bluuebunny/crossref_metadata_2025 huggingface dataset:
記憶的寓言——論白先勇與“臺北/人”小説書寫的脈絡
Authors: 楊 佳嫻
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
臺北爲臺灣戰後首要城市，集中了大量文化與政治資源，戰後因爲國共争鬥遷臺的大陸移民，亦有相當數量選擇以臺北爲居住地。這些政治性移民懷抱著家國之思，接受了國民政府打造的復國神話。長期以來處在兩岸的現實對立中，以及鄉愁的牽扯，這些也成爲戰後大陸移民第一代寫作的主要内容。而在臺灣成長的大陸移民下一代，因爲年歲不同以及大陸經驗之多寡有無，加上七十年代以來日漸抬頭的鄉土或本土意識衛擊，和都市擴張與族群記憶的關係，自我認同起了變化，對自己的上一代、自己所屬的族群和“中國”，也抱持著不一樣的態度。
產生於五十到七十年代的白先勇小説，是戰後臺灣小説明確以外省移民最多的臺北爲主題的小説，多描述戰後大陸移民在臺北的生活情況和家國之悲，這一寫作的底蘊因爲族群問題始终未曾消弭，在不同年代的外省籍寫作者身上遂有特殊的表現。八十年代以降，李渝、朱天文、朱天心、駱以軍，這幾位在臺灣成長或居住的“外省籍”小説家，延續對“臺北/人”的關注，家國之悲却已然轉化，“臺北”的地位不再是鄉愁的副本，反而成爲記憶的源頭、生命的救贖，或被視爲是新故鄉所在。特别是較年輕的朱家姊妹和駱以軍，他們身在臺灣，感受政治、族群和都市變化較深，也更加强了小説内無所不在的“孤兒”意識。
Taipei, as the provisional capital of the Republic of China, emerged as the pre-eminent center of cultural and political resources in post-war Taiwan, and became home to large numbers political refugees from the Chinese mainland. In face of the protracted confrontation across the Taiwan straits, these refugees upheld the myth of returning the mainland, harboring homesickness and an “obsession with China” that became the fundamental theme in the first generation immigrants’ works of fiction.
Over time, however, the widening generational gap between the first-generation immigrants (waishengren/ waishengji) and their Taiwan-born and -raised offspring produced changing identities: the emerging nativist movement of the 1970s, urbanization, and changing collective memories all factored in a different attitude toward the older generation, toward their own ethnic group, and towards “China”.
Pai Hsien-yung’s fiction from the 50s to the 70s centers on Taipei with its large immigrant population, on their lives and their grief, making Taipei into an imagined China. Yet the Taipei/ Taipei people theme figures prominently not only in the works of the waishengji writers of this generation: since the 1980s, Taiwan-born or -raised waisheng writers such as Li Yu, Zhu Tianwen, Zhu Tianxin, and Luo Yijun, too, have framed Taipei/Taipei people in their fiction, refocusing their attention, however, to “Taipei” as a source of memory, an anchoring ground, and a new home- and thus entirely redefining its cultural significance. The Zhu sisters and Luo Yijun in particular develop an intensive awareness of the political and ethnical changes taking place around them, and of the rapid urbanization, developments that find reflection in their works in form of an omnipresent “orphan awareness".
試論歷代文評對唐宋古文運動的整合
Authors: 馮 志弘
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
自明代茅坤《唐宋八大家文鈔》始，評論唐宋古文多以“八大家”爲代表，唐、宋古文運動合稱也成了約定俗成的慣例。其實，“八大家”稱謂的形成，乃至把唐、宋古文運動合而論之，都有其發展過程。透過比較歷代文評中對於唐、宋古文運動的論述，本文指出：一、北宋歐、蘇等古文大家有意識地把自身的文章，黏合到中唐古文運動的“文統”之中，促使了唐、宋古文運動“整合”的發生；二、自南宋始，把“韓、柳、歐、蘇”視爲唐、宋古文四大家之説已幾成定論；並且透過宋、元、明三朝的演化，终於形成了“八家共名”的共識；三、愈到後代，人們愈不重視韓、歐等關於“文以載道”的主張，而更趨向把“古文運動”視爲一次成功的“文學”運動。
Since the demonstration by Mao Kun’s 茅坤 Tang Song ba dajia wenchao 唐宋大家文鈔, critics mostly use the specific term 一 “The Eight Great Writers of Tang and Song” (ba dajia 八大家) to comment on the classical prose of Tang and Song dynasties; and the combined statement of “Classical Prose Movement of Tang and Song dynasties” (Tang Song guwen yundong 唐宋古文運動) is widely accepted by the contemporaries. In fact, the formation of the title of “The Eight Great Writers of Tang and Song” and the combination of discussion on Tang and Song’s classical prose movement experience a detailed clarification. This paper, through the comparative study of the traditional criticisms on the Classical Prose Movement of Tang and Song dynasties, states that (1) Classical prose writers, such as Ouyang Xiu 歐陽修 and Su Shi 蘇軾, intend to use their prose writing linking with “the unification of literature” (wentong 文統) of Classical Prose Movement of mid-Tang dynasty which is enhancing the configuration of Classical Prose Movement of Tang and Song dynasties. (2) Since Southern Song dynasty, Critics acknowledge that “Han Yu 韓愈, Liu Zhongyuan 柳宗元, Ouyang Xiu 歐陽修 and Su Shi 蘇軾" are the four masters of the classical prose of Tang and Song dynasties; in addition to the development of classical prose criticisms of Song, Yuan and Ming dynasties, the title of “The Eight Great Writers of Tang and Song” has canonized by the literary circle. (3) After the configuration of “Eight Great Writers”, literati do not concentrate on the evaluation on the doctrine of “literature as a vehicle to convey the way” (Wen yi zai dao 文以載道) by Han Yu and Ouyang Xiu, but mainly shift to the clarification of Classical Prose Movement as a successful movement of “literature”.
“大時代”裏的“現代文學”
Authors: 王 曉明
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

