领衔缔造日本明治文学的“红露逍鸥”时代而文誉斐然的大作家尾崎红叶，因被贴上“元禄趣味”的标签长期评价较低。自1990年代以来，日本学界尝试从文本解读、翻案文学比较，以及文化研究等角度重新展开红叶文学的探讨，取得了重大进展，但是仍存在三个问题：其一、以西欧近代写实小说为判断标准和过于强调“言文一致体”为前提的“近代文学史观”限制了对尾崎红叶的小说文体与作品内涵丰富性的发现。其二、翻案文学研究过于强调原典和比较二者的异同，对作家的创造性重视不够。其三、文化研究和媒体研究由于过度关注作家、作品周边，结果导致出现忽视尾崎红叶文本研究的倾向。对此，本论从以下三个方面展开研究：第一、考察红叶小说与日本传统文学、外国文学的网络关系，努力发现其独创性。首先，在耙梳作家所处的时代背景、家学渊源及学生时代的文学活动等方面的基础之上，考察了红叶文学与江户町人文学的承接关系。尾崎红叶小说虽然带有江户文学的特征，但并非只是对传统文学的单纯继承，而是立足于传统文学，并巧妙地移植入明治时代的流行题材。如《京城傻瓜人偶》中对女学生辰巳永代与婢女阿袖的人物形象的塑造，展示了小人物在时代大潮中的悲欢沉浮。可以说已经脱离出传统戏作文学的写作模式，具备更为深刻的讽喻内涵。其次，专题讨论尾崎红叶的翻案与文学创作的关系问题。尾崎红叶一生的文学翻案最突出的特征就是善于“脱胎换骨”式的主题置换和故事情节的扩展与嫁接，并积极汲取外国文学中的写作方法，融入到自己的文学创作过程。通过《夏天的短褂》和《恋之病》对莫里哀两部作品的翻案，然后成功地将情节进行“二度翻案”，创作出的中篇小说《心的阴翳》就是最大证明。从这个意义上来看尾崎红叶的翻案活动，这种通过文学翻案反哺创作小说的方法，在很大程度上可以说是作家尾崎红叶创作方法的一个重要特征。红叶通过这种方法，融进了传统和外国的多种文本的关联性，丰富了近代文学的小说题材和作品内涵。 第二、重新考察和定位尾崎红叶的文体实践活动。红叶不仅有《三个妻子》中的雅俗折衷文体，也有《两个女子》、《多情多恨》中的言文一致文体。学界多以《多情多恨》作为他文体实践所达到的最高点。但这种看法其实没有摆脱“文言一致体”意识形态的束缚。本论多角度考察尾崎红叶的文体实践，尤其关注《金色夜叉》的“和汉洋调和文体”，认为该文体在不失去“韵致”的同时兼顾故事的趣味性，是对言文一致文体单一化倾向的重要突破。第三、专门研究红叶小说的“恋爱”主题。近代文学的恋爱往往与自我确立联系起来描写，形成特有的意识形态，关注年轻男性知识分子的恋爱生活，而忽视其他阶层乃至女性群体的恋爱情况。红叶在两个层面有独特性：一，描写了社会各阶层的男女的爱恋生活。二，创造了恋爱故事叙述的开放性结构。这典型地体现在《金色夜叉》的未完性上。本论认为，尾崎红叶对当时“恋爱”观念的怀疑与苦恼才成为《金色夜叉》难以结尾的最根本原因。可以说，尾崎红叶的小说正是明治时代“恋爱”这一词语丰富内涵的最直接体现。 综上，本论从以上三个方面来呈现尾崎红叶小说的诸多丰富性与可能性，不仅对于重新客观评价尾崎红叶文学的美学价值具有重要意义，对于反思西洋中心主义的近代文学史框架也是一个积极的尝试。

As the famous core member of the writers whom created a new era of Ko-Ro-Syo-O in the Meiji times, Ozaki Koyo was criticized because of his traditional taste and obscure styles by Genroku-Okashi. Since 1990s, plenty of academic achievements has been made in the study of Ozaki Koyo’s works from various perspectives, ie. Text interpretation, comparative study of adaption literature, and cultural study etc.. However, the progress should not overshadow the problems in this field, of which three problems deserve our attention. First, there exists a failure to explore the connotative meanings and literary style of his novels. This failure is caused by “Modernity of Modern literature”, which judges in terms of standards adopted in Realistic novels from Western Europe and overemphasizes Genbun Itchi. Second, the study of adaption literature ignores the originality of adaption novels, placing excessive importance in the contrast and comparison of adaptions and their original. Third, a tendency of neglecting the text study of Ozaki Koyo’s works has been resulted from the fact that excessive attention has been given to the study of the factors outside the text. Therefore, this thesis presents a study from the following three dimensions.First, a study of the originality of Ozaki Koyo’s novels is based on the probe into the relevance between his works and traditional Japanese literature and western literature. The probe into his heritage from citizen literature in the Edo periodis based on an analysis of social context of his age, the literary influence from his family, and his literary activities on school campus.In spite of some characteristics of Edoliterature, Ozaki Koyo’s novels couldn’t be viewed as simply following the way of traditional Japanese literature, instead, they root themselves in tradition while blending some popular literary subjects in Meji times. In the case of Stupid Beauty Doll,the two