李敬泽是中国当代最有影响的批评家之一，他以多重身份深度参与了中国当代文学的发展进程及其建构。近五六年来，随着《青鸟故事集》《咏而归》《会饮记》等散文著作以及多个专栏相继推出，他作为一位散文家的形象越来越清晰。他的散文，因文体独特而备受关注。从创作诗学的角度对李敬泽的散文文体展开研究，对于当下的散文创作，尤其是推动散文完成现代转型具有重要意义。

本论文尝试从李敬泽的写作方法、题材选取、叙述视角、文体结构、文体形式以及文体风格等方面进行研究，共分为四章。

第一章，“书中之书”。主要探讨他的散文所体现出的“元写作”特征，对于“物”的考辨和书写所体现出的切入历史的目光以及对于散文外在形式与结构的探索。李敬泽书写历史题材的散文著作，几乎都可以称之为“书中之书”或“引文之书”，但它们并非“文献的自我繁殖”式写作，而是体现出巨大的原创性和出色的想象力。他对于形式与结构的探索，富有实验性，不仅让文本变得幽深复杂，叙事变得斑斓多姿，内在性的深度也得到极大的拓展。

第二章，“精神叙事”。主要研究李敬泽对写作题材的征用、书写及其文体特征。他的主要散文著作，基本上都是在书写历史，且对春秋情有独钟。我们据此可以把春秋视为李敬泽写作的根据地。而书写历史，需要对历史进行知识考古，对历史人物进行心灵考古。这势必需要大胆而又合理的想象、推测甚至虚构。而想象与虚构的大量运用，则让文体边界变得更加模糊，甚至让边界消失。

第三章，“独白与会饮”。本章以《会饮记》为主要讨论对象，研究李敬泽散文的对话性与戏剧性、叙事人称变换以及他对内在形式的探索。对话性是李敬泽文章的显著特色，《会饮记》甚至可以称之为“对话之书”。书里，既有各种形式的对话，还有大段大段的独白。第三人称“他”的出现，让叙事获得更大的自由，也更加客观。而构建“有意味的形式”，是李敬泽面向有难度的散文写作的大胆尝试。他在不同的时空之间来去自如地腾挪闪转，把风马牛不相及之事，用一种有意味的形式勾连在一起，让碎片生成整体上的意义。

第四章，“面目与声音”。主要探讨李敬泽散文的风格及其成因。李敬泽的散文，形成了独特的叙述腔调，也就是“李氏腔调”。这种腔调的形成，把他的散文与他人的散文区别开来。而说到这一点，就不得不区分李敬泽与新散文的异同。他们所做出的努力，都是为了打破和超越“文学散文”的边界，完成散文的现代转型，但李敬泽迈出的步子更大，因为他解放了自己。而文学观念的解放，与一个人占用的思想资源密不可分。它是促使新文体诞生的关键。

Li Jingze is one of the most influential critics of contemporary China, and he has been deeply involved in the development process of contemporary Chinese literature and its construction in multiple capacities. In the last five or six years, his image as an essayist has become clearer and clearer with the release of his prose works such as The Collected Stories of the Blue Bird, Aria Return and The Symposium, as well as several columns. His prose has been called "Li Jingze's style" by critics because it is difficult to categorise the style. From the perspective of creative poetics, a study of Li Jingze's prose style is important for contemporary prose creation, especially for the modern transformation of prose.

This thesis attempts to examine Li Jingze's writing methods, choice of subject matter, narrative perspective, stylistic structure, stylistic form, and stylistic style, and is divided into four chapters.

Chapter 1, "A book within a book". This chapter focuses on the characteristics of his prose as "meta-writing", his identification of "objects" and the exploration of the external form and structure of his prose as well as the historical perspective of his writing. Li Jingze's prose writings on historical subjects can almost always be called "books within books" or "books of quotations", but they are not "self-propagation of documents", they are highly original and brilliantly imaginative. His experimental exploration of form and structure not only makes the text deep and complex, the narrative colourful, but also expands the depth of interiority.

Chapter 2, "Spiritual Narrative". This chapter focuses on Li Jingze's appropriation and writing of the subject matter of his writing and its stylistic characteristics. His major prose writings are essentially about history, and he has a predilection for the Spring and Autumn Period. We can thus regard the Spring and Autumn Period as the base for Li Jingze's writing. Writing history requires an intellectual archaeology of history and an archaeology of the mind of historical figures. This inevitably requires bold and plausible imagination, speculation and even fiction. The extensive use of imagination and fiction, on the other hand, makes the boundaries of the genre even more blurred, or even makes them disappear.

Chapter 3, "Monologues and the Symposium". This chapter focuses on the monologue and drama of Li Jingze's prose, the shift in narrative persona, and his exploration of intrinsic form, using The Journal of the Meeting and the Drink as the main object of discussion. Dialogue is a distinctive feature of Li Jingze's writings, and The Symposium can even be called a 'book of dialogue'. In the book, there are various forms of dialogue, as well as large monologues. The presence of the third person "he" gives the narrative greater freedom and objectivity. The construction of "meaningful forms" is Li Jingze's bold attempt to face the challenge of writing prose. He moves freely between time and space, linking unrelated events together in a meaningful form, allowing the fragments to generate meaning as a whole.

Chapter 4, "Face and Voice". This chapter focuses on the style of Li Jingze's prose and its genesis. Li Jingze's prose has developed a unique narrative tone, or ‘Li’s tone’.The formation of this tone distinguishes his prose from that of others. In this regard, it is important to distinguish the similarities and differences between Li Jingze and the new prose. The efforts they both made were aimed at breaking and transcending the boundaries of 'literary prose' and completing the modern transformation of prose, but Li Jingze took a bigger step because he liberated himself. The emancipation of literary ideas is inextricably linked to the resources of thought that a person occupies. It is the key to the birth of a new literary genre.