指導教授：梅家玲臺灣大學：中國文學研究所藤奈津紀Fuji, NatsukiNatsukiFuji2014-11-252018-05-292014-11-252018-05-292014http://ntur.lib.ntu.edu.tw//handle/246246/261051「極短篇」為比短篇小說更短的文類，可見於世界各地。在台灣，60年代首次以「小小說」之名出現，到了1978年，《聯合報》副刊正式命名「極短篇」開闢專欄，以推動新文類。聯副「極短篇」專欄的作品，後來從1979年到1995年，以《極短篇》為名集結出版，共有十集。 　　「意外」書寫為「極短篇」的特色之一，作者在情節、人物、場景等上，以各種技巧設計各式各樣的「意外」。但其實，台灣極短篇最重視的並不是「意外」，而是作品含蘊的「文學性」。作品蘊釀的諸種情感、啟示、讀後的餘味，才是台灣極短篇所重視的要素。值得注意的是，雖然「意外」並不是極短篇的必要條件，但「意外」除了使讀者感到驚奇、衝擊感之外，亦有形成或增加作品「文學性」的作用。「意外」與「文學性」結合的作品，透過「意外」產生人生中的各種情理，使作品的內涵更豐富、也更深厚，形成印象深刻的內容。 　　本文緒論首先說明研究動機、目的、方法、對象，並對先行研究做一整理。第二章對世界及台灣極短篇的發展概況、《聯合報》副刊「極短篇」專欄、聯經出版十冊《極短篇》的內容做一整理，歸納其特色，並簡述歷來對極短篇「意外」要素的看法。第三、四章從「情節」、「人物」、「場景」的角度分析形成「意外」的技法，整理諸種較常見的「意外」書寫技巧。第五章以台灣極短篇所重視的「文學性」為出發點，探析「意外」對作品的作用，指出「意外」與「文學性」的關聯性。第六章為結論，除本論文的總結之外，簡述極短篇對外界的影響、讀者反應及未來展望。Ji duan pian (極短篇: literally “very short work,” is often translated in English as “flash fiction,” “short short story,” or “micro fiction”) refers to a genre of fiction shorter in length than the traditional short story; it is common throughout the world. The term xiao xiaoshuo (小小說: literally “short short story”) first appeared in Taiwan in the 1960s. In 1978 the Lianhebao Fukan (《聯合報》副刊: “United Daily News Supplement”) officially used the term ji duan pian in establishing a special column to promote this new genre of fiction. Between 1979 and 1995, Linking Publishing Company published a total of ten fiction series in the Lianhebao Fukan’s ji duan pian column. Yi wai (意外：“the unexpected,” “by accident,” or “surprise”) is one of characteristics of the ji duan pian genre. The writer can insert many forms of yi wai into his writing’s plots, characters, and settings. However, the most important element of Taiwanese ji duan pian is not yi wai but wenxue xing (文學性：“literary quality” or “literariness”), that is to say, the emotions, enlightenments, and the imagery that permeate the writing and linger on after reading. It is worth noting that although it is not a necessary element of the ji duan pian genre, yi wai, in addition to eliciting a surprised feeling in the reader, can also form or increase the wenxue xing of a work. Writings that combine yi wai and wenxue xing produce various types of reason and emotion, crafting a striking story imbued with richer and deeper meaning. Chapter one explains the motives, objects, methods, and subjects of research while also establishing the order of the preceding chapters. Chapter two summarizes the history the ji duan pian genre in Taiwan and the world, the Lianhebao Fukan''s ji duan pian column, the Linking Publishing Company’s ji duan pian series, and views on the main elements of yi wai. Chapter three and four analyze yi wai from the angle of plot, character, and setting. Chapter five uses wenxue xing, an important element in the Taiwanese ji duan pian genre, as a starting point in analyzing the effects of yi wai and pointing out the connection between yi wai and wenxue xing. Chapter six, in addition to concluding this paper’s research, will also briefly summarize the influences of ji duan pian on the outside world, reader’s responses, and thoughts on future development.口試委員會審定書.....................................................................................................ⅰ 中文摘要.....................................................................................................................ⅱ 英文摘要.....................................................................................................................ⅲ 第一章 緒論...............................................................................................................1 第一節 研究動機與目的.....................................................................................2 第二節 文獻探討.................................................................................................5 第三節 研究範圍與方法.....................................................................................8 第二章 極短篇的歷史發展及其特色.....................................................................11 第一節 世界極短篇的發展概況.......................................................................11 第二節 世界極短篇的發展異同.......................................................................31 第三節 聯副「極短篇」與十冊《極短篇》...................................................33 第四節 極短篇對「意外」的定義與特色.......................................................43 第三章 情節設計的「意外」.................................................................................47 　　第一節 解開真相...............................................................................................48 　　第二節 前後對比...............................................................................................58 　　第三節 轉折變化...............................................................................................63 第四節 無結局──迷面故事（riddle story）.................................................69 第四章 「意外」設計中的人物與場景.................................................................72 第一節 形成「意外」的身分切換...................................................................72 第二節 形成「意外」的場景切換...................................................................81 第三節 形成「意外」的人物語言...................................................................85 第五章 極短篇的「意外」與「文學性」.............................................................98 第一節 台日極短篇中的「意外」與「文學性」...........................................101 第二節 「意外」對「文學性」的影響..........................................................113 第六章 結語...........................................................................................................124 第一節 極短篇的「意外」書寫.....................................................................124 第二節 極短篇的影響.....................................................................................125 第三節 極短篇的讀者反應與未來展望.........................................................127 參考文獻...................................................................................................................1291638016 bytesapplication/pdf論文公開時間：2014/03/08論文使用權限：同意有償授權(權利金給回饋學校)極短篇意外文學性聯合報副刊聯經《極短篇》thesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/261051/1/ntu-103-R99121024-1.pdf