晚清时期，曾经出现过一大批对于未来中国社会进行描写与想象的小说，它们以1902年梁启超的《新中国未来记》为开山之作，在身份上属于晚清的“新小说”，在内容上则重在表现作者理想中的中国（社会）。这些小说数量庞大，曾经在晚清小说界风行一时，却由于种种原因被历史所遗忘，直到20世纪末才被重新发掘出来。不过，由于晚清新小说诞生初期内容上的混杂，在研究这些小说时，不同的研究者常常从不同的角度出发来对它们进行归类和论述，对其的称呼就包括有“未来小说”、“科幻小说”、“政治小说”以及“乌托邦小说”等好几种，笔者认为这几种概括其实都忽视了这样一批小说最主要的特质，那就是——以梦幻的形式来描写理想中的中国社会，重塑中国形象。这样一种努力，可以说主导了从晚清一直延续到民国的非写实性社会小说的创作。从这个角度观察，眼光就能超越晚清，进而打通整个20世纪上半叶，发现一批从前被人所忽视的相同类型的小说，以及它们的诞生、发展、延续与变化。 论文第一章论述“社会幻想小说”在晚清的诞生。中国古代文学中就已经有了“社会幻想”的萌芽，但这些文学作品还不是真正的社会幻想小说。真正的社会幻想小说诞生于晚清时候。社会幻想小说得以在晚清出现，除了整个外部环境变化的影响，从文学内部看，一方面是“小说界革命”对于新小说的倡导，使得小说一下子从边缘成为文学的主流；另外一方面也还得提到西方社会幻想小说对其的影响。晚清社会幻想小说的主题往往比较单一，虽然其中不乏对晚清现状的批判与讽刺，但更多的是对于中华崛起、雄飞于世界的想象，因此小说中塑造的中国形象只有一种，那就是一个全方位光明强盛的“未来中国”。晚清社会幻想小说的问题在于，首先晚清士大夫想象出的现代化中国其核心却还是传统的儒家思想，并非本该与之相匹配的现代法治思想和公民意识。另外，小说过于看重制度的建构，忽视了“个人”的价值，导致狭隘的民族主义，再加上文学审美性的缺乏，这些因素共同限制了晚清社会幻想小说的发展壮大。 第二章首先介绍民国社会幻想小说的概况。然后分析民国社会幻想小说中呈现的种种“中国形象”，与晚清社会幻想小说中比较单一的“中国形象”不同，此时的“中国形象”已经发生了变化。第一是“未来中国”。民国社会幻想小说中有很大一部分小说继承了晚清社会幻想小说的写作手法，以想象的方式在小说中构筑一个“未来中国”。民国社会幻想小说中描写“未来中国”的这一部分小说，是在新的民主共和国成立以后，面对更加复杂的政治、社会、文化与外部环境，民国时期的中国人从失望而忧愤的现实生活出发，在反思与批判中对未来中国产生的一种期许；第二是“童话中国”。“童话”是在民国才出现的一种新的文学体裁，民国社会幻想小说中所塑造的“童话中国”，不但不美好，反而是丑陋黑暗、混乱不堪的，已经完全丢失了儿童视角与童话意味。第三是“鬼魅中国”。民国社会幻想小说里的“鬼魅中国”继承了古代写鬼讽今小说的传统，对民国的社会现实进行了讽喻和想象。与“童话中国”相比“鬼魅中国”可说是更加腐化堕落、黑暗残暴甚至血腥的中国形象。第四则是“星际中国”。“星际中国”描述的是存在于外太空里的中国社会。一方面，这里是一个离现实空间（地球）非常遥远的异域世界，因而什么“稀奇古怪”的事情都有可能发生；另外一方面在“现代科学”的解释之下，这种世界的存在似乎又拥有了某种“真实性”，让人无法轻易将之斥为“无稽之谈”。因而这些“星际中国”就拥有了一种似真似幻的魅力，昭示着其既不同于现实社会又和现实社会有着千丝万缕联系的某种独特风格。 第三章企图揭示民国社会幻想小说与晚清社会幻想小说相比，展现出的多重矛盾。首先是“先进科技”与“落后政治”之间的矛盾。民国社会幻想小说中还是有很大一部分专门针对“未来中国”进行想象的小说。不过，大多数小说里的“未来中国”除了拥有先进的科技以外，政治与道德层面都已经变得腐败而落后。其次，是“童话初衷”与“成人意识”之间的矛盾。或许刚开始这些民国作家是想创作一部真正的“童话”，无奈他们所处的历史环境、时代背景和自身经历都使得他们无可避免的在小说中加入了太多成人化的意识与思考，写作渐渐偏离了“童话”的轨道，反而走上“社会幻想小说”的道路。第三，则是民国社会幻想小说所体现出的在“希望”与“绝望”之间不断摇摆的情绪。民国社会幻想小说里，类似于晚清时那种毫不怀疑的乐观情绪已经大面积消退，虽然仍然是对中国社会的一种想象，但其中“希望”的微光越来越少，“绝望”的情绪四处蔓延。不过，小说作者却也不是完全的绝望，从字里行间我们仍然还能看出少许的希望之光。第四，是民国知识分子的多重立场。与晚清社会幻想小说内容以及创作者身份的单一相比，民国社会幻想小说的种类要丰富得多，内容也更加驳杂。造成这种情况的原因，一方面是社会现实的巨变作用于文学的一种反映，另外一方面也和此时创作社会幻想小说的知识分子的多重立场有关。

In the late Qing Dynasty, there were a large number of fictions which describe and imagin Chinese society in the future, Liang Qichao's 1902 "The future of new China" was first one at that time, which belongs to the "new novel", and the content is focused on presenting the ideal China (Social). The quantity of these novels is huge and popular, but it has been forgotten by history for various reasons, they were rediscovered until the end of twentieth century. However, for the complex content in the beginning period, each scholar often has different perspective to classify and discuss them for studying, naming them as "future novel", "science fiction", "political novel" and "utopia" and so on. I think all the generalizations above are ignored these novel's main character, --- dreamingly describe the ideal of Chinese society, reshape the image of China. It could be said that these efforts led the non-realistic social novels from the late Qing Dynasty extend to the Republic of China. Observing from this angle, it could surpass the late Qing Dynasty, and through to the first half of the twentieth century, found a same type of fiction which is overlooked by predecessor, as well as its birth, development, continuity and change. The first chapter focuses on the born of "social Imagined fiction" in the late Qing Dynasty. Social fantasy is already having the rudiment in the ancient Chinese literature, but it is not real social imagined fiction. The real social imagined fiction was born in the late Qing. The reason for it born in that time, besides the impact of changes by the external environment, but have the literature side, one hand is "Novel Revolution" with the advocacy on the “new novel”, making the fiction become mainstream of the literature from the non-mainstream shortly; On the other hand also have the influence from the western social imagined fiction. The theme of the fiction in the late Qing Dynasty is quite simple, although there is no lack of criticism and irony on the status quo of late Qing Dynasty, but more imaging the rise of China all over the world. Then there is only one image of China in the novel, which is a full-bright and powerful "future China". The