Journal of Sinological Studies 漢學研究學刊

专辑编辑语

SIEW KIAN ONG — 2026-03-27

作为古代小说研究者，我十分荣幸的可以为《汉学》组专辑稿件，此次的专辑
以“古代叙事研究”为主题，汇集多元研究视角与方法，呈现了古代叙事在不同文
本与语境中的生成机制与表现特征。古代叙事研究以中国传统文学中的叙事实践为
核心，关注史传、志怪、传奇、小说与戏曲等文本形态在叙事结构、人物建构及文
化意涵上的表现方式。此类研究不仅有助于深化对古代文学文体特征的认识，也能
进一步揭示叙事文本在历史记忆、价值观念与文化想象中的功能。尤其是中国古代
小说与戏曲蕴含极为丰富的文化与文献价值，既反映社会现实，亦保存思想、制度
与民间生活的重要线索，其学术意义不容忽视。本期内容分为“专辑”与“一般论
文”两大部分。“专辑”以古代叙事与文学研究为核心，收录多篇具有理论深度与
文本细读意识的研究成果。付善明〈唐传奇使用韵文的作用及原因探析〉从文体与
叙事功能出发，重新审视韵文在唐传奇中的运用意义；曾庆雨〈《金瓶梅词话》动
态性叙事的“现代意味”〉则以叙事时间与结构为切入点，探讨其文本所呈现的叙
事活力与超前性；王文君〈傅惜华《曲海总目提要拾遗》成书考述〉兼论新发现的
朱笔批校本《传奇汇考标目》，在文献考据层面具有重要学术价值；赵晴〈“梁祝”
戏在当代戏曲舞台的传播研究〉则关注经典戏曲母题在当代舞台中的再生产与传播
路径，展现传统戏曲在当代语境中的延续与转化。此外，本期也刊出两篇内容扎实、
议题多元的论文。陈国靖〈从“补史阙”到“有意虚构情节”〉一文，探讨《史记》
“疑以传疑”的叙事原则对汉魏六朝小说虚构观念的启发；邓诗樱〈从“剑”意象
出发的对照〉则通过元刊本与明本《王粲登楼》的文本比较，揭示意象书写在不同
时代语境中的审美差异与演变。此专辑得以顺利付梓，承蒙付善明、曾庆雨、王文
君、赵晴多位学者惠赐研究成果，能以研究进行思想与文学的相互激荡，愉悦且畅
快。谨此感谢所有作者与审稿学者对本刊的支持与信任，期望本期内容能为相关研
究提供有益参考，亦期待读者在阅读中有所启发。

唐传奇使用韵文的作用及原因探析

SHANMING FU — 2026-03-27

Tang legend in the integration of poetry and other verse is a major feature of Tang legend. The
poetry themes integrated into the Tang legend are diverse, mainly five-character quatrains, five
character verses and seven-character quatrains ; the most integrated into poetry in a single legend is
Youxian Grottoes, and the most integrated into poetry in a legendary collection is Rriginal Poetry. The
poetry in the legend of the Tang Dynasty plays a dual role of separation and integration. The highest
realm of integration is to create the artistic conception of poetry in the legendary text. Tang poetry is
the literature of the Tang Dynasty, which is the cultural background of the Tang legend with a large
number of verses. The high poetry accomplishment of the Tang legend’s author and the prevalence of
Wenjuan and Xingjuan are the subjective and objective reasons for the prosperity of the Tang legend
verse. The Tang legend recipient is also an important reason for the literati with high cultural
accomplishment.

《金瓶梅词话》动态性叙事的“现代意味”

QINGYU ZENG — 2026-03-27

Based on the analysis of the text, the relationship between the literary style and the
characters, and the composition of the social environment of The Plum in the Golden Vase, this
paper holds that the basic composition of the book can be divided into three parts: family, society,and
officialdom. These three groups present a dynamic narrative situation in the text, which fully reflects
the innovative characteristics of the text in the transition period from historical narrative to virtual
narrative, and makes the work have its own "modern meaning" of the times. In the historical process
of spreading, the novel's profound revelation of human nature blurs its "Modernity", and makes the
work become a classic work that crosses time and space, does not have the limitations of historical
change, and always maintains the "modern meaning".

