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標題: | 跨國文本脈絡下的臺灣漢文犯罪小說研究(1895-1945) The Research on Taiwan’s Han-language Crime Fiction Under the Global Context (1895-1945) |
作者: | Pin-Han Wang 王品涵 |
指導教授: | 黃美娥(Me-E Huang) |
關鍵字: | 日治時期,犯罪小說,偵探小說,通俗小說,漢文, Japanese colonial period,crime fiction,detective fiction,popular fiction,Han-wen, |
出版年 : | 2010 |
學位: | 碩士 |
摘要: | 本論文主要從臺灣小說類型論的角度出發,全文研究目的,其一是對學界與一般愛好者介紹過去鮮為人知的日治時期臺灣犯罪小說的存在及其意義,其二是將此時期的犯罪小說發展脈絡梳理清楚,以利後續臺灣通俗小說史的建構與討論。而本論文的主要貢獻包括:(一)釐清日治時期臺灣犯罪小說的分期發展狀態;(二)找出日治時期部份犯罪小說的敘事來源;(三)嘗試提出臺灣犯罪小說最終所以發展挫敗的原因。
論文計分五章,第一章緒論旨於說明研究材料來源與小說文本選擇的判定、「犯罪小說」一詞的使用及其義界,以及對先行研究的回顧與對話。第二章勾勒犯罪小說的生成場域與跨國發展脈絡,並以歐美、日本與中國犯罪小說創作情形做為論述參照,而後指出臺灣本地之現象。第三章綜述臺灣漢語犯罪小說的寫作進程與敘事實踐情況,文中以明治、大正、昭和三個年代做為分期,並列舉重要作家或具代表性意義之作品加以討論,進而指出三階段之創作變化狀況,及其與跨國文本之間的關連性。第四章針對犯罪小說的文學創作義涵提出探討,包括跨國文本之間的翻譯問題、偵探形象的變遷與犯罪小說中所展現的有關科技、女性、兒童與現代性書寫間的關係等,最後總歸於臺灣犯罪小說史若干創作美學問題的剖析。大抵,在比較歐美、日本、中國之創作現象後,可看到臺灣犯罪小說的書寫,隱然有著一條軌跡線,大致上是循著「混雜類型-偏向解謎趣味的嚴謹推理-偏向社會寫實的犯罪書寫」這樣的路線前進著。 而透過如上的觀察,並參酌世界犯罪小說發展史,本論文認為日治時期臺灣犯罪小說的表現,應是處於由前偵探小說過渡到偵探小說的期間。無論新文人或舊文人,臺灣作家對小說中現代啟蒙性的探索興趣仍舊超過對文類本身,加上1937年後戰爭的發生,導致創作環境之不利,以及戰後政權轉移等因素,遂使臺灣犯罪小說的轉型與深化愈加艱困,也就無法出現一個如同愛倫坡或江戶川亂步般,能夠成功確立臺灣偵探小說形式的奠基者,於是最終更形成了當代本地愛好者對國外作家、作品知之甚深,卻毫不知悉日治時期臺灣曾有犯罪小說的怪異結果。 This thesis aims to introduce these documents of Han-language crime fiction of Taiwan during colonial period and to assess the different periods of its development, which may benefit the following discussion. The main contributions of this thesis include: 1. assessing divisions of Han-language crime fiction of Taiwan into periods; 2. tracing back to some sources of Han-language crime fiction during the colonial period; 3. bringing up the reasons resulting in the failure of crime fiction during the colonial period. The first chapter, as the preface, mainly discusses the choosing of the texts and the definition of certain technical terms, and also tries to trace the preceding research achievements. The second chapter discusses the genetic field and context of crime fiction, in contrast with the development of crime fiction in other countries. The third chapter discussed the whole developing process of Taiwan’s Han-language crime fiction. This chapter not only assesses the division of period but also bring up three dimensions for discussion. At the same time, representative authors of different periods are also introduced in this chapter. The forth chapter tries to discuss the cultural connotation and significance of these texts of crime fiction, including the problem of translation, transferring of the image of detective and the modernity expressed in crime fiction. In the end of this chapter, the discussion returns to the developing history of crime fiction. After examining the developments of crime fiction in the West, Japan, China and Taiwan, a basically similar developing trajectory could be observed: mixing genres—classical detective fictions—hard-boiled and social crime writings. Through this trajectory reference, this thesis defines Taiwan’s crime fiction during the colonial period as a mixture of pre-detective fiction and detective fiction. After all, both of the “new” and “old” literati of Taiwan were still interested in modernity much more than genres. The policy of Japan, the burst of the war and the transfer of political power after war all result in difficult environment for developing crime fiction. The long-term absence of a decisive establisher of Taiwan’s crime fiction, as Edgar Allen Poe of the West and Edogawa Ranpo of Japan, also leads to the failure of this genre. Finally, even Taiwan’s enthusiasts of crime fiction have no idea that Taiwan’s crime fiction had once developed in Japanese colonial period. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/10359 |
全文授權: | 同意授權(全球公開) |
顯示於系所單位: | 臺灣文學研究所 |
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