本文嘗試以敘述學方法分析散文文本，架構出「散文三層論」，作為散文研究之批評判準。在方法上，先以文本細讀之方式，考察劉大任、東方白、白先勇、張大春四位小說家九〇年代散文中的敘事位置，以及在文本中，不同的敘事位置如何帶給文本不同的效果，最終提出小說家如何實驗一種相關人轉述的技藝，找到另一個偏離核心層的位置，開創更大的敘述空間。在理論建立上，透過確立故事、敘事、敘述方法、敘事者、行動者在散文中的相互關係，確立「核心層－－敘事者為事件的行動者」、「中層－－敘事者為事件行動者的相關人」、「外層－－敘事者與事件行動者無關」的散文理論架構，以解釋抒情散文、雜文在散文史上的分類問題。

This article attempts to analyze the prose text by narratological methods, and construct a "three-layered structure of prose" as a critical criterion for prose research. From the perspective of narratology, we study the narrative position in 1990’s prose of Liu Da-Zen, Tungfang Po, Pai Hsien-Yung and Zhang Da-Chun, and how different narrative locations bring different effects to text in the text. Finally, how to experiment with a related person referred to the art, find another deviate from the core position, create a greater narrative space. In the establishment of the theory, through the establishment of the story, narrative, narrative methods, narrators, actors in essay relationship between the establishment of "core - narrator as an actor", "middle - narrator as the event actor Related persons "and" the outer layer - the narrator and the event actor has nothing to do with "to explain the classification of lyric prose, middle class and essay in prose history.