| Summary: | 博士 === 國立臺灣大學 === 中國文學研究所 === 102 === In the study of literature involving mystical or legendary elements, this thesis seeks to investigate the subjective consciousness of knowledge, ethics, emotions, and rhetoric which lodged in Lu Xun’s argument that the Tang Dynasty’s Chuanqi “represented the preliminary form of novels.” Such consciousness does not refer to the real author, but is subordinate to the potential values of the effects created by literary works. In the bilateral exchange between the book’s presentation and the readers’ construction, Strange Tales of Liao Zhai presented an unfixed subjective image, and the readers simultaneously contributed to the construction of the subject through constant supplement, amendment, and dialogue. This exchange made narratives a spiritual space which contained multi-level consciousness. On the one hand, Strange Tales of Liao Zhai enhanced its own reference value for readers by placing value judgment on its concern over the mundane world with the techniques of rhetoric and story-writing. On the other hand, the author Pu Songling weaved narratives and expressed his own disposition in a manner of self-participation. In sum, this book comprised an intersecting set of rhetoric, knowledge, value and emotions, which highlighted the multi-faceted subjective consciousness.
This thesis proceeds in five parts that collectively aims at clarifying the levels and functions of subjective consciousness. The first part is “field.” It addresses Pu Songling’s life condition and the situations described by the stories in Strange Tales of Liao Zhai. Pu obtained psychological compensation by incorporating some of his experiences into the stories and fulfilling self-values through narratives. The second part is “knowledge.” It tackles the judgment of facts. Strange Tales of Liao Zhai inherited a technique of intervening in cognition by setting it aside from the writing of grotesque subject matters. Meanwhile, adjusting his writing strategy by reference to the evolution of literary genres, Pu attempted to continue the technique of reality cognition amidst the newly-developed and classical literary genres, which facilitated cognitive participation in writing stories. The third part is “ethics.” It deals with value judgment. Pu embodied the core values of mankind by blending the element of counsel into his narratives. Reflecting critical and skeptic attitudes in the narratives with negative, positive and recurring descriptions, Pu demonstrated the involvement of subjective consciousness in value judgment. The fourth part is “emotion.” It shifts the discussion from common values to the expression of personal feelings, for stories not only serve as judgments on others’ life but also provide an outlet for personal emotions. Pu created a lyrical effect with “correspondence” and “resolution” in his narratives, and thereby enabled the subject to participate in the themes closely related to his experiences. The fifth part is “gifted scholar.” It elaborates on Pu’s ingenuity in rhetoric. Strange Tales from a Chinese Studio was composed of Pu’s refined diction and various strategies for story-layout, which clearly reflected his creativity.
The five parts are respectively interlocked with different levels of subjective consciousness, which shows that scholars/writers in the Qing Dynasty have developed a variety of creative mechanisms for the literature involving mystical or legendary elements. By superimposing the above mentioned levels, Pu fused reality and virtuality, values and emotions, as well as aesthetics and delight in Strange Tales of Liao Zhai. In conclusion, the subject consciousness was therefore embedded and presented in the multi-level correspondence in the writing of this book.
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