¤¸·Ó


¹Ï®Ñ

¥DÃD¹Ï®Ñ
¥N²zÁ`¸g¾P

Àu´f¬¡°Ê


¤¸·Ó¡G ¬F¤j¥Xª©ªÀ

¦M¾÷®É¨èªºª¾ÃѤÀ¤l

¦M¾÷®É¨èªºª¾ÃѤÀ¤l

¡i§@¡@ªÌ¡j¤ý¼w«Â
¡i®Ñ¡@¸¹¡j 5N818GA
¡i¥Xª©ªÀ¡j ¬F¤j¥Xª©ªÀ
¡i¥X¡@ª©¡j 2023/12
¡iª©¡@¦¸¡j 1
¡iISBN/ISSN¡j978-626-976-687-1
¡i©w¡@»ù¡j300 ¤¸
¡i¯S¡@»ù¡j285 ¤¸
¸ÕŪ¡G 1
 
 
 ¥»®Ñ²¤¶

¡@¡@¥»®ÑÀ˵ø¤Ü¥@¬ö¤¤´Áª¾ÃѤÀ¤l¡X¡X³¯±G«ñ¡A­ð§g¼Ý¡A­J¾A¡A­J­·¡A®ï®ü¥ú¡A¬xÄ£¾±µ¥¡X¡X­±Á{°ê¦@µõÅܤΧN¾Ô¦M¾÷¡A©Î«Õ·L¡B©Î©ù´­¡A©Î¼É¯Pªº«ä·Q¡B·Pıµ²ºc¡A¥H¤Î©Ò¥²¶·©Ó¾áªº¬Fªv»P­Û²z«áªG¡Cªí­±ªº¥ª©Î¥k¡A«e½Ã©Î«O¦u¨ä¹ê¤£¨¬¥H¤Ï¬M¥L­Ìªº¤ß¸ô¾úµ{¡A¤]¤£¥²µM«ü¦V°_©ÓÂà¦XªºÅÞ¿è¡C°ß¨ä¦p¦¹¡A¥L­Ìªº¹Á¸Õ»P®À§é¤~§ó¬°Åå¤ß°Ê¾z¡C

¡@¡@¦^¬Ý¤Ü¥@¬ö¤¤´Á¡A·í¥Nªºª¾ÃѤÀ¤l­±Á{ªº¬D¾Ô©M¿ï¾Ü¤S¬O¤°»ò¡H·í¤j³°·s¥ª©M°êºé¾ÇªÌ¦P®É©IÀ³·¥¥kªº¬Fªv¯«¾Ç¡F·í¥xÆWªº¥Á¥Dµ×­^¾Þ§Ë¥Áºé¶D¨D¡A©Î·í¶i¨B¤H¤h°ªÁ|·í¦~¤Ï¦@§Ü«X¯«¥DµP¡A³o¬O·s®É¥Nªº«´¾÷¡AÁÙ¬O¦M¾÷¡Hª¾ÃѤÀ¤l¬O¤W¤U¨D¯Áªº«e¦æªÌ¡A¬O¡u·N¥²©T§Ú¡vªº§å§P®a¡AÁÙ¬O¬°¹F¥Øªº¡BµL¥i¤£¥iªº¤ü¾§¬£¡H

 
 ¹Ï®Ñ¥Ø¿ý
¬F¤jù®a­Û°ê»Úº~¾ÇÁ¿®yÂO®Ñ¡@§Ç

¾É¨¥¡G¦M¾÷®É¨èªºª¾ÃѤÀ¤l

¡uµh­ú¥j¤H¡A¯dÃبӪ̡v¡G³¯±G«ñ¡A­ð§g¼Ý¡AÁô·L¼g§@
¡@¡@¡uµh­ú¥j¤H¡A¯dÃبӪ̡v
¡@¡@¥Ñ¡uÅå¤Ñ°Ê¦a¡v¨ì¡u±I¤Ñ¹æ¦a¡v
¡@¡@¡u«ä¡v¡B¡u«H¡v¢w»P¡u·P¡v
¡@¡@¾l½×¡G¡u««ªÅ¤å¥H¦Û¨£¡v
­J­·»P¡u­J¾Aªº­·¡v¡G¤å¾Ç¡A¦Û¥Ñ¡A­I«q
¡@¡@¥ªÁl¦Û¥Ñªº®¯½×
¡@¡@·P©Êªº¼¯Ã¹
¡@¡@¤å¾Ç»P´cªº¶ZÂ÷
¡@¡@§ÀÁn¡G¡u©_²§ªº­·¡v
¡u§x´ç¶Âªe¡v¡G®ï®ü¥ú¡A¬xÄ£¾±©M»OÆW²{¥N¥D¸q
¡@¡@¦s¦b»P¦Û¥Ñ
¡@¡@¸m¤§¦º¦a
¡@¡@¡u»OÆW§@®aÀ³¦³ªº­õ¾Ç¡v
¡@¡@§ÀÁn