1927年冬天，魯迅這樣概括中國的狀況：“中國現在是一個進向大時代的時代。但這所謂大，並不一定指可以由此得生，而也可以由此得死。”借用他後來的話説，這“大時代”“也如醫學上的所謂‘極期’一般，是生死的分歧，能一直得到死亡，也能由此至於恢復。”(撮要取自內文首段)
試論“五四”新文學運動的先鋒性
Authors: 陳 思和
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

“五四”新文學運動在20世紀中國文學史上究竟起了什麽樣的作用？這個問題長期以來似乎不證自明，因爲它是20世紀中國文學的源泉或者是唯一的文學傳統。在中國大陸的文學史著作裏，“五四”新文學運動是作爲整個現代文學的起點。按照這樣的自在邏輯，1917年以後的中國文學發展軌跡，基本上是“五四”新文學的邏輯發展之結果，它自成一個由失落到回歸的演變過程；而1917年以前的晚清和民初文學，只是“五四”新文學運動的準備階段，他們的有價值與否，取決於對“五四”新文學的形成是否有鋪墊作用，並且依據進化論的觀念，“五四”新文學運動一旦正式登場，所有以前的“舊”文學都失去了存在的意義，不僅封建遺老們的舊詩詞和舊語體散文都成爲廢紙，連作爲新文學準備階段的前現代文學因素（如林紓的翻譯、梁任公的散文以及晚清小説等等）也都成爲過時的東西而被歷史淘汰。(撮要取自內文首段)
王國維（1877ー1927）在清末民初中國學術轉型中的貢獻
Authors: 張 廣達
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文是張廣達教授於2005年2月23日在香港浸會大學中文系所作的學術講演。文中論述了清末民初社會環境的特點，以及中國學術發展的傳統理路所遭遇的挑戰。認爲王國維在中國學術轉型中的貢獻在於：他是首先認識到“工具概念”並運用概念化理性思維的學者。特别是在歷史理性思維方面，爲中國學術提供了新的研究範式。同時也指出了王國維在具體治學方法上的成功經驗及其在意識形態方面的不足之處。The present article is based on a lecture given at Department of Chinese Language and Literature of Hong Kong Baptist University on February 23, 2005. It presents a discussion of the essential characteristics of the social conditions of Late Qing and Early Republican China, and the severe challenges confronted by the traditional scholars who followed conventional paradigms during this transitional period. The author points out that Wang Guowei’s most important contribution is that he was the first Chinese scholar who adopted the concept of an “instrumental apparatus” and applied it in rational thinking. It was Wang who provided a paradigm of the exercise of rationalism in historical studies for Chinese scholars. This paper also summarizes the remarkable merits of Wang’s conceptual and methodological attempts, as well as exploring his ideological deficiencies.
宋代刻石文化與民間及官署刻工考
Authors: 程 章燦
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

