本篇論文聚焦王韜1850年代至1880年代間筆記小說、艷史集以及文藝增刊等作品當中的女性敘事，探討其海內外遊歷經驗與情感表述。首先，考察王韜早年定居上海、香港期間所作《瀛壖雜志》、《甕牖餘談》以及《遯窟讕言》三部作品，分析其所撰女性記聞當中時代過渡之面貌，冶遊書寫之萌芽，以及西方元素在作品當中的運用。接著，聚焦王韜生命中期的冶遊作品《海陬冶遊錄》、《艷史叢鈔》與部分《淞隱漫錄》、《淞隱續錄》的篇章，探討其冶遊創作如何受中日冶遊文學影響，並且承繼發展。最後，回到王韜晚年於《點石齋畫報》上連載的三部文藝增刊，《淞隱漫錄》、《淞隱續錄》與《漫游隨錄圖記》，細究其二十年前歐遊之女性互動經歷，後續創作當中的經驗轉化，以及這些故事與畫報新聞在《點石齋畫報》上所扮演的文化中介角色。;This thesis focuses on the female narratives within Wang Tao’s novels， romantic histories， and literary supplements published between the 1850s and 1880s， exploring the interplay between his travel experiences at home and abroad and his emotional expressions. First， this study examines Yingruan zazhi (《《瀛壖雜志》》)， Wengyou yutan (《甕牖餘談》)， and Dunku lanyan (《遯窟讕言》)， written during Wang’s early residency in Shanghai and Hong Kong. It analyzes the transitional nature of the times reflected in his records of women， the budding of courtesan culture writing， and the incorporation of Western elements in these works. Second， focusing on his mid-career courtesan writings， including Haizou yeyou lu (《海陬冶遊錄》)， Yanshi congchao (《艷史叢鈔》)， and select chapters from Songyin manlu (《淞隱漫錄》) and Songyin xulu (《淞隱續錄》)， this paper investigates how his courtesan literature was influenced by and built upon Chinese and Japanese traditions. Finally， the thesis returns to three literary supplements serialized in the Dianshizhai Pictorial during Wang’s later years: Songyin manlu， Songyin xulu， and Manyou suilu (《漫游隨錄圖記》). It scrutinizes his interactions with women during his European travels twenty years prior， the subsequent transformation of these experiences into his writings， and the role of cultural mediation these stories and pictorial news played within the Dianshizhai Pictorial.