 §@ªÌ²¤¶

¤ý¼w«Â¡]David Der-wei Wang¡^

»OÆW¤j¾Ç¥~¤å¨t²¦·~¡A¬ü°ê«Â´µ±d¨¯¤j¾Ç³Á­}»¹®Õ°Ï¤ñ¸û¤å¾Ç³Õ¤h¡C ´¿¥ô±Ð©ó»OÆW¤j¾Ç¡B¬ü°ê­ô­Û¤ñ¨È¤j¾Ç¡C ²{¥ô¬ü°ê«¢¦ò¤j¾ÇªF¨È¨tº[¤ñ¸û¤å¾Ç¨tEdward C. HendersonÁ¿®y±Ð±Â¡C

¤¤¥¡¬ã¨s°|°|¤h¡A¬ü°ê°ê®aÃÀ³N»P¬ì¾Ç°|°|¤h¡C

µÛ¦³¡m±q¼Bõ§¨ì¤ýºÕ©M¡G¤¤°ê²{¥N¼g¹ê¤p»¡´²½×¡n¡B¡m²³Án³Ù¼M¡G¤T¡³»P¤K¡³¦~¥Nªº¤¤°ê¤p»¡¡n¡B¡m¤p»¡¤¤°ê¡G±ß²M¨ì·í¥Nªº¤¤¤å¤p»¡¡n¡B¡m·Q¹³¤¤°êªº¤èªk¡G¾ú¥v. ¤p»¡. ±Ô¨Æ¡n¡B¡m¦p¦ó²{¥N¡A«ç¼Ë¤å¾Ç¡H ¡G¤Q¤E¡B¤G¤Q¥@¬ö¤¤¤å¤p»¡·s½×¡n¡B¡m²³Án³Ù¼M¥H«á¡GÂIµû·í¥N¤¤¤å¤p»¡¡n¡B¡m¸ó¥@¬ö­·µØ¡G·í¥N¤p»¡20®a¡n¡B¡m³QÀ£§íªº²{¥N©Ê¡G±ß²M¤p»¡·s½×¡n¡B¡m¾ú¥v»P©ÇÃ~¡G¾ú¥v¡A¼É¤O¡A±Ô¨Æ¡n¡B¡m«á¿ò¥Á¼g§@¡n¡B¡m¤@¤E¥|¤E¡G¶Ë²ª®Ñ¼g»P°ê®a¤å¾Ç¡n¡B¡m­T¬Þ¡A¦ÑªÙ¡A¨H±q¤å¡G¼g¹ê¥D¸q»P²{¥N¤¤°ê¤p»¡¡n¡B¡m¼g¹ê¥D¸q¤p»¡ªºµêºc¡G­T¬Þ¡A¦ÑªÙ¡A¨H±q¤å¡n¡B¡m²{·í¥N¤å¾Ç·s½×¡G¸q²z¡E­Û²z¡E¦a²z¡n¡B¡mµØ¦i­·°_; µØ»y»y¨t¤å¾Ç¤T½×¡n¡B ¡m¥v¸Ö®É¥Nªº§ç±¡Án­µ¡n¡B¡m¥i¬Èªº·Q¹³¤O¡G·í¥N¤¤¤å¤p»¡31®a¡nµ¥¡C ½s¦³¡m«¢¦ò·s½s¤¤°ê²{¥N¤å¾Ç¥v¡n¡B¡m«n¬vŪ¥»¡nµ¥¡C ­^¤åµÛ§@¥]¬AFictional Realism in Twentieth-century China¡G Mao Dun¡A Lao She¡A Shen Congwen¡A Fin-de-siècle Splendor¡G Repressed Modernities of Late Qing Fiction¡A 1849-1911, The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-century China, The Lyrical in Epic Time¡G Modern Chinese Intellectuals and Artists Through the 1949 Crisis¡AWhy Fiction Matters in Contemporary Chinaµ¥¡C

