西漢思想家揚雄展開書寫時，往往依傍著古聖前賢既定的言說轨跡來進 行，造成其撰著在「作」與「述」、經與傳、摹擬與創新等定位之際擺盪不已， 難以斷然歸類，更引發了歷代學者的質疑。本篇論文嘗試說明，揚雄此種書 寫模式乃源於其思想內具的特殊傾向，他格外注重概念與概念的連緜糾結， 儘量從表面上看似分立的範疇裏推求出互融互攝的關係，是故揚雄的宇宙 論、歷史意識，皆呈現一種曖昧的雙重性格，因而促成文類邊界的消蝕，也 影響了他對「經典」的理解。據此再進一步說明，揚雄認知下的閱讀和書寫， 並非僅止於文字訊息的交流，更是主體精神境界的外顯，是與身心修養緊密 相連的活動；經由這層認知，揚雄將「充分的陌生化」作為自己遵循的美學 規範，強調理想作者必須透過艱澀的形式來表達所欲闡發的意義，進而導出 他對讀者的要求及期待。

In his writings, the Western Han philosopher Yang Xiong 揚雄 often imitates set speech patterns of the ancient sages and worthies. As a result, he endlessly swings between originality and narrative, classic and commentary, imitation and innovation. This tendency makes him difficult to classify definitively, a question which has concerned scholars down the ages. This research illustrates that the patterns in Yang Xiong’s writing derive from his tendency to particularly emphasize connections between concepts in his philosophy, and to try to find relevance between fields that superficially appear to have no common ground. For this reason, there is an ambiguous duality in both Yang Xiong’s cosmology and historical awareness that erodes genre boundaries in his writing and influences his understanding of the classics. Furthermore, Yang Xiong understands reading and writing as not being limited to the exchange of words and information: they are activities that reveal one’s spirit, closely associated with self-cultivation. Through this understanding, Yang Xiong makes use of “full defamiliarization” in pursuit of his aesthetic norm. He emphasizes that the ideal writer has to express his ideas through difficult forms, which entails having certain demands and expectations of his readers.