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中国曾经是个富于幻想的国度，虽然古代神话和传说由于历史的、地理的、民族的种种原因，零星散乱，但就残留的吉光片羽来看，亦可触摸到隐藏在历史深渊下的庞大身躯。 昆仑神话、蓬莱神话、楚神话及中原神话这些大系承载着人类初始文明的灿烂想像；老子就是一则神龙不见首尾的神话；庄子汪洋辟阖，扶摇万里；列子御风而行，仪态万方。无论是魏晋的笔记，还是唐传奇、宋话本及明清小说，都有许多诡异奇绝的想象。在晚清，甚至盛行过一段时间的“科学”小说，这些小说按现在的标准来看，恐怕更应归于与科学无关的玄幻小说之列，但从那个年代来评判，它们中间所蕴含的科学意识，已经算难能可贵了。 然而五四新文化运动以后，“唯科学”主义逐渐兴起，尤其是在1949年后，带有功利实用性和意识形态化特点的现实主义一统江山，神狐鬼怪类的小说销声匿迹，只有科幻小说演变成一种科普读物的附庸勉强存在，几起几落，浪潮退下后，海滩上唯剩下无边的现实主义。中国作家想像力匮乏与衰竭正是由此而起。 乃至今日，现代意义上的科幻小说和奇幻小说（Science Fiction & Fantasy），这一概念完全来自海外，成为了一种舶来品。科幻小说就不用说了，至今不过百年历史，而本土原创奇幻小说的历史更短。借助《魔戒》和《哈利波特》的东风，网络写作的大火突然爆发，迅速燃遍网络上下，奇幻大行其道，并迅速从中衍生出了中国独特的“玄幻”小说。 网络写作，这种暂时还未受到监督控制的形式，成为传播草根文化的最佳载体。文以载道的警戒线被打破后，许多新类型的概念像雪崩一样出现，意淫文、逆天文、穿越文、盗墓文，众声喧哗，新旧杂陈。而在《魔戒》之后，出版商也仿佛一夜之间找到了畅销题材，开始掠夺式地出版奇幻、玄幻类小说，以至于2006年后来被称为出版界的“奇幻年”。这种盛行，至今其实不过三五年的时间，但已经有一系列水平参差不齐的作品被推上高峰，出版商得到了实利，而批评家们或者对之不屑一顾，或者对之猛烈开火，这对于一个几乎是新生的文学品种当然很不公平，对在商业泡沫中沉淀下来的一部分严肃写作的作家们也不公平。 诚然，缺乏理论分析和集体性常识稀缺，使得作者们自己对文本概念也常有混淆，批评者亦有盲人摸象无的放矢之嫌。尽早梳理清晰国内原创幻想小说的脉络和大体的形貌体征是绝对有必要的。 目前常被施加于这一创作领域的词汇，有“玄幻”、“奇幻”、“魔幻”三种。几个概念之间的微妙区别却让读者群泾渭分明。很难找到一个概念，将这三种文本全都涵括在内，而行业内习惯采用的“幻想小说”，又包含了另一大类科幻小说在内——这也是本卷最终命名为《玄奇卷》的原因。 在这里，我们试着先来厘清三个概念：奇幻小说、玄幻小说和魔幻小说。首先，“玄幻小说”、“奇幻小说”都是《辞海》上所无的新创名词，至今只是约定俗成的概念，而不是理论准备已然充分确凿的概念。而魔幻一词，常被混用做“fantasy”的翻译，但在文学史上，魔幻早有所指，那就是指“魔幻现实主义小说”。 魔幻现实主义文学来自拉美，作品也常常出现鬼怪、巫术、神奇人物这些奇幻小说中的常见元素，但它把神奇和怪诞的人物和情节以及各种超自然的现象插入到反映现实的叙事描写中，目的是对现实进行重塑，一次别具匠心的揭示，使得现实的政治社会的错乱和荒诞更加明晰。魔幻现实主义小说是个比较不容易混淆的概念，但它与奇幻小说之间仍存在一定的交集。 我们现在所称的“奇幻”一词，对应的是西方小说中的fantasy，由台湾奇幻文化艺术基金会的负责人朱学恒翻译而来，沿用至今成为通用译名。正统的西方奇幻，并非完全无规则的想象，它必须构建一个完全自洽的想象世界。“自洽”其实是个高难度的要求，整个世界体系必须具备完整的逻辑系统，可以相互验证，不会自相矛盾。 其中最具代表性的是架空世界体系小说，例如《魔戒》、《龙枪传奇》以及《","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"I247/C46/3","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":0,"图象页数":0,"责任者":"主编陈思和 编选潘海天","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"上海文艺出版社","MARC类型":"","封面服务器ID":0,"首馆键码":1,"索书号15":"","采编审核日期":"","索书号14":"","索书号13":"","索书号12":"","索书号11":"","责任者2":"主编陈思和 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