本文研究小说创作中的互文策略，绪论部分梳理互文性理论的发生与演变，内涵与外延，界定出本文使用的互文写作概念：发生于文学文本之间，或文学文本与历史文化语境之间的对话策略。将研究案例确定为中国当代先锋作家的小说创作，将互文写作的对话对象限制为中国的古典传统。进而基于定义，从语言词汇、叙事结构、文本整体三个层次将互文写作进行形式分类，开展创作诗学的研究。

第一章研究先锋小说语词层面的互文写作。以在先锋作家创作的“古代故事”为例，选取三种重要的语言“零部件”：“时间标记”、“人物命名”和“词物象征”，分析作者如何将时间、人名、地名、物品名等具有标记作用，或特殊象征意义的“双值性”名词作为最小对话单位，与历史文化语境发生“点对点”的对话。这些词语位于语言抽象阶梯的底层，给予读者基于历史传统，和众多无法具名的“前文本”的期待视野。第二章研究先锋小说对传统叙事模式的继承与新变，即叙事层面的互文。通过文本拆解，总结出三种具有中国古典文学诗学特征的文本架构方式，分析作者如何利用小说的叙事框架，或情节单元与其他传统文本进行“线性”的对话。结构上的互文写作与其他文本的叙事模式呈现出相似的特征，二者之间可以是继承和派生的关系，同时还可能存在颠覆与解构的关系，例如通过增添、减少、重复等叙事方法加以陌生化的“变奏”，实现对前文叙事模式的暗合与超越。第三章研究先锋小说中的传统“副文本”。从形式切入，分辨作品中存在的作为叙述主体的“主文本”，以及和文本内部的“副文本”，即“文本中的文本”，并根据“副文本”的来源，将“主文本”与外部资料和原创资料的互文分别讨论。分析作者如何通过文际互文，展示自身的阅读经验和知识结构，改变作品的风格、复杂度和文体形态。“副文本”和“主文本”的对照呼应有可能自成“声部”，消解作品的整体性，又或是在复调“合唱”中建立新的主题。

结语部分总结互文写作的价值所在，即其作为一种诗学策略以“形式之力”创造意义的能力，并指出了在创作实践中，互文写作在可能导致的一些问题和危机。同时在本文研究范围之外，提出了互文写作与世界文学、类型文学和网络小说等其他文学类型研究的结合点。希望对互文写作的研究可以深入更广阔的学术空间，使其在未来成为一种创作思路与创作工具，成为理解当代文学现场和社会现实的独特路径。

This paper studies intertextual strategies in novel writing. The introductory section compares the occurrence and evolution of intertextuality theory, its connotation, and extension, and defines the concept of intertextual writing used in this paper: the dialogue strategies that occur between literary texts, or between literary texts and historical and cultural contexts. The study case is limited to the fictional creations of contemporary Chinese pioneer writers, and the dialogue object of intertextual writing is limited to the Chinese classical tradition. Further, based on the definition, the study of creative poetics is carried out by formally classifying intertextual writing at three levels: linguistic vocabulary, narrative structure, and text as a whole.

The first chapter examines superficial intertextuality, that is, intertextuality at the linguistic level. Taking "ancient stories" written by pioneering writers as an example, three important linguistic "parts" are selected: "time markers," and "character naming "We analyze how the authors use "double-valued" nouns such as time, names of people, places, objects, etc., which have the function of markers or special symbolic meanings, as the smallest conversational units, and have a "point-to-point" intertextual relationship with historical and cultural contexts. "These words are located at the top of the ladder of linguistic abstraction. These words are located at the bottom of the ladder of linguistic abstraction, giving the reader a view of expectations based on historical traditions and the many unnamed "pre-texts". Chapter 2 examines structural intertextuality, that is, intertextuality at the narrative level. By breaking down the text, three textual structures characteristic of the poetics of classical Chinese literature are summarized, analyzing how the author uses the novel's narrative framework, or plot units, to engage in a "linear" dialogue with other traditional texts. The structural intertextual writing shows similar characteristics to the narrative modes of other texts, and the relationship between them can be one of inheritance and derivation, while at the same time, there may be a relationship of subversion and deconstruction, for example, through narrative methods such as addition, reduction, and repetition, imposing a "variation" of strangeness to achieve an allusion to, and transcendence of, the narrative mode of the previous text. The third chapter examines the intertextuality between texts, i.e., the intertextuality at the level of the text as a whole. Starting from the form, it distinguishes the "main text" that exists in the work as the subject of the narrative, and the "minor text" within the text, i.e. the "text within the text". Depending on the source of the "secondary text," the dialogue between the "main text" and the external sources will be discussed separately from the dialogue with the original sources. We analyze how the author's own reading experience and intellectual structure are presented through the dialogue between texts, changing the style, complexity, and stylistic form of the work. The contrast between the "minor text" and the "main text" may create its own "voice", dissolving the work as a whole, or establishing new themes in a polyphonic "chorus".

The concluding section summarizes the value of intertextual writing as a poetic strategy for creating meaning through the "force of form," and points out some of the problems and crises that intertextual writing may cause in creative practice. At the same time, we propose the integration of intertextual writing with other literary research fields such as world literature, genre literature, and online fiction beyond the cases studied in this paper. It is hoped that the study of intertextual writing can penetrate a wider academic space so that it can become a creative thinking and creative tool in the future, and a unique path to understanding the contemporary literary scene and social reality.