傅惜华《曲海总目提要拾遗》成书考述 ——兼论新发现的傅芸子朱笔批校本《传奇汇考标目》

WENJUN WANG — 2026-03-27

Fu Xihua’s Extant Rare Traditional Chinese Opera Scripts Preserved in Japan completed in
1939.In this paper, Fu Xihua claimed that five years earlier, he had supplemented the Quhai zongmu
tiyao on a manuscript of Chuanqi huikao collected by Kyoto University in Japan. The result of this
supplementary work is two texts: Quhai zongmu tiyao shiyi and Quhai zongmu tiyao jiaokanji. A
comprehensive review of Fu Xihua's existing relevant works reveals that he had not personally seen
the Kyoto University version when compiling the supplements. The reason he was able to complete
the supplementary work was due to the assistance of his elder brother Fu Yunzi, who had once
taught at Kyoto University. When Fu Yunzi taught at Kyoto University, he transcribed dozens of
opera synopses that were not included in Quhai zongmu tiyao, based on the hand-copied version of
Chuanqi huikao collected by the university. Fu Xihua completed the organizing work of the
supplements based on the documents transcribed by Fu Yunzi. The newly discovered Chuanqi
huikao biaomu with Fu Yunzi’s annotations and revisions in red ink can prove that Fu Xihua’s
supplementary work is closely related to Fu Yunzi. Based on this, it is also possible to examine the
research process of scholars during the initial stage of Chinese opera studies.

“梁祝”戏在当代戏曲舞台的传播研究

QING ZHAO — 2026-03-27

As one of the Four Great Folktales of China, the legend of "Liang Shanbo and Zhu Yingtai"
(Liang Zhu) has been beloved by audiences for thousands of years and adapted by numerous authors.
It holds a pivotal position in the history of Chinese literature, folklore, and art. Furthermore, the
operatic adaptations of "Liang Zhu" have been recreated across various traditional Chinese opera
genres, all achieving remarkable success and acclaim. Its distinctive status in the history of Chinese
opera is unparalleled. Therefore, it is essential to conduct a comprehensive sorting and examination
of the operatic versions of "Liang Zhu"—a study that carries significant value for promoting the
further development of these operas on the contemporary stage in the future.

从“补史阙”到“有意虚构情节”：《史记》“疑以传疑”对汉魏六朝小说“虚构性”的启发

KOK CHING TAN — 2026-03-27

The primary reason for distinguishing pre-Tang fiction from later ones lies in the perception
that the pre-Tang fiction was not yet " intentionally fictionalizing stories " and was essentially
"recording hearsay", unlike the later literary forms that were consciously recognized as being
"fictionalized" by the authors themselves. From historical records, it appears that people during the
Six Dynasties resisted "fictionality", often holding fiction to the same standard of "truthfulness" as
historical writings. Inspired by historical records, particularly the Records of the Grand Historian
with its principle of "preserving doubt as doubt", the fictionists of the Han, Wei, and Six Dynasties
fiction positioned their works that "fill historical gaps." This gradually led to the phenomena of
"misrecorded accounts", "mixing fiction with reality" and "contradictory narratives", which
somewhat obscured the fact that these works inherently contained "fictionality". Consequently,
fictionists of the Han, Wei, and Six Dynasties began using multiple versions of similar motifs to
craft relatively complete and systematic stories with increasingly intricate plot developments,
gradually discovering through this process a move towards "intentional plot fictionalization".

从“剑”意象出发的对照：谈元刊本与明本《王粲登楼》

SHIYING TENG — 2026-03-27

This article examines the literary connotations of the "sword" as portrayed by literati in
Tang poetry and explores how the Yuan dynasty zaju 杂剧 Wang Can Denglou 王粲登楼
incorporates the sword imagery into its dramatic creation. It further investigates how the play
reflects Wang Can’s perspective on both literary and martial virtues. The research findings indicate
that the sword imagery in the zaju largely derives from the historical anecdote of Feng Xuan 冯谖
plucking his sword. Wang Can frequently compares himself to figures like FengXuan and HanXin
韩信, albeit with different intentions, all serving Zheng Guangzu’s 郑光祖 purpose of shaping
Wang Can’s ambitions as a military general. Historically, Wang Can was skilled in both literature
and martial arts. The Yuan edition of the play aligns more closely with the historical image of Wang
Can, filling the gap regarding his martial persona.The Gu Mingjia edition《古名家杂剧》, a Ming
dynasty revision, retains most of the plot from the Yuan edition but alters, supplements, or omits
certain sword-related elements, thereby influencing Zheng Guangzu’s portrayal of Wang Can. A
comparison of the two versions reveals that the Yuan edition presents a richer depiction of Wang
Can, with more intricate literary imagery. This contrast highlights how the Yuan edition’s dramatists
portrayed Wang Can’s true character from their artistic perspective.As for the Ming period, the
sword no longer served a military function or acted as a symbol of ambition; hence, the omission of
“sword” in the Ming edition is understandable. This also offers a new perspective for understanding
the text’s lack of artistic expressiveness.