古龍向有台灣新派武俠創始者的稱號，本論文試就其武藝表現的創新之處加以探究。因為武俠小說的模式特徵甚多，但最基本的離不開武、俠二字，故筆者以為武俠小說的「新」，至少應該在「武」、「俠」二個基本元素的詮釋上有所創新，並且在作為「小說」的基本文字表現與寫作技巧上也有所發明，方能稱為真正具有轉型創新意義的新派武俠。 僅就「武」而言，自平江不肖生以來，武俠小說中的武藝描寫就離不開套路化、舞蹈化的表演模式，至多是在武藝的詮解過程中，結合中國傳統哲思、藝術以達到「借武論道」的目的。此一模式自二○、三○、四○年代一路發展到五○、六○年代的港、台武俠小說諸家，基本上都是一致的，都逃不開表演式的、借武論道的武藝描寫。到了古龍的新派武俠小說裏，武藝的描寫開始放棄了套路化、舞蹈化，結合心理、氣氛的渲染而呈現了新的動作描寫。古龍甚至在武俠內涵上從「借武論道」向「獻身武道」發展，而使他小說中的武學思維大異於前人。這是古龍在「武」方面的創新之處。 本論文從動作描寫談古龍小說中的武藝表現，並從獻身武道談古龍作品中的武學內涵。試由此說明古龍對武俠小說中的武學的提昇之功。

This dissertation chooses to focus on the marital-art novels of Gu Long (古龍), the famous and important writer of this popular genre. Through close textual analysis of his novelistic work, this study aims to evaluate the place of Gu Long in the history of 20th–Century martial art novel and display the significance of Gu Long’s creativity in the transforming of this popular genre and his influence in the later development. These elements can be subsumed under the rubrics of movement description, the reconsideration of the essence of martial arts. In the 20th Century, the movement descriptions of the martial art novel were nothing more than the model and dance performance. In the discussion, important notions of psychological analysis, feminism and cultural studies are employed to further reveal the underlying important elements that constitute the force for Gu Long to bring about the transformation of martial-art genre. The major contributions of this dissertation can be in two aspects: firstly, the analysis and evaluation of Gu Long’s novels can help the readers further understand and appreciate Gu Long’s novels and their standing in the history of martial art novel; secondly, the clarification of the issue of the newness brought by Gu Long and how and where he stands in the development and transforming of the genre.