摘要
「辦案之法，譬如築室」清代名幕王有孚以自身經歷寫下如此這般體會。以紙上辦案之法為題旨，本文首先從明清題奏制度著手，根據《欽定大清會典》疏理審轉流程衍生的不同文書術語。清代刑科題本是滿漢合璧文書，滿文繙譯是重要的行政作業環節。從制高點俯瞰紙上築室的佈局，如同中國四合院宅邸。同步被納入書寫範圍的除了犯人，還有各層官員與其應承擔的行政責任。各進院落該如何佈置，怎麼將人物放進衙門審理與命案現場，這是第二節處理的議題。最後從幕友或州縣視角揣摩，討論刑案書寫的原則與技巧，例如招眼背後的深意與一人說盡的必要性。將題本轉換為文本（text），重新審視官方文書寫作特質，刑科題本有著潛藏的雙面性格。換位後的理解與原初認知有著天壤之別。表面上，文本是罪與罰的具體展現，然而故事背後卻有著雙重制裁的隱憂。官方審轉制度之下的種種考量，有時反而扭曲了紙上築室的原始意義。
The main question of this research is to deal with the issue: How did the writer of Xingke Tiben 刑科題本 (Board of Punishments routine memorials) think about and construct these documents? How are we to fill or modify the gap between reality and writing? Xingke Tiben cannot be isolated from the social and cultural entities in which they were created. Their construction relates closely to the judiciary system and popular publications. Therefore, this research also takes a documentary journey, comparing and contrasting different texts such as references in texts describing daily life, lawyers’ documents, and legal literature with the aim of grasping the vivid shifts between them so as to clarify the culture of criminal writings in imperial China.
關鍵詞
刑科題本、刑案書寫、紙上築室、刑案的文化史、文本解構
Xingke Tiben (Board of Punishments routine memorials), criminal writing, building a paper house, cultural history of criminal cases, textual deconstruction
