This thesis will explore the images of nüxia or “female knight-errant” in Jin Yong’s novels: The Eagle-Shooting Heroes, the Giant Eagle and Its Companion, and the Heaven Sword and the Dragon Saber. The depiction of nüxia underwent a significant development from the classical to modern literature of knight-errantry-related genre. Jin Yong, the master of wuxia fiction, has created many remarkable nüxia that distinguishes his nüxia images from the literary conventions. To examine Jin Yong’s uniqueness in portraying nüxia, this thesis will look into the history of nüxia-related works of poetry and classical literature, and analyze Jin Yong’s nüxia in the context of the literary history. / Graduate

This thesis uses the concept of righteous justice found within The Water Margin and the legends of Robin Hood to analyze conflicts of differing ideologies of justice and morality between the ruling class and that of the common people. From these conflicts this thesis further expounds the idea of righteous justice on three points: 1) Examines political themes and portrayals of righteous justice within the content of The Water Margin and the legends of Robin Hood; 2) Performs a character analysis on how characters identify with the authority systems of both natural law and king¡¦s law based upon the western and Chinese ideals of righteous and public justice; 3) Uses the Marxist theory of history to discuss the formation of ideologies of the common people and how they identify with the concept of righteous justice. Further, this thesis examines the way in which the heroes of Mt. Liang and those of Greenwood forest are viewed by the different classes, and from this examination the manner in which the phenomenon of righteous justice becomes viewed as a legitimate form of justice representing the common people. From these points, this thesis discusses the ways in which righteous justice found among both western and Chinese legends creates moral exceptions within a society.

本論文屬於質的研究，以北京中華書局一九九○年二十五冊《全唐詩》版本為範圍，共選出二百零七首游俠詩，並旁及使用游俠之典及具俠氣特質的詩歌。一般俠義文學研究大多停留在史傳、小說、戲曲，對於詩歌研究卻一直乏人問津。本論文從游俠詩最興盛的唐代入手，企圖為唐詩與俠義文學研究作一補白，也為認識唐人任俠提供一扇門徑。全文凡十七萬餘言，除第一章〈緒論〉，第六章〈結論〉外，正文共分四章：第二章「游俠身分探討」，以唐代之前游俠形象變遷為範圍，以歷史縱向為線，為唐代游俠詩歌中游俠形象，何以形成古代游俠（指唐代之前）的綜合體之說鋪路。依「游俠的原始形象」、「先秦的游俠」、「兩漢的豪俠」、「魏晉六朝的游俠形態」四個時代斷層分別介紹之。第三章「唐代游俠詩歌之緣起」中，則就游俠詩歌何以在唐代綻放光芒之因素，分外緣、內緣兩方面探討之。外緣部分就其社會背景提供游俠滋生溫床為主，內緣部分則針對詩人俠氣的自然流露、游俠樂府傳統繼承、文風轉變的影響氣與邊塞詩風的刺激等文學內在因素討論之。第四章「唐代游俠詩歌之分期」，則依初、盛、中、晚四個階段，將游俠詩發展作一、二、三、四期介紹。使游俠詩歌在唐代發展呈現「史」的脈絡。第五章「唐代游俠詩歌之綜合分析」，則從「寫作體裁」、「主題特色」、「物象運用」為游俠詩研究作橫向分析的補充，目地在使唐代游俠詩歌之藝術價值的獨特性更為突顯，不只停留在其內容轉變、社會意義的研究。企圖使本論文呈現一個「面」的全方位認知系統。整體而言，自曹植寫〈白馬篇〉、〈結客篇〉之後，文人用詩歌寫游俠已成一文學系統。唐代除在前人基礎上發揚光大外，舊題新作、新題新作的游俠詩歌對之後俠義文學寫作基型，擴展俠義文學視野，皆具有相當重要的領導地位。

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This thesis examines three aspects of the commentary edition of the Chinese vernacular novel Shuihu Zhuan written by Ming Dynasty literatus Jin Shengtan (ca. 1610-1661), analyzing three of the most innovative features that the commentary brings to our understanding of the novel, and what Jin Shengtan desired for the reader of his commentary to understand. The first chapter looks at a series of techniques that Jin outlines in the preliminary "How to Read" section of the commentary (dufa), where the techniques are shown to be very similar in focus and style to the literary theory of narratology as written about by Gerard Genette through a sample comparison of five of the techniques with varying characteristics of narratology. The second chapter looks at how Jin Shengtan constructs the image of the author, Shi Nai'an, through both his interlineal commentary (jiapi) and his preliminary chapter commentary (zongpi). We see through this analysis that Jin Shengtan has gone against the tradition of shu er bu zuo -- a Confucian tradition that relegates the position of the author to the background of his work -- and has brought the author into a position of prominence through his construction of the image of an unparalleled genius. The third and final chapter looks at the idea of "heroism" (xia) and how Jin's commentary reworks the way many of the primary characters of the novel and their heroic actions are seen and interpreted, focusing especially on the characters of Wu Song, Lu Zhishen, Song Jiang and Li Kui, where we see that Jin's commentary focuses on parallels between the heroes such as Wu Song and Lu Zhishen in the first portion of the novel, while switching to a more juxtapositional perspective in the latter half of the novel through Song Jiang and Li Kui. / Graduate / 0305 / 0332 / mblsm00@gmail.com