本选题以明代小说中词作的文本辑录为基础，笔者共对153种白话小说、33部文言小说集以及96篇文言小说的存词情况进行了收集统计，并在此基础上从不同的视角对小说中的词作予以全面考察。 绪论部分略述了本选题的研究现状与意义，同时介绍了选题的研究范围与方法。正文分为六章，大体上可分为三部分： 第一、第二章为第一部分，主要呈现小说中词的整体风貌。第一章主要对小说中的用词现象予以定量分析，并在此基础上考察小说中词作在词调运用上的特点及原因。第二章对小说中词作予以定性分析，即小说中词作的雅俗之分，审美性与功能性之间的关系等。 第三、第四章为第二部分，立足于小说创作考察用词现象。第三章以词体进入小说的原因为切入点，考察白话小说与文言小说两大体系的创作中，词体文本意义的差异；根据词体在小说中所承担的具体角色，梳理白话小说的开场词由宋元话本的临场性向体制性转变的过程。第四章在参照宋元话本小说用词现象的基础上，论述明代小说中词作叙事功能的发展与新变；考察明人小说理论与叙事观念对用词现象的影响，指出词体不能单独参与小说体制的构建，明代小说在体制层面存在“诗为体、词为用”的格局；围绕小说叙事的诸要求，全面展现词体对小说的艺术贡献。 第五、第六章为第三部分，立足于词史考察小说中的词作。第五章以小说中词作的文本界定为基础，考察小说中词作袭用前人词的现象，以及原创词的文本风格。第六章主要考察小说中原创词与明代词坛创作之间的关系，小说作者群在创作中的填词行为，与明代词坛创作息息相关；在对明词词调全面统计的基础上，考察小说原创词在词调的运用上与词坛的异同；以小说用词现象为切入点，对明代三部重要词选的选源、选词标准及风格特色予以论述。 附论部分则就与小说用词现象相关的若干专题予以讨论。对崇祯本《金瓶梅》回前诗词的来源，在学界已有成果的基础上予以补考；从诗词运用的角度，考察中篇文言传奇的发展脉络及流行轨迹；从小说作者群对《草堂诗馀》的取用现象，对明代最为流行的这一宋代词选的成书目的及性质，予以重新检讨。 关键词：明代、小说、词、词调

In order to reveal a whole picture of ci poetry in the Ming Dynasty novels, this dissertation collects a large quantity of ci poems retained in 153 types of ancient vernacular novels, 33 copies of classical Chinese fiction collections and 96 pieces of fictions of classical Chinese and analyzes them from different angles. Apart from the introduction, which briefs on the research background, research significance, research range and research method, the main body of this dissertation, with 6 chapters, could be roughly divided into 3 parts: The first part, consisting of Chapter 1 and 2, is devoted to a general survey of ci poetry in novels. Chapter 1 conducts a quantitative analysis of this phenomenon and then explores the special features and reasons of ci tunes used in novels; Chapter 2 makes a qualitative analysis of them, trying to clarify their division between elegance and vulgarity as well as their relation between aesthetics and functionality. The second part, including Chapter 3 and 4, investigates the phenomenon of employing ci in novels creation. Chapter 3 begins with the deciphering of the reasons why ci poetry is adopted in novels, then studies the different significance of ci style in the two systems of vernacular novels and classical Chinese novels and finally sorts out how impromptu ci in the vernacular novels of the Song and Yuan Dynasties developed into systematic patterns. Chapter 4 proceeds to discuss the continuing change and innovation of the narrative function of ci in the Ming Dynasty novels before studying how fiction theories of that time affected the usage of ci, that is, under the framework of “ci serving novels”, ci could hardly participate in the novel system construction. This chapter finally concludes the artistic contribution of ci poetry to novels. The third part, composed of Chapter 5 and 6, is devoted to case studies of ci poetry in novels in terms of its history. Chapter 5, based on the definition of ci poetry in novels, studies the inheritance of former ci poetry in novels and the style of original ci poetry. Chapter 6 examines the relationship between the original ci poetry in novel and Ci creation in the Ming Dynasty: the novelists who created ci poems in novels are closely connected with the creation in ci circle in the employment of ci tunes, which can be illustrated by a comprehensive statistic investigation of the ci tunes in the Ming Dynasty. Besides, this chapter elaborates on the sources, standard of choice and stylistic features of ci poetry in three important ci collections in the Ming Dynasty. The appendix is concerned with relevant propositions of Ci poetry in novels. Firstly, a new study of ci and poetry in the prelude to Jinpingmei of Chongzen years is supposed to supplement the previous research; secondly, the development and popularizing path of novellas is hoped to be revealed; Thirdly, CaotangShiyu, as the most popular Song ci collection in the Ming Dynasty heavily indebted to groups of novelists, with its creation aim and property is also reexamined. Key words: the Ming Dynasty; novels; ci poetry; ci tune