在儿童文学中，“故事”是一个具有无限言说可能性的话题。对儿童小说而言，“故事”则是关系到其艺术发展的一个关键词。上世纪90年代以来，中国儿童文学在一种相对平静的状态中逐渐走向了文体创作的自觉，以童年期儿童为特定读者对象的儿童小说呈现出一种良好的创作态势。该时期的儿童小说创作与以往相比有了很大程度的变化和发展，故事艺术的凸现是其中一个非常重要的特点。这为我们提供了一个富有意义的研究命题。 本论文通过对世纪之交国内儿童小说创作的整体把握，较为系统、深入地考察了该时期儿童小说作品在故事艺术的处理上的发展与演进。全文主要分为故事的构成、故事的叙述以及故事的审美层面三大部分。 在儿童小说故事构成形态的研究中，本文参照现代叙事学的故事结构理论，对情节、人物、环境三个故事结构要素各自所呈现出的艺术特性进行了细致地归纳和分析：在情节方面，除了传统的线型情节，非线型情节作品的大量涌现，开拓了儿童小说的情节类型。框架故事的局部引入、对于故事结尾的探索拓展了儿童小说的艺术表现空间。这使得儿童小说情节艺术呈现出结构形态的多样性以及内部层次的丰富性的特点；在人物方面，儿童小说的角色类型获得了拓展，角色意义得到了深化。不论儿童形象还是成人形象，都不仅仅是对现实人物的写实，还具有特殊的主题意义或文化、艺术内涵。此外，人物身上所具有的幻想气质进一步塑成其艺术真实感；环境在儿童小说中是一个非重点的但却是不可缺少的故事结构要素，很多作品在其表现形态及呈现方式上也进行了较为深入的艺术探索。 对于儿童小说叙述方式的研究，在细读文本的基础上，本文格外关注新的儿童文学本体论对于世纪之交的儿童小说叙述艺术所产生的影响——“儿童视角”与“成人视角”在不同人称叙述方式中的呈现形态及交互使用的状况。两种视角的交互既传达了“儿童的声音”，也传达了“成人的声音”，并且进一步形成了儿童与成人之间的“对话与交流”。 论文的第三部分，进一步深入到故事的内在审美层面，并对其相关的审美价值展开讨论。90年代中期以来的优秀儿童小说不但在故事艺术的“趣层”（即文学话语、形象层面）呈现游戏精神从而带给儿童阅读的乐趣，同时又在“味层”（即文学意蕴层面）融入作家对于儿童生命成长的深刻哲思来为儿童提供精神指引。 论文的最后，将世纪之交国内的儿童小说创作放到世界儿童文学的大背景和中国文学的当下实践中来考察，从而对其故事艺术探索的成绩及存在的不足进行了评价与反思。

In Children’s Literature, “story” is one topic full of possibilities and therefore, “story” is a key word in the development of children’s novels. Since 1990s, the children’s literature of China has been marching on its way to self-conscious genre creation in a seemingly pacific state and children’s novels, which aim at children in their childhood, have been prospering. Compared with children’s novels in other periods, these recent ten years have witnessed the renovation of children’s literature, especially in the field of “story-telling” in children’s novels. This thesis focuses on the art of “story-telling” and makes utmost efforts to explore into the through development of children’s novels during the past ten years, consisting of three parts, namely the composition of the story、the narrative of the story as well as the aesthetics of the story. Based on modern narratology, this thesis endeavors to make detailed analysis on the influences of three basic structural elements (plot、character and environment) on the whole construction of the “story”. The introduction of “Frame-tale”、the cooperation of lineal and non-lineal plot as well as the innovation of the end enrich the entity of the original pure “story”. Critical reshaping of the main characters in children’s novels elevates the otherwise stereotyped molding and classifying. What’s more, more and more attention has been paid to the optimization of environment in the construction of the children’s novels. This thesis pours extraordinary energy and time into the influences of ontological literature of children on narrative art of children’s literature ------ “children’s perspective” and “adult’s perspective” interacted with each other, thus enhancing the otherwise weak dialogue between adults and children. In the third part of this thesis, discussions about the inner aesthetics of the story have been exemplified. At the turn of the 20th century, children's novels not only showed the spirit of the playing in the external "interest layer" in order to convey the reading fun to children; but also showed the philosophical insight of growing up in internal “meaning layer” to provide guidance for children. In the end, at the crossroad of the practices of children’s literature of China and the development of the children’s literature of the world, the achievements and weak points of story aesthetics of children’s novels will be assessed and called into retrospect.