郑成功是关涉中国大陆及台湾，日本、东南亚乃至荷兰等国家和地区关系的重要历史人物，具有广泛的国际影响。日本早在距今三百多年前的江户时代，就以近松门左卫门的《国性爷合战》为标志，产生了所谓“国姓爷文学”，并引起轰动。本论文立足于历史与文学的文本交叉，将以郑成功为题材的文学作品定义为“郑成功文学”，其内容包括中国大陆及台湾，日本、荷兰等国家和地区所有以郑成功为题材的一切形式的文学作品。以日本“郑成功文学”为研究对象，运用比较文学的理论与方法，通过历史文本与文学文本的双向互动进行文史互证，从中日关系史的角度对郑成功进行跨文化的研究，本论文渐进式地揭示出自江户时代至今日本人自身的文化身份认同、对中国文化的接受与拒斥，以及由于日本华夷思想的嬗变所表现出的民族主义、东亚主义、亚洲主义之间的包容、排斥、矛盾、融合以及独特的民族心态等各种复杂现象，进而梳理出一条日本的国粹主义、大亚细亚主义及军国主义发展膨胀的思想脉络。聚焦日本“郑成功文学”并以郑成功为中心的历史人物进行研究，不仅是对一个具体历史问题的认识、发掘和评价，也是对日本自江户时代以来三百多年间日本文学史、精神史发展演进之路径的认识。这样的研究既是对郑成功研究的推进，也是审视日本民族性和国民性的独特视角，更是理清日本与中国明、清文化的关系乃至与整个亚洲关系的突破口，对于深入认识日本对台湾殖民统治的影响以及处理当下的中日关系、中国大陆与台湾地区的关系具有积极的参考意义。与日本“郑成功文学”研究的重要性相比，当前国内外学术界的相关研究成果显得极其匮乏。因此，本论文跨越文学、历史和思想史的跨学科研究无疑具有重要的学术意义和实践意义。 本论文的主体由十章构成。第一章对日本“郑成功文学”总体面貌进行观照后发现，日本的“郑成功文学”经历了三个发展时期。江户时代（1661-1867）为先声期，这一时期的文学作品呈现出强烈的国家主义意识；明治、大正及昭和前期（1868-1945）为发展期，这一时期日本的“郑成功文学”具有浓厚政治色彩，郑成功甚至成为日本对台湾进行文化殖民的利用对象；“二战”以降（1945- ）为繁荣期，这一时期日本的“郑成功文学”呈现出明显的海洋思想。 本论文第二章到第六章以“郑成功文学”为中心，对郑成功及其相关历史人物进行了专章研究，研究对象包括郑成功、郑成功之父郑芝龙、郑成功之母、郑成功之妻董氏以及《国性爷合战》中以郑成功为中心的相关历史人物，还原了这些人物的历史真实，呈现出了中日历史文化语境下这些历史人物形象的异同。中日历史文本中对郑成功等历史人物的认识和评价截然不同。“郑成功文学”中的郑成功形象呈现出武士形象、儒者形象、忠臣形象、国姓爷形象、海外贸易家形象、军事家形象、台湾开创者形象的特点；郑芝龙形象的变迁具体表现为郑芝龙老一官的忠臣形象、才貌双全的有志青年形象、海盗·海商的海上王形象、“飞虹将军”的官僚形象、台湾开拓者形象和投降清朝的逆臣形象的特点；郑成功之母形象的变迁体现了作为日本代言人的女性形象、自立的女性形象、贤妻良母的女性形象的特点；郑成功之妻董氏的女性形象表现出贤妻良母形象、理智冷静的女性形象和台湾“西太后”形象的特点；《国性爷合战》中历史人物形象的特征，具体表现为和藤内（郑成功）的日本武士形象、吴三桂的忠臣形象与李滔天（李自成）的逆臣形象、郑芝龙与甘辉的忠臣形象及翁婿关系的转变。郑成功等历史人物形象与历史文本的差异体现了文学与历史的跨越。其中主要差异表现在郑成功的武士形象、郑芝龙的忠臣形象、郑成功母亲的日本代言人形象、以及郑成功之妻的台湾“西太后”形象、李自成的逆臣形象、吴三桂的忠臣形象等方面。本论文立足这些历史人物形象与历史事实的差异，并从思想史的角度阐释了差异产生的原因。 本论文第七章到第十章论述了日本“郑成功文学”与思想史的关联。第七章“日本对郑成功的形象建构及其对台湾的文化殖民”着力讨论了日本对郑成功形象的建构以及郑成功最终被纳入日本对台湾文化殖民话语体系的过程；第八章“日本‘郑成功文学’与日本华夷思想的嬗变”回顾了从江户时代日本国家主义意识的产生到近代以降日本军国主义发展膨胀的过程；第九章“郑成功的海洋观与日本‘郑成功文学’的海洋思想”具体论述了自江户时代以来日本“郑成功文学”的海洋思想从缺失到融入再到泛海洋化书写的过程，以及郑成功的海洋观、郑成功海商集团与海上丝绸之路的关系；第十章“中日‘郑成功文学’与郑成功的身份认定及身份挪位”，日本对郑成功的身份认定和身份挪位经历了江户时代强调郑成功身份的日本文化属性，到日本近代强调郑成功身份的中日文化交融属性，再到日本现代强调郑成功身份的中国文化属性的过程。这一过程反映了日本民族主义思潮发展演进的历史。总之，第七章到第十章总体论述了江户时代以来日本“郑成功文学”与日本对华思想史的发展演进以及中日关系史之关联。

Zheng Chenggong is an important historical figure who played a noteworthy role in the relationship of China mainland and Taiwan, Japan and the Southeast Asian countries. His international influence has even reached the Netherlands and some other western countries. So-called “Koxinga Literature” (the literature about Zheng Chenggong) appeared very early in Japan and can be traced back to the Edo period, when Chikamatsu Monzaemon’s work The Battle of Koxinga was created three hundred years ago. Having the overlap of history and literature as the starting point, this paper defines the literary works about Zheng Chenggong as “Zheng Chenggong Literature”. Its range includes all kinds of literary works about Zheng Chenggong in China mainland, Taiwan, Japan, the Netherlands and other countries and areas. This paper mainly focuses on the “Zheng Chenggong Literature” in Japan. With the ideas and approaches of comparative literature as a basis, and through the study of two-way interaction of historical and literary texts, this paper accomplishes a cross-cultural study focused on Zheng Chenggong, viewed from the perspective of the history of Sino-Japanese relationships. In this way, a better understanding of many issues has been achieved, including such matters as Japanese cultural identity from the Edo period until now, Japan’s