1994年京極夏彥的第一部作品《姑獲鳥之夏》出版，因為所使用的關鍵性詭計嚴重地破壞推理小說作者與讀者的信賴關係，在當時的日本推理小說文壇掀起一股討論。京極夏彥有意識地在作品中呈現推理小說的既定規則並且透過角色設計與情節安排對此予以質疑和顛覆，可以說是利用著「反推理小說」的方式來書寫他的作品，即便如此，在第二部作品《魍魎之匣》出版以後，包含《姑獲鳥之夏》在內的「京極堂系列」便被納入「本格推理」的範疇之中，本論文欲探討為何京極夏彥作品帶有著 「反推理小說」的色彩仍然被歸類在「本格推理」的原因，並藉著整理「本格推理」概念變遷的觀點來觀察京極夏彥利用哪些對推理小說既定規則的變動來書寫他的作品，並且探討京極夏彥如何藉由作品「京極堂系列」來回應對於「本格推理」的想法。 In 1994, Natsuhiko Kyogoku published his first novel, Ubume no Natsu (The Summer of the Ubume). The critical trick used in the novel seriously damaged the trust relationship between mystery novel authors and readers, bringing a heated discussion in the field of Japanese mystery novels at that time. Natsuhiko Kyogoku consciously presented the existing rules of mystery novels in his piece, then questioned and overturned the rules by his role design and plot arrangement; it can be said that he wrote this novel in an “anti-mystery” approach. Nevertheless, after his second novel Mouryou no Hako (The Mouryou’s Box) was published, the Kyogokudo series, which includes the two novels, were categorized in the subgenre of “Honkaku mystery.” The study aimed to explore the reasons why Natsuhiko Kyogoku’s novels invested in anti-mystery features were still categorized in the genre of Honkaku mystery. Changes to the notion of what constitutes Honkaku mystery were compiled in the study to observe how Natsuhiko Kyogoku wrote his work by changing the existing rules of mystery novels. The study further discussed how Natsuhiko Kyogoku used the Kyogokudo series to respond to Honkaku mystery.
