本文自敘事學觀點討論唐代「豪俠」小說之時間結構之問題。就其時間結構之文本現象言，以「零度」型式者佔最大比例，「逆時序」者則反之。「零度」型式中，又可分為時間距離短、歷時性短者；及時間距離長短兼具、但歷時性長者。「逆時序」型式則多表現為時間距離長、且歷時性長者。 而探索時間結構之意義，尚須對應情節結構並觀。「零度」型式所負載者分別為「豪義」及「逞技」二類情節結構；「逆時序」型式者則負載以「報恩」及「復仇」為基調所謂「任務」類之情節結構。進一步比對各情節中俠人物的性別，又可發現「豪義」及「逞技」二類情節結構以男俠為主，「任務」類的情節中，則幾乎是女俠的天下。 男女俠性別的差異對應著時間結構的「零度」或「逆時序」型式、及所置身的時間長度的差別，顯示了敘事者對性別符號不同定位的思考；而性別的分野又呼應著與時間結構相應的情節結構，則顯示了敘事者對於男女俠不同性別身分特質及存在意義的看法。 透過上述分析，可知唐代「豪俠」小說「時間結構」，就其表層結構言，乃敘事者作為承載小說情節結構的載體；就其深層結構言，則體現了「豪俠」小說作為一種性別政治的男性書寫特質。

The “temporal strcture” of Tang-dynasty's knight-errand novels was analyzed from a narrative viewpoint in this essay. After analyzing these text phenomena of temporal structure, more novels present the mode of “degree zero”, and less present the mode of “anti-chronicle”. Furthermore, each mode includes some particular combinations of time-interval ad diachronic. As to exploring the meaning of temporal structure, the plot structure of knight-errand novels were also correspondingly considered. The mode of “degree zero” usually correlates two kinds of plot structure: “chivalry” and “flaunt”, which main roles are always male knights. The mode of “anti-chronicle” usually correlates two kinds of plot structure: “gratitude” and “revenge”, which main roles are always female knights. The cross contrasts between the sexuality of knights and the modes of temporal structure just show the narrator's ideology about the gender sign of knights. According to above analyses, it is concluded that the “S-structure” of the temporal structure of Tang-dynasty's knight-errand novels were mainly treated as plot structure's carrier: however, the “D-structure” were only performed as sexual politics of masculine writing.

豪俠、時間、敘視、零度、逆時序、性別

Knight, Temporal, Narrative, Degree zero, Anti-chronicle, Gender