acceptance and rejection of Chinese culture, the nationalism revealed by changing thoughts on “the distinction between Hua (華) and Yi (夷)” in Japan, as well as the complicated phenomena of containment, repulsion, conflict, fusion in Asian regionalism and other national attitudes in Japan. Meanwhile, the paper also deals with the development of Japanese populism, Greater Asia concepts, and militarism. Thus, the study of Japan’s “Zheng Chenggong Literature” with Zheng as the central figure is not only relevant with regard to a better understanding and evaluation of a concrete historical issue, but also with respect to our understanding of the development of the history of Japanese literature and ideology during the past three centuries since the Edo period. The paper does not only add further insights to existing studies on Zheng Chenggong, it offers also an entry point in the survey of Japanese national character as well as a new perspective with regard to the relationship between Japan and Ming-Qing culture, and even with respect to the relationship between Japan and the whole of Asia. At the same time, this study can also provide some useful reference to the understanding of the relationship between Taiwan and China mainland at present. Nevertheless, its main focus is on the study of Japan’s “Zheng Chenggong Literature” which has received little attention so far, both in domestic and foreign academic circles. Insofar, the present cross-disciplinary study that merges the survey of literature, history and ideas in this paper is obviously important in its academic and practical significance. The entire paper is composed of ten chapters. Chapter One provides a general survey of “Zheng Chenggong Literature” in Japan, which can be divided into three periods. The first period is the starting stage of “Zheng Chenggong Literature” in the Edo period; the literature of the period shows a strong nationalism. The second period is the developing stage that covers the Meiji period, Taisho period and the early Showa period. “Zheng Chenggong Literature” during this time showed a thick political color; Zheng had even become a tool used by Japan in the cultural colonization attempted in Taiwan. The real flourishing of “Zheng Chenggong Literature” in Japan comes after the Second World War; it is the third stage and now, this literature revealed an obvious ‘maritime’ thought. Chapter Two to Chapter Six provide specific studies of the historical figures that relate to Zheng Chenggong, with him in the center. These figures include Zheng Chenggong, his father Zheng Zhilong, his mother, his wife and other related historical figures, in The Battle of Koxinga. These chapters attempt to re-establish the historical facts about the figures mentioned. The research documented in these chapters shows that the evaluation, and comments about Zheng Chenggong and other figures related with him, are totally different in China and Japan due to the influence of the two countries’ different historical and cultural contexts. The images of Zheng Chenggong in Japan’s “Zheng Chenggong Literature” vary from samurai, Confucian scholar, loyal minister, overseas trader, military leader, to colonizer of Taiwan and so on. Zheng Zhilong’s images vary from loyal minister, youthful yet wise and smart man, pirate (sea trader), official