《紅樓夢》自清代作者稿本、脂硯齋評語以來迄今，無論古、今的中國讀者，都承認它是一本「小說」、屬於「小說」文類，也就是說他們都以自己的「小說」概念、「小說」理論，從事《紅樓夢》批評。可是，從近代日人以中國傳統的「小說」一詞，翻譯西方傳入的fiction（虛構的敍事文學）一詞後，從清代開始迄今，這些《紅樓夢》讀者認定的「小說」概念，就有古代中國傳統小說「遊戲談柄、教化人心、闡述人生體驗」概念，與現代西方「小說」（novel、fiction）概念，名同而實異的兩個不同系統。這兩個系統互相交涉、對話，形成了龐大的紅學論爭與學說。是以，當代紅學小說概念研究，當然避不開「小說」（novel、fiction）古、今義的演變、發展，與古、今義之間過渡與轉化的探討。因為各時期相關的紅學資料浩瀚，為了便於討論的展開，本文借助余英時建立的紅學典範系譜，針對《紅樓夢》作者、脂評、索隱派紅學、自傳派紅學、余英時「新典範」紅學，這些「小說」概念進行研究，探討古代中國傳統「小說」概念與西方「小說」概念，互相匯通、遞嬗的影響過程。

Regarded as books containing anecdotes in ancient China, the concept of novel can be deemed the fictitious literary genre. Comparing with modern western “fiction”, it belongs to different systematic concept. The study of “Redology” is always a controversial issue. That’s why Yu Ying-shih constructed “new paradigm” of Redology, attempting to solve problems and set up standard for Redology through the analysis of academic History. Although his ambition failed, pedigree he constructed helps to highlight the characteristics, such as author ’s historical discourse and situation reproduction of reality or simulation in author ’s works. Regardless of red-inked commentaries, figurist Redology, autobiographical Redology, or Yu Ying-shih’s New Paradigm, the research in fact shows that they all come down in one continuous line, after converting and completing the integration of ancient Chinese“novel” concept with western “fiction” tradition.

小說;紅樓夢;紅學;余英時

Fiction; Novel; Dream of the Red Chamber; Redology; Yu Ying-shih