 
 ª`·N¨Æ¶µ¡G
1. ±ý¿ïÁÊ¡i«ö½g¦C¦L¡j¡A½Ð¥ýÁʶR¡i¤ë¥¹ª¾ÃÑ®wÂI¼Æ¡j§Y¥i¦Û¦æ¤U¸ü¦C¦L¡C
2. ÁʶR¡i¤ë¥¹ª¾ÃÑ®w¡jªº·|­û¡A¦b±z§¹¦¨¥I´Ú¤âÄò¤§«á¡A§Ú­Ì±N©ó¤@¦Ü¤G­Ó¤u§@¤Ñ¤º¡A¥H email ±M¨ç³qª¾±z±Ò¥ÎÂI¼Æ¡C
¡@­Y¦³«æ»Ý¨Ï¥ÎªÌ¡A½Ð¬¢«ÈªA±M½u 886-2-23756688 ¤À¾÷ 502 ¡ã 505¡A§Ú­Ì±N¥H¡uÀH¿ï¦C¦L¡v¤è¦¡´£¨Ñ¡C
3. ½u¤WÁʮѨì³f¤C¤é¤º¡A¦p¹ï®ÑÄy¤º®e¦³¥ô¦óºÃ¼{¥²¶·´«³fªÌ¡A½Ð©ó¤C¤é¤º³s¦Pµo²¼±H¦^¥»¤½¥q§ó´«¡C
4. ®ÑÄy°h´«³f³B²z§@·~®É¶¡¬ù¤Q­Ó¤u§@¤Ñ ( ¤£§t¨Ò°²¤é )¡C
5. ¥Ñ©ó³f¹B¤½¥q°e³f¨ì©²»Ý¸gñ¦¬¤âÄò¡A½Ð°È¥²¯d¤U¦³¤H¥iñ¦¬¤§¦¬¥ó¦a§}¡AÁקK³f¥óº¢¯d³f¹B ¤½¥q©µÌX¦¬¥ó¡B®É¶¡·l¥¢¡C
6. ­Y±z¿ïÁʪº®ÑÄy¥]§t¹wÁʮѡA¥»¯¸±N±Ä§å¦¸±Hµo§@·~¡A«Ý¥X®Ñ«á¤@¨Ö±Hµo¡F­Y»Ý¤À¦¸±Hµo¡A°u¦¬ 80 ¤¸ª«¬y³B²z¶O¡C
7. 2016¦~1¤ë1¤é°_¡A¤ë¥¹ª¾ÃÑ®wÂI¼Æ¡B¤ë¥¹«~µû®a¡B¤¸·Ó¹q¤l®Ñ¡B¤ë¥¹Âø»x¨t¦C¹q¤lª©¤£¾A¥Î¤C¤ÑŲ½à´ÁªA°È¡C>>¸Ô²Ó»¡©ú<<
8. ¤¸·Óºô¸ô®Ñ©±«O¯d±µ¨ü­q³æ»P§_ªºÅv§Q¡C
9. ¤¸·Óºô¸ô®Ñ©±«ÈªA±M½u¡G886-2-2375-6688 ¤À¾÷ 502 ¡ã 505¡C


¤¸·ÓŪ®ÑÀ]
¤ë¥¹«~µû®a ¿P¤j¤¸·Ó¦W®a½×¾Â
¤ë¥¹ª¾ÃÑ®w ¤ë¥¹ªk«ß¤ÀªR®w
¤¸·Óµû¶q®w ¤ë¥¹Âå¨Æªkºô
¤ë¥¹·|­p°]µ|ºô
´Á¥Z¼Æ¦ìªA°È ªÀ¸s¥­¥x ŪªÌªA°È Ãö©ó¤¸·Ó
ŪªÌªA°È±M½u¡G+886-2-23756688¡@¶Ç¯u¡G+886-2-23318496¡@«ÈªA«H½c
¦a§}¡G»O¥_¥«À]«e¸ô28 ¸¹ 7 ¼Ó¡@¤¸·Ó¥Xª©¦³­­¤½¥q¡@²Î½s¡G16604673
Copyright © ¤¸·Ó¥Xª© All rights reserved. ª©Åv©Ò¦³¡A¸T¤îÂà¶K¸`¿ý