每一門學問，在各個不同時期，都會有其特別關注的問題焦點，以及其 解決問題的策略;中國文學之研究，自亦不能例外，而六朝志怪小說這一特殊 文類，在此一潮流之中，亦有其特別關照的問題。 自從1920年代魯迅《中國小說史略》第五、六兩篇為「六朝之鬼神志怪 書」定調以來，許久一段時間之研究，均未能跳脫魯迅之說，臺灣地區早期之 研究，大抵亦是如此。其後，相關書籍之校注及研究成果相繼面世，眾人所關 注者轉趨細微，不再以「宏觀」、「概論」方式論述其事，而是採取「微觀」、 「專論」的策略，試圖深入討論，建構出完整之說。此一學風之轉變，自與內、 外因素相關，有其不得不變之由，本文擬就此一問題進行反思，試圖從觀察其 演化脈絡當中，尋繹出其發展軌跡，及其所以生變之緣由，以為學術史研究之 參照。

Every academic discipline has its specific problematiques and strategies in solving concerned problems. Studies of Chinese literature have no exception. Being one of the genres in Chinese literature, Six Dynasties supernatural fiction also has its own development in this regard. Ever since Lun Xun set up the specific genre for Six Dynasties fiction as work recording supernatural happenings in A Short History of Classical Chinese Literature, most of the researches seem to have no way of escaping Lu Xun’s dominating influence. Researches conducted in this particular field in Taiwan basically follow the same track. However, as more and more annotations and analysis come out, the resulting researches tend to move from general survey and macro outlining to specific investigations and micro perspective, attempting to dig deep into the intrinsic aspects and to achieve a more rounded picture. This turn from outer to inner certainly has its own generic and historical factors, and is inevitable. This study will address the related issues in this development, and try to contextualize the whole development as well as provide a plausible explanation, hoping to contribute to our further understanding of this particular change in Six Dynasties fiction study.

六朝小說;志怪;小說

Six Dynasties Fiction;Chih-kuai;fiction