary genre in a detour of difference and defers its determination of identity. In chapter two “Epistolary Otherness: The Object of Desire,” I apply Jacques Lacan’s concept of the object of desire to elucidate the self-construction in the act of writing post cards. The sender’s self-identity is continually deferred in a detour, because s/he requires the absent receiver to evoke his/her difference. In chapter three “Epistolary Writing: Paradox of the Supplement,” I relate Derrida’s concept of the supplement to the paradoxical effects of addition and substitution in epistolary writing. Writing post cards adds to a compensation of the distance, but it also simultaneously substitutes the distance for the final encounter with the absent receiver. In chapter four “Epistolary Exchange: Play of the Fort Da,” I compare Sigmund Freud’s, Lacan’s, and Derrida’s different observations on the fort da game. The fort da movements of epistolary exchanges are interminably deferred in a detour, when multiple readers in the process of transmission are taken into consideration. The multiple readers replenish possibilities of differences with a variety of interpretations. In chapter five “Epistolary Inheritance: Post Card of Intellectual Legacy,” I explore Derrida’s speculations on the scene of reversal copied on the post cards collected in “Envois.” The scene of reversal between Socrates and Plato is speculated to imply possible detours away from the linear succession of genealogy. Different representations of knowledge persistently defer the final determinate meaning of the intellectual inheritance.

有鑑於近年台灣出現一系列以小品模式呈現之同志題材電影，且能與社會情境多方呼應，本研究遂擬由類型（genre）的觀點，借用「青春系列」之名，探討此一類型究竟呈現出哪些樣貌特徵，如何演變？是否具備做為一種電影類型的要素？而其特徵與演變反映、關聯到什麼樣的社會文化等情境因素？類型特徵與社會脈絡間如何互動？是否呼應吻合，抑或有落差不一之處，又各如何詮釋？ 在研究方法上，本研究挪用J. Swales「文本∕情境導向類型分析程序」(text-driven/situation-driven procedure for genre analysis )，試圖結合二者，除選定《藍色大門》、《十七歲的天空》、《盛夏光年》以及《渺渺》等四部範例文本，整理其「內容」、「風格」、「結構」與「目的」外，也指認出特定傳播情境，探討此類型的生成因素，以期能夠在雙向考量下，呈現出文本與情境間相互作用的連結關係，亦即類型的動態本質。 研究析論結果確實指向類型與情境脈絡之間的緊密構連。「青春系列」同時受到外來作品在概念手法上啟迪，又承繼著在地同類作品的核心傳統主題，成就出兼容並蓄的特殊風貌。而台灣社會對於同志議題在公私領域不同層次上，既開放肯定又有所保留的態度，也恰能解釋類型社群基礎。另外此類型於台灣電影工業低潮應運而生，低迷的產業活動召喚了像「青春系列」這樣具有彈性、定位明確並可預期回收成本的小品，系列作品的成功也帶動整體產業谷底反彈，更反映出台灣電影工業發展方向轉變的時代意義。 / In view of a series of Taiwan’s gay themed films appearing in a sketch mode in recent years and their topic have always responded to the social contexts in multiple ways. Thus, this study adopted the point of view of “genre”, borrowed the name of “Young Line”, and then to explore what appearances and characteristics this kind of films had presented, how they would change in the future, and whether they possessed those elements to be a genre of films. Moreover, what kind of contextual factors such as social cultures that the characteristics and changes of those films reflected and had been related to? How did the characteristics of this genre interact with the social contexts? Whether they responded to the coincidence or there were differences between each other? Then how to interpret each kind of these situations? This study adopted J. Swales’ “text-driven/situation-driven procedure for genre analysis” as the research methods, and attempted to combine these two procedures together. “Blue Gate Crossing”, “17 Formula”, “Eternal Summer”, and “Miao Miao”, these four films were selected to be the exemplary texts and to systemize their “content”, “style”, “structure”, and “purpose”. In addition, particular communication situations were also identified to probe into the generating factors of this genre of films. With the two-way considerations, this study expected to present the relational connections which interacted between the texts and the situations, and that is the dynamic nature of the genre. According to the results of this study, there was a tight articulation between the genre and the situational contexts for a certainty. “Young Line” series are inspired by the concepts and techniques of foreign films; at the same time, they also inherit the core traditional themes of local films of the same genre. Therefore, the series have achieved a particular inclusive style. With regard to the gay issues, Taiwan society has possessed a positive but also reserved attitude toward the public and private levels, and this can precisely explain the community base of this genre. Furthermore, this genre of films came with the tide of fashion when Taiwan’s film industry was at low ebb. The depressed industrial activities elicited those sketch films which were flexible, clear-targeted, and expected to have cost recovery such as “Young Line”. The success of this series was one of the forces which leaded the whole industry rebound from the bottom, and this reflected the significance of the time of the change of Taiwan’s film industry’s development direction.

