"Yuewang Goujian shijia," the forty-first chapter of the Shiji, is one of the most important sources for the history of the ancient state of Yue. However, this chapter has not received serious scholarly examination in the West. Unlike those chapters of the Shiji which have been translated in the Shiji translation project headed by William Nienhauser, "Yuewang Goujian shijia" has not yet been translated into English. This thesis provides an annotated translation of the "Yuewang Goujian shijia." In addition, it has been argued that the history of the Spring and Autumn period in the Shiji is a compilation of earlier sources. The introduction to the translation will specifically look at the relationship of the "Yuewang Goujian shijia" to one of its proposed sources, the "Yueyu xia," which is the twenty-first chapter of the Guoyu. In comparing these two texts, it will be shown that dependence cannot be definitely demonstrated.

說唐家將小說包括《說唐後傳》、《說唐三傳》、《反唐演義》與《粉妝樓》四部小說。系列小說前承說唐系列小說，書寫題材由「君王」轉向「家將」，呈現了講史小說發展脈絡本身由「國」而「家」主題更迭的動態移轉過程。又說唐家將小說之題材於史有據，再依民間想像改編創想，承衍脈絡淵遠流長、橫跨古今，其間的家／國想像或合乎正統、或顛覆遊戲，形成官／民、虛／實等等多元對話空間。 論文第二章先討論「前之所承」，梳理小說成書之前，由官方史傳而至民間之平話、詞話、雜劇、傳奇等作品。民間說唱曲藝受官方史傳影響甚深，保持了系列小說國家宏偉敘述的「講史」特色；戲曲搬演深入民間，促成了「離家／榮歸」的情節結構，講史系統與民間戲曲的特色雜揉、交融於小說文本之中，形成說唐家將小說的獨特體質。 論文之第三、第四章進入核心論題，分從「情感關係」與「空間配置」探討小說文本之家／國想像，呼應影響家／國認同之血緣與地緣概念。第三章剖析小說中親子代際、男女性別與敵我陣營關係，發現看似穩固的倫理規範之下，其實隱藏了諸多不盡平靜的衝突與角力。第四章探察系列小說「家、國間遭到架空、戰場空間卻誇張膨脹」的空間配置情形。發現「寒窯」等破碎的家屋意象充斥文本，國朝空間更遭擠壓，只枯澀地擔負故事之間的串場任務；倒是邊境戰場含納各種家、國互動的情感因子，成為民間自掌定義、恣意戲耍的狂歡空間。 第五章再論「後之所衍」，以「個案研究」方式觀察臺灣戒嚴時期由楊麗花領銜主演之電視歌仔戲《薛剛》、二十一世紀初國光劇團創作之新編京劇《新編樊梨花》與本論文寫作當下於東森電視臺上映之電視連續劇《薛仁貴傳奇》三種現代承衍作品，探察系列小說進入現代之後，如何透過情節改編新詮改造家／國想像內涵，使更切合現代人的生命處境，故事持續傳講搬演。 第六章為總結，提出「完成承衍脈絡探討」、「深化家／國想像內涵」與「重估系列小說於小說發展史脈絡中的定位」等三項研究成果。 / The “Novels about family of warriors in Tang dynasty”(說唐家將小說) include “Shou Tang Hou Zhuan”(說唐後傳), ”Shuo Tang San Zhuan”(說唐三傳), “Fan Tang Yian Yi”(反唐演義), “Fen Zhuang Lou”(粉妝樓). Although those novels were combined with folk tales, they were also based on history facts. Thus, there are some opposite views in those novels, such as official vision verses folk culture, reality faces unreality. They inherit the “Novels about Tang dynasty”(說唐系列小說), but the subject matter transforms from the emperor to the family warriors, which reflects the theme transformation flow in history-based-novels. It leaves state and get closer to home. Related texts before the novels have been composed were collated in chapter 2. We can see those stories appeared in folk art “Quyi” (曲藝) were deeply effected by official history story. History vision still remains. At the same time, some Chinese operas have formed the basic structure of these novels, which is “leaving family/ coming home proudly”. Chinese opera and Quyi are two important sources of those novels we referred. Relationship and space arrangement are discussed in chapter 3 and chapter 4 to analyze the imagination of state and of family in the novels. In the study of chapter 3, it seems that conflicts in the novels happen under a stable requirement of ethic. However, code of ethics are shown only in appearance. In chapter 4, we will find out that war spaces are almost overstated, while space of home and state are ignored. Three case studies are put in Chapter 5. They have one thing in common: they are three modern works of art which inherits the series of novels. In Chapter 5, the study focus on how those novels has been revised to adapt nowadays culture. The essay is trying to achieve the following statement from the ” Novels of family warriors in Tang Dynasty”(說唐家將小說): further study to the heritage of tradition Chinese novels; further understanding of the imagination of family and state; revaluate the position of these novels in the history of Chinese traditional novels.