and general, colonizer of Taiwan, to traitor who surrendered to the Qing dynasty. The images of Zheng’s mother vary from typical Japanese woman, self-reliant woman, to good mother and wife. The images of Zheng’s wife, Lady Dong, vary from good mother and wife, female characterized by reason and calmness, to “Lady Dowager” in Taiwan. The specific historical features suggested in The Battle of Koxinga serve to portray Zheng Chenggong (Fujiuchi) as a Japanese samurai; Wu Sangui’s image is that of a loyal minister; Li Taotian’s (i.e. Li Zicheng’s) image comes across as that of a traitor; Zheng Zhilong’s and Gan Hui’s images are those of loyal ministers. The gap between the images of Zheng and the other characters as constructed in literary works and their portrayal in historical texts embodies the overlap of literature and history. The major gaps can be found in the image of Zheng Chenggong as a samurai, the image of Zheng Zhilong as a loyal official, the image of Zheng’s mother as a spokesman of Japan, as well as Zheng’s wife’s image as the “Lady Dowager” in Taiwan, and Wu Sangui’s image as a loyal minister. The paper reflects on the reasons for this “gap” and the departure of these people’s literary images from the images presented in historical texts, thus realizing a connection of literature and the history of ideas. Chapter Seven to Chapter Ten discuss the relationship between Japan’s “Zheng Chenggong” literature and the history of ideas. Chapter Seven, “The Construction of Zheng Chenggong’s Image in Japan and the Cultural Colonization in Taiwan” is discussing the formation of Zheng’s image and the process by which Zheng is finally absorbed into the discourse system of Japan’s cultural colonization with regard to Taiwan. Chapter Eight, “Japan’s ‘Zheng Chenggong Literature’ and the Change in Japan’s ‘Hua-Yi’ Thought”, reviews the process of the formation of Japan’s nationalism in the Edo period that would lead to the development of the country’s militarism. Chapter Nine, “Zheng Chenggong’s Marine Ideas and the Marine Ideas in Japan’s ‘Zheng Chenggong Literature’” is discussing the process the leads from a lack of ‘marine ideas’ in Japan’s early “Zheng Chenggong Literature” to the large-scale presence of ‘marine writing’ in its third and up to now, last phase. This chapter is also discussing Zheng Chenggong’s ‘marine ideas’ as well as the relationship between Zheng’s maritime trade group and the ‘Marine Silk Road’. Chapter Ten, “‘Zheng Chenggong Literature’ in China and Japan and Zheng Chenggong’s Misaligned Identity”, shows that the identity of Zheng Chenggong was misaligned in the Edo period, and Zheng’s identity was given features particular to Japanese culture at the time. After the Edo period, Zheng’s identity was gradually given merging features reflecting the communication of Chinese and Japanese culture. Finally, in the modern era, features particular to Chinese culture have been emphasized with respect to Zheng’s identity. This process has been accompanied by the process of the development of Japanese nationalism. In summary, Chapter Seven to Chapter Ten have presented a general discussion about Japan’s “Zheng Chenggong Literature” since the Edo period as well as the development of Japanese attitudes towards China and their connection with Sino-Japanese relations.