散文化的短篇小说作为一种短篇叙述，与注重戏剧性和技巧性的短篇叙述方式不同，是一种具有散文化倾向、注重文学性与审美性的短篇叙述。这种短篇叙述在中国存在古典形态，魏晋南北朝时期的笔记小说，篇幅短小、叙事简约、形式灵活，是散文化短篇小说的初始形态。 散文化的短篇小说创作是从古典形态经过现代转换而来的，因而不是一种横空出世的文体现象，它既有对西方文学的借鉴，也有传统叙述的血脉。本文将从散文化短篇小说的古典形态、现代转换和当代创作三方面对这种文体进行一个形态梳理与审美观照，进而探讨这种文体持续存在的合理性及发展前景与方向。 本文第一章探讨了散文化短篇小说的古典形态，从中国古代小说的两种形态?——文言小说和白话小说中找到它的传统样貌，并探寻这种古典形态的发展轨迹。这种形态在民间戏剧性叙事的崛起中逐渐衰微，成为中国古典叙事中的边缘叙事方式，而戏剧性的章回叙事成为传统中国文学的代表性叙事。 第二章讨论散文化短篇小说的现代转换。五四时期，文学现代性随着社会现代性一同发生，文学革命在白话短篇小说领域开始，短篇小说参照西方小说理论从语言形态与叙事方式上彻底与传统短篇叙事决裂，形成了新的短篇小说审美形态。这中间，短篇小说内部又发生“革命”，散文化短篇小说以反情节、反故事的反叛姿态及非连续的心理描写与碎片化的故事讲述呈现出了现代主义的深刻精神内蕴，形成了具有诗性特质的新审美形态。从这种文体的现代转换中我们可以看出其文体的实验性与反叛性。 第三章讨论当代散文化短篇叙述的属性与可能——在坚守文学性的基础上实现文体突围。当代散文化短篇小说创作从40年代到80年代至今创作格局不断扩大，并呈现出地域美学与思想意味两大景观。散文化短篇小说的当代创作兼具传统承袭与外来因素，既是古典形态笔记小说的当代回响，又是世界文学的中国回应。作为一种一度被边缘化的文体形态，其对文学性和审美性的坚守，成为这种文体存在的最充分的合理性，而在审美坚守的同时寻求一种当代短篇叙述的突破，成为这种文体继续向前发展的关键。

As a short narrative, prose-style short stories are different from short stories that focus on theatricality and skill. They are short narratives with propensity to prose culture, literariness and aesthetic quality. This kind of short narrative has a classical form in China. The fictions during the period of the Southern and Northern Dynasties were novel styles, essays between essays and novels, usually short stories, anecdotes and folk stories. Legends are the subject matter. They have the characteristics of being frivolous, simple in narrative, flexible in form, and non-discriminatory. They are the initial forms of short stories in prose culture. The first chapter of this article discusses the classical form of prose short stories. It finds its traditional appearance from two forms of ancient Chinese fiction— classical Chinese fiction and vernacular fiction—and explores the development path of this classical form. This form gradually declined in the rise of the folk dramatic narrative and became the marginal narrative mode in Chinese classical narrative. The dramatic chapter back narrative became the representative narrative of traditional Chinese literature. The second chapter discusses the modern transformation of prose short stories. During the May 4th period, literary modernity took place along with social modernity. The literary revolution began in the field of vernacular short stories. Short novels took a break from language form and narrative style and traditional short stories to form new short stories. Aesthetic form. In the middle, a "revolution" took place within the short story. The short story of the prose culture took a deep anti-plot, anti-story rebel posture, and discontinuous psychological description and fragmented storytelling to present the profound spiritual connotation of modernism. The new aesthetic form with poetic qualities. From the modern transformation of this style, we can see its experimental and rebellious style. The third chapter discusses the attributes and possibilities of the short narrative of contemporary prosperous culture - to achieve stylistic breakthrough on the basis of adherence to literariness. From the 1940s to the 1980s, the creative pattern of contemporary scattered culture short stories has been continuously expanded, and presents two landscapes of regional aesthetics and ideological significance. The contemporary creation of scattered culture short stories combines traditional inheritance with external factors. It is not only the contemporary echo of classical form of sketch fiction, but also the Chinese response to world literature. As a once-marginal stylistic form, its adherence to literariness and aesthetics has become the most complete rationality of this stylistic existence, while at the same time seeking a break from the contemporary short story narrative while adhering to the aesthetic, it becomes this The key to the continued development of this style.