problems of the social imagined fiction in late Qing are, first of all, the late Qing literary intelligentsia imagines modern society based on Confucianism, not match of the modern rule of law thinking and awareness of the obligations of citizens. In addition, the fiction emphasis on the construction of the system too much, ignoring the "personal" value, resulting in a narrow nationalism, with lacking literary aesthetic, all above limiting the social imagined fiction’s development and growth in late Qing Dynasty. The second chapter first introduces the overview of the social imagined fiction in the Republic of China.Then analyzes all kinds of "image of China" in social imagined fiction in Republic of China, compared with single "image of China" in late Qing social Imagined fiction, it has changed. The first is "the future of China". A large part of these fictions’ writing style are inherits from the ones in the late Qing Dynasty, to build a "future China" by using imagining ways in the fiction. A large number of social imagined fiction with description of the "future China", based on the New Democratic Republic of China was founded, but facing more complex political, social, cultural and the external environment, the period of the Republic of China people based on disappointing and indignant real life, anticipating future China with introspection and criticism. The second is "fairy-tale China". "Fairy tale" is a new literary genre emerged in the Republic of China, the image of “"fairy-tale China” in social imagined fiction in Republic of China, not only non-beautiful, but also dark, ugly mess, has completely lost the children's perspective and fairy tale means. Third is the "ghosty China". The "ghosty China" inherited the ancient ghost satirical novels way, reflecting the allegory and imagination of the reality. Compared with "fairy-tale China", the image of China in "ghosty China" is more corrupt, brutal and bloody dark. Fourth is the "interstellar China". "Interstellar China" describe the Chinese society in outer space. On one hand, this is an exotic world far from the earth, so it is possible that "strange and eccentric" things can happen; on the other hand, with "modern science" explanation, the existence of the world seems to have some kind of "truth", let one person couldn’t easily describe it as "groundless utterances". Thus the "interstellar China" would have some unique charm, shows that it is different from the social reality, but have many ramifications with realistic society. The third chapter attempts to reveal the contradiction between the late Qing Dynasty and the Republic of China in social imagined fiction. The first is the contradiction between "advanced technology" and "out of date politics". It still has a large number of social imagined fiction focus on "future China" in Republic of China time. However, most of the "future China" with advanced technology, the level of political and moral has become corrupt and backward. Secondly, it is the contradiction between "fairy intention" and "adult consciousness". Maybe at the beginning, these writers wanted to create a real "fairy tale", but the historical environment, era background and personal experiences have made it is inevitable put too much consciousness and thinking of adult into the fictions, gradually deviated from the "fairy tale" track, but to "social imagined fiction" road. Third, is the wavering between mood of "hope" and "desperate" in social imagined fiction. Although it is still a kind of imagination of Chinese society, the optimism in the social imagined fiction of late Qing Dynasty has been largely decreased , the "light of hope" is less and less, "despair" mood is spreading. However, the author isn’t despair completely; the hope still could be seen from the words. Fourth, the multiple positions of intellectuals in the Republic of China. Compared with social imagined fiction in the late Qing Dynasty, the social imagined fiction in the Republic of China are much richer, the contents are more complex. The reasons for this, one is the transform of society reflected in literature, the other is the multiple positions of intellectuals in the Republic of China.