本文旨在為「現代武俠」《城邦暴力團》定位，探察其敘述策略及其作者文化身分反映出的修辭行動。該書借第一人稱同名敘述者三重身分（解謎者、研究生、小說家），並與經驗作者的高度重合形成的敘事效果，遂突破虛實、時空與文類風格，成功跨越武俠文類古時空場景限制，開創出寫作的新範式；該書「擬說書人」的似真語境，令讀者陷入文史互涉的弔詭中，實承繼張大春 (1957- )的敘事美學，也透露他的中國敘事學。這部分冊出版、名為「說書人系列」的開館之作，仿照勾欄傳統與連載形式，隱含了作者視武俠小說為說書紹裘者。該書為實踐張大春文論「小說圖書館」的示範，而重新引入文言中的劍俠人物，又將子部議論性質寫入現代白話小說，可以說是走另一「文人化」道路。《城邦暴力團》在類型上引起的爭議，正好挑戰武俠文類主要愛好者（武俠迷）的閱讀慣性。就「變體」的角度觀之，張大春企圖開闢新風格，吸納不同閱眾，改變該文類由雅而俗的大眾化性質，重回經典之路。

This study aims to discuss the position of the modern knight-errant novel Gang of the city (《城邦暴力團》) by investigating its narration strategies and aesthetic response. The author creates a first-person narrator whose name is the same as his. The overlapping identity makes the book cross the boundary between fact and fiction, penetrating the limit of time and space and presenting various styles of genres. The narrative strategies initiate a new paradigm. The book becomes a practice of “novel-library,” which reveals indirectly the author’s attempt to connect academic writing to creative writing. The paradox exists in the tone and the cultural intertextuality in the context, which relates to the narratology of Chinese novels and inspires Chang Da-Chun’s (張大春) aesthetics of narrative. The book is the beginning work of a serial named ‘‘a set of the storyteller.’’ Its form, imitating the narrative device used by ancient storytellers (說書人), reveals that the author regards knight-errant novels as inheritance of Chinese storytelling tradition (說書傳統). Nevertheless, the author avoids the traditional formula successfully; the context which goes on a pilgrimage of knowledge challenges the inertia of reading. Whether or not the context turns away from the taste of the public, the transformation in this new 208paradigm is a phenomenon that deserves observation.