protagnists, Tatsumi Nagayo, a student, and her maid, Sode, have displayed the ups and downs of small potatoes in the tide of era, which provides the novel with a metaphorical and ironical theme. Apparently, this characterization has helped Stupid Beauty Doll lift itself above the traditional literary mode.Second, a particular discussion is devoted to the relationship between Ozaki Koyo’s adapting and his composing. The most outstanding characteristic of Ozaki Koyo’s adaptions is his consummateskills of replacing themes and extending and blending plots. He is also good at learning western literary techniques and integrating them into his own novels promptly.So Ozaki Koyo finds nourishment from the adaptions and feeds his novel with it. This, to some extent, has become one of the important approaches he takes in his novel composing. In this way, Ozaki Koyo has successfully blended the traditional Japanese literary elements and western elements which correlate with each other and has contributed greatly to the wealth of subjects and works of modern literature.The second part reexamines and relocates Ozaki Koyo’s stylistic practice. Ozaki Koyo’s writing styles include not only the style of blending the classical and colloquial styles, which is demonstrated in Three Wives，but also the style of using Japanese vernacular and written language simultaneously, which is shown in the works of Two Wives and Love and Hatred.Love and Hatred is regarded as the summit of his achievement in practicing stylistic skills. But such view in fact does not overcome the constraints of the ideology of identity of Japanese vernacular and written language. This paper conducts a study of Ozaki Koyo’s stylistic practice from various perspectives, with the mixed style of Japanese-Chinese-English in Golden Demon as the studying focus. This papers finds that the mixed style of Japanese-Chinese-English , which strikes a ideal balance between marinating the charm of language use and the fun of the story, is a breakthrough of the style of identity of Japanese vernacular and written language.The third part focuses on the topic of “love”. The description of “love” in modern literature, which is always related with self-identity, forms a unique ideology, and always deals with the love life of young female intellectuals while neglecting the love life of women and other social classes. Ozaki Koyo’s works are typically featured in two aspects: First, Ozaki Koyo’s works describes the love life of men and women from various social classes; second, they create the open narrating structure of love stories, which are typically demonstrated in Golden Demon’s incompleteness. This research regards that Ozaki Koyo’s doubts and worries towards the concept of “love” of that times is the root of the incompleteness in Golden Demon. So it follows that Ozaki Koyo’s novels are the direct reflection of the rich meanings of the word “love” in Meji times.To sum up, this research , by demonstrating the richness and great possibilities of Ozaki Koyo’s novels, not only has great significance in reevaluating the aesthetic values of Ozaki Koyo’s works, but also presents a positive attempt in reflecting the Western Centrism in the structure of the history of modern literature.