宋代筆記的編纂操作──以《東齋記事》、《澠水燕談錄》以及《蘆浦筆記》為中心

筆記的編纂以及撰寫在宋代達到了相對的高峰，綜合不同現代研究者的統計結果，宋代筆記的數量大約落在100到500種之間。作為一種尚未被完整定義或僅有模糊定義的體裁，筆記所記載的內容通常涉及各種隨意的觀察、零散缺乏組織的軼聞，以及非正式場合的對話。隨著近幾十年來文化史、出版史研究的蓬勃發展，部分宋史研究者已經注意到筆記在宋代的士人文化以及出版文化中扮演著重要的角色，同時也產出了一系列的相關研究。儘管如此，目前似乎鮮少有研究者關心「一部筆記在宋代是如何被生產出來的？」這個議題。這個空白正是這份研究嘗試處理的對象。藉由分析筆記文本產出的地點 (Place)［筆記的生產發生在甚麼機構或是空間？］、過程 (Procedure)［筆記是如何編纂出來的？］以及產品 (Product)［筆記做為一項產品的形式］，這份研究試圖探索、建立宋代筆記的編纂模式。這三個分析方向──地點、過程以及產品──事實上衍生於晚近法國學者Michel de Certeau (1925-1986)的一項理論，最初應用於分析現代日常生活中的文化生產活動。本篇論文從Michel de Certeau的理論中獲得啟發，嘗試將它運用在《東齋記事》、《澠水燕談錄》以及《蘆浦筆記》三部筆記的案例研究上。這份研究試圖闡明的是，這些擁有不同社會地位、身處不同機構、擔任不同職位以及隸屬於不同師友團體的宋代筆記作者，如何生產出屬於他們的筆記作品。在第一章，嘗試指出《東齋記事》的作者范鎮（1007-1088，景仁）在史館工作經驗，不僅強化了從事筆記編纂的正當性，也影響了《東齋記事》的形式以及內容。在第二章，揭露了宋代士人之間頻繁的社交聚會、娛樂活動，以及《澠水燕談錄》作者王闢之（1032-?，聖塗）的官宦經驗，在某種程度上促成了《澠水燕談錄》的產生。在第三章，我把《蘆浦筆記》視為身處孤寂環境的地方官員的閱讀紀錄，撰寫這一部作品不僅僅是娛樂，同時也是這名官員試圖士人群體溝通、分享知識的管道。這份研究分析背景不同的宋代筆記作者各自如何生產出自己的筆記作品，為建立宋代筆記的編纂模式這個終極目標打下基礎。誠然，這樣的結果並不令人感到滿意，為了建立筆記編纂模式，需要更多不同的案例研究，尤其是更多《東齋記事》這種與特定機構或是主流文本的生產具有密切關連的案例。

關鍵字

筆記；宋代； Michel de Certeau ；文本生產；《東齋記事》；《澠水燕談錄》；《蘆浦筆記》

並列摘要

The production of biji筆記 (“written note”) reached its relatively high point in the Song dynasty. As an ill-defined and indeterminable genre, biji is prone to evoking association of random observations, scattered anecdotes and casual conversations. Since publishing history and cultural history flourished in the studies on Song China in the past few decades, some scholars have recognized the significant role of biji in literati culture and publishing culture of Song China and have produced a series of studies. Nonetheless, there is a lack of focus on the issue: “How does biji be produced in Song China?” Through an analysis of Place (where it happened physically or institutionally), Procedure (how it was compiled) and Product (the final result of text) of three biji texts of Song dynasty, this study tries to seek the model of compilation of biji in Song Dynasty. These three directions originally derive from the late French scholar Michel de Certeau (1925-1986), who had developed and employed the theory on analyzing the dominantly cultural activities in the modern everyday life. This study, which follows the inspiration from Michel de Certeau and employs the theory on reading three biji text: Dongzhai jshi東齋記事, Shengshui yantan lu澠水燕談錄 and Lupu biji蘆浦筆記, illustrates how these biji writers of Song dynasty produced their works in different social status, institute, position and teacher-as-friend community. In the first chapter, I propose that the experience of participating in compiling official history which Fan Zhen (范鎮, 1007-1088) had justifies his work on biji and also affects the form and context of Dongzhai jshi. In the second chapter, I reveal that the frequent social gatherings and entertaining activities among literati and the experience of Wang Pizhi (王闢之, 1032-?) as a scholar-officials of lesser stature contributed to the production of Shengshui yantan lu. In the third chapter, I read Lupu biji as a record of reading which an isolated local scholar-official wrote it not only as entertainment but also as channel of communication and sharing knowledge with the community of literati. This study has revealed how the authors produce their biji works in term of each case and different conditions, which sheds light on the processes of compiling biji. In order to build up the model of compilation of biji of Song China, it necessarily requires more various cases to support it, especially the case like Dongzhai jshi which has a relatively close relationship with the particular institute or production of main-stream text.