本課程採用專題討論方式,針對中國近現代小說之範圍.流變以及相關問題作一檢討,其中包括歷史、社會、文化、學術等外緣因素，出版、研究論著等基本常識及研究方法之評介；以及對於小說作品內在主題、人物、結構、敘述技巧等面向，均做探討，期能使學生不僅掌握小說文本之特質的橫面解剖，並能由小說的文學史意涵上來綜觀其發展。首先我們將集中於小說的一些基本文獻觀念以及理論的研讀探討，繼而進入現代中國小說理論，並帶入大量西方小說理論，作為討論中國小說理論的參考體系。

This course uses special discussion methods to review the scope, variation and related issues of modern Chinese novels, including external factors such as history, society, culture, and academics, basic common sense and research methods such as publishing and research writings; and explore the internal themes, characters, structures, and description techniques of novel works, in order to enable students to not only master the facial anatomy of the characteristics of the novel text, but also to comprehensively view their development from the literary historical implications of the novel. First of all, we will focus on some basic text concepts and theories of the novel, and then enter modern Chinese novel theory, and bring in a large number of Western novel theory as a reference system for discussing Chinese novel theory.

W. C. 布斯著，華明、胡蘇曉、周憲譯，《小說修辭學》（北京：北京大學出版社，1987);
胡菊人，《小說技巧》（台北：遠景出版社，1978）；
鄭樹森，《小說地圖》（台北：一方出版社，2003）；
艾科，《悠遊小說林》（台北：時報出版，2000）；
班雅明， 林志明譯，《說故事的人》（台北：台灣攝影，1998）；
米蘭•昆德拉，尉遲秀譯，《小說的藝術》（台北：皇冠文化，2004）；
劉世劍，《小說敘事藝術》（長春：吉林大學出版社，1999）。
Robert Scholes, Elements of Fiction (Oxford: Oxford University Press, 1968;
E. M. Forster, Aspects of the Novel (New York: Harcourt, Brace andWorld, 1954);
Henry James, The Art of the Novel (New York: Scribners, 1962);
E. K. Brown, Rhythm in the Novel (Lincoln, NE: University of Nebraska Press, 1978);
Howard Hugo, Aspects of Fiction: A Handbook (Boston: Little, Brown and Company, 1962);
Philip Freund, The Art of Reading the Novel (New York: Collier Books, 1965);
John Haplerin, ed. The Theory of the Novel: New Essays (New York: Oxford University Press, 1974); Paul Cobley, Narrative (London: Routeledge, 2001);
Shlomith Rommon-Kenan, Narrative Fiction: Contemporary Poetics (London: Menthuen, 1983);
Frank O’Connor, The Lonely Voice: A Study of the Short Story (New York: Harper & Row, 1962); Michael Hoffman and Patrick Murphy, (eds.), Essentials of the Theory of Fiction (Durham, NC: Duke University Press, 1988);
Theodore Goodman, The Writing of Fiction (New York: Collier books, 1961);
Seymour Chatman, Reading Narrative Fiction (New York: Macmillan, 1993);
_____, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca: Cornell University Press, 1978);
Jeremy Hawthorn, Studying the Novel: An Introduction, 2nd ed. (London: Edward Arnold, 1992);
David Lodge, The Art of Fiction (New York: Viking, 1992);
Robert Scholes, ed. Approaches to the Novel: Materials for a Poetics (San Francisco: Chandler Publishing, 1966);
Mieke Bal, On Story-telling: Essays in Narratology (Sonoma, CA: Polebridge Press, 1991);
H. Porter Abbott, The Cambridge introduction to Narrative (Cambridge: Cambridge University Press, 2002);
W. J. T. Mitchell, ed. On Narrative (Chicago: Chicago Unviersity Press, 1980);
F. K. Stanzel, A T

W. C. Booth, Hua Ming, Hu Su Xiao, Zhou Xing, "Fiction Revision" (Beijing: Beijing University Press, 1987);
Hu Juren, "Novel Skills" (Taipei: Far-Scene Publishing House, 1978);
Zheng Shusen, "Novel Map" (Taipei: Yifang Publishing House, 2003);
Aiko, "Going Novels" (Taipei: Times Published, 2000);
Ban Yaming, Lin Zhiming, "The Man Who Tells the Story" (Taipei: Taiwan Photography, 1998);
Milan Kundra, Wei Yingxiu, "The Art of Novels" (Taipei: Crown Culture, 2004);
Liu Shijian, "Fiction Art" (Changchun: Jilin University Press, 1999).
Robert Scholes, Elements of Fiction (Oxford: Oxford University Press, 1968;
E. M. Forster, Aspects of the Novel (New York: Harcourt, Brace andWorld, 1954);
Henry James, The Art of the Novel (New York: Scribners, 1962);
E. K. Brown, Rhythm in the Novel (Lincoln, NE: University of Nebraska Press, 1978);
Howard Hugo, Aspects of Fiction: A Handbook (Boston: Little, Brown and Company, 1962);
Philip Freund, The Art of Reading the Novel (New York: Collier Books, 1965);
John Haplerin, ed. The Theory of the Novel: New Essays (New York: Oxford University Press, 1974); Paul Cobley, Narrative (London: Routeledge, 2001);
Shlomith Rommon-Kenan, Narrative Fiction: Contemporary Poetics (London: Menthuen, 1983);
Frank O’Connor, The Lonely Voice: A Study of the Short Story (New York: Harper & Row, 1962); Michael Hoffman and Patrick Murphy, (eds.), Essentials of the Theory of Fiction (Durham, NC: Duke University Press, 1988);
Theodore Goodman, The Writing of Fiction (New York: Collier books, 1961);
Seymour Chatman, Reading Narrative Fiction (New York: Macmillan, 1993);
_____, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca: Cornell University Press, 1978);
Jeremy Hawthorn, Studying the Novel: An Introduction, 2nd ed. (London: Edward Arnold, 1992);
David Lodge, The Art of Fiction (New York: Viking, 1992);
Robert Scholes, ed. Approaches to the Novel: Materials for a Poetics (San Francisco: Chandler Publishing, 1966);
Mieke Bal, On Story-telling: Essays in Narratology (Sonoma, CA: Polebridge Press, 1991);
H. Porter Abbott, The Cambridge introduction to Narrative (Cambridge: Cambridge University Press, 2002);
W. J. T. Mitchell, ed. On Narrative (Chicago: Chicago Unviersity Press, 1980);
F. K. Stanzel, A T