班雅明在拱廊計畫中專章探討布爾喬亞室內空間概念的思想理論啟發了本論文。在資本主義盛行工業革命興起的十九世紀，室內空間成為中產階級儲存財產、保障私人安全舒適、以及抵禦外在威脅的所在，然而班雅明不僅僅質疑這種布爾喬亞室內空間的穩固，他更直接點出中產階級表面上寄託於室內空間，潛意識卻也不信任其牢靠。而我將延續班雅明的論點解讀十九世紀偵探文類中屢屢發生的室內犯罪，這樣的劇情設計事實上就是投射了偵探文類中產階級讀者對於室內空間潛在的焦慮。本論文以班雅明為基礎，使用艾徳加．愛倫坡和柯南道爾的偵探短篇小說，探討這些作品如何呈現布爾喬亞室內空間，作者如何回應室內空間的議題，以及偵探在布爾喬亞室內空間中扮演什麼樣的角色，同時從十九世紀初的艾倫波到十九世紀末的柯南道爾，我也欲探討布爾喬亞室內空間從都市化初期到都市化末期中產階級移往郊區定居的過程中所發生的轉變。本文認為，愛倫坡和柯南道爾的偵探故事中藉由顯示室內空間的危險與不穩定挑戰了傳統的布爾橋亞室內空間觀。 / Walter Benjamin’s conceptualization of the bourgeois interior inspired this dissertation. As the nineteenth century witnessed capitalism and Industrial Revolution, the domestic interior served the bourgeoisie to store property, ensure comfort and security, and withstand the outdoor dangers. However, Benjamin not only questions the impregnability of this bourgeois interior but also directly points out the bourgeoisie’s unconscious anxiety over the interior despite their conscious confidence in it. Using Benjamin’s theory as my critical framework, I analyze the frequent occurrences of domestic crimes in the nineteenth-century detective genre. This formula, I argue, projects its middle-class readers’ anxiety over the domestic space as the domestic space is repeatedly invaded and disturbed by crimes. Based on Benjamin’s theory, I use Edgar Allen Poe and Conan Doyle’s detective stories to explore how these works depict the bourgeois interior, how their authors address the issues about the bourgeois interior, and what role the detective plays, a protector or a transgressor, when involved into the invasions of the bourgeois interior. From Poe at the beginning of the nineteenth century to Doyle at the end, I also examine the changes of the bourgeois interior during the process of the middle class’ migration from the city center to suburbs. I argue that both Poe’s and Doyle’s detective stories challenges the ideology of bourgeois spatiality by showing the interior is unsafe and unstable against the bourgeoisie’s imagination.

本論文以「南朝文學集團詩賦書寫策略之考察」為題，旨在於以「南朝文學集團」為考察的對象，以「詩賦」為考察的兩種主要文類，以「書寫策略」為考察的切入點，運用傳統的文本分析，結合新興的文學理論與視角，進行作品、作者、讀者、文學理論等全面性的考察。 「南朝文學」在文學史評價中呈現劇烈的起伏，一方面後代作家以其為模擬的對象，肯定美學價值，但也得到「餖飣」、「輕艷」或「流於光景」等負面評價；至於南朝的「文學集團」領袖與成員的「同題共作」、「應詔」、「贈酬」等作品，更常被視為千篇一律、了無新意。也因此，本文也特別重視這些於貴遊活動時的同題共作、或遊戲酬和的詩賦作品，希望藉由更細膩的閱讀與歸納，給予其新的意義與論述。 「詩」與「賦」可以說是中國古典文類中，最具文學色彩的兩種文類。曹丕《典論‧論文》說「詩賦欲麗」，很明確地將「詩賦」與其他文類區分開來。本文選擇「詩」與「賦」作為討論主軸，而以文序、書簡、銘箋等作為輔助，也正是考量文學性這個條件。如果更廣義來說，「詩」與「賦」不僅具有文類的意義，它們也表述文學態度、風格與傾向。「詩」表示了端莊雅正，「賦」指向了鋪排藻飾；「詩」代表「復古」，「賦」傾向「新變」。如果從這個角度來說，我認為中國文學史也就處於「詩化」與「賦化」的拉鋸。 「書寫策略」是一個較廣義的概念，它既用來指稱作者的創作心態與策略，也能拿來說一篇作品的修辭、語言策略。為了避免概念失焦，本文將書寫策略的討論聚焦於三個面向，分別是「內容設定」、「形式選擇」、「風格(論)生成」。創作者如何設定一篇作品的「內容」(題目、題材、典故、語言素材)？如何選擇適合承載的「形式」(詩、賦或是其他文類)？以及作品如何呈現「風格」、而「風格」與「風格論」又是如何被觀察、進而被建構？這背後都有所策略性的運用。從內容，我們發現這些同題材作品內在的差異；從形式，我們發現「詩」、「賦」這兩種文類的邊界、功能以及滑動、拉鋸的痕跡；從風格，我們發現「風格論」本身被建構、被想像的後設可能。 「文學集團」是研究南北朝時期文學的重要考察對象，只是過去從此概念著手的研究成果並不多；「書寫策略」是文學研究常被運用的概念，只是定義太過廣泛。本文一方面期望能將「書寫策略」作為實際的考察方法，二方面則希望給予「文學集團」這個特殊而被忽略的現象——更多的關注與論述。這就是本論文誕生的原因。