宋代刻石文化十分發達，朝廷政治中有一套明確的刻石制度，刻帖也成爲一種時代風尚。與此相聯繫，宋代民間刻工不僅呈現家族化傾向，而且出現了刻石作坊。在中書省、少府監及翰林御書院（後改稱翰林書藝局）等官署中，都設有刻石員屬。本文以出土文獻爲主，結合傳世文獻，以宋代刻石文化爲背景，對民間刻工及官署刻工進行研究，意在突出宋代書法史的刻工背景。The stone inscription in Sung dynasty is such a notable cultural phenomenon that it constitutes an integrate part of the politics and calligraphy at that time. The stone inscribers, who played an important role in this cultural context, formed a group of people that needs special attention. Although some of them were from the countryside and some of them served at a government office, they had been both ignored for a long time. Based on the historical texts and the excavated stone inscriptions, this paper makes an investigation on the inscribers, their office, identity and their inscriptions.
《廣雅》同源詞考證
Authors: 張 其昀
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《廣雅》中共有250個條目是同源詞條目或其中包含同源詞。本文從語音上對這些同源詞作出判斷，再通過詞的訓話及其用法加以證明。There are altogether 250 entries which are etymological doublet entries or including etymological doublets in Guang Ya (廣雅). In this article, these etymological doublets will be judged from speech sounds, then be proved by word explanation and its usage.
爐外之丹——余光中六十年代“現代散文”的歷史意義
Authors: 樊 善標
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
余光中的“現代散文”在六十年代初異軍突起，革新了散文的寫法。余氏在《剪掉散文的辮子》中提出了“現代散文”在語言方面的條件，但並不足以概括這一組作品的特色。不少論者注意到，余氏在上述作品集中而强烈地表現出一種“中國意識”。本文通過分析“現代散文”語言條件和“中國意識”的關係，指出在當時的社會環境下，余氏作品以嶄新的寫法，觸動了知識分子無奈迴避政治禁忌的隱痛，一定程度上呈現出臺灣文學的本土精神。和語言的革新相比，内容主題的轉變在促進文類的現代化上，似乎有更重要的價值，本文認爲這當是“現代散文”最值得記取的歷史意義。The distinctive modern prose written by YU Kwang-chung strikes the literary circle in the 1960s. Its innovative approach transformed the genre entirely from then on. In his manifesto 剪掉散文的辮子, Yu defines the rhetorical principles for modern prose. These principles, however, do not suffice to summarize the characteristics of his prose in this period. As indicated by several literary critics, a native (Chinese) consciousness is passionately expressed in this group of works. This paper analyses the relationship between the rhetorical principles and the native (Chinese) consciousness in Yu’s prose, as to illustrate how this innovative approach touched the nerve of the intellectuals of his time, whom were then painfully evading the political taboo in reality. In this way, Yu’s prose conspicuously represents the indigenous spirit of Taiwan literature. When compared to the innovation of the rhetoric, it would seem that the invention of theme is more important in the endeavour of modern genre. This paper suggests that the latter contributes a more crucial historical significance of the modern prose.
決策訊息流與秦帝國衰亡的關係
Authors: 馮 樹勳
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

秦國的衰落和它對決策訊息流的處理，有莫大的關係。政策形成到落實過程中，訊息流動的方向如下：資料搜集-->訊資分析與制訂政策-->推行政策-->監察與回饋。秦統一前後的資料收集渠道的共同點：國内人民無表達自由，但秦國長期輸入人才，由游士以及外交使節帶來了大量可供使用的材料，有助秦廷作出理性的決策；秦國的基建、傳書律法完密，硬件良好。

理性決策意指：決策層以合理程序，篩選資料變成資訊，作專業判斷，建立可行方案或反對意見，並挑選出最合適的來制訂政策。秦廷理性決策能力衰落的原因：君主能力、王子教育、“用賢”的本心、知識分子的保障等。秦朝已建立起嚴密的公文查核制度和驛站制度，以加强監察。但“徒法不足以自行”，非理性的決策，破壞現有體制，地方大吏只有“持禄取容”，促成秦帝國的土崩瓦解。The relationship between the fall of Qin Dynasty and the flow of decisional messages are closely connected. The flow of the decisional messages can be summarized as follows: collection of data-->analysis of data and enactment of policy-->implementation of policy-->monitoring and feedback. Though freedom of speech was forbidden within the boundary, the common channel for collecting information in the pre-Qin and the Qin Dynasty was through imports of talents and professionals who brought with them valuable information for diplomatic use and for making rational decision. The well-developed infrastructure and the sophisticated legal system both contributed to the rise of the Qin Empire.

Rational decision, at the decision-making level, includes implementation of rational procedures, screening of information, application of professional judgment, and finally selection of the feasible and appropriate policy. The fall of the rational decision during the Qin Dynasty relied on the emperor’s competency, education of the princes, selection of talents, and the security of the intellectuals. The irrational decision making process has devastated the Qin Dynasty despite the fact that the empire was enjoying a sophisticated censorship and monitoring system.
《莊子•外篇》詮釋《老子》考
Authors: 鄭 麗娟
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
史遷稱許莊子，以爲其學無所不闚，然其要本歸於老子之言，作“《漁父》、《盜跖》、《胠篋》，以詆訿孔子之徒，以明老子之術。”可見老、莊關係密切。考前輩學者多致力於哲理層面，探討《莊子ᆞ内篇》與《老子》學説之傳承關係，而鮮有論及《莊子ᆞ外篇》者。本文嘗試全面搜集《莊子ᆞ外篇》詮釋《老子》之文，選其顯例，並析其詮釋之法，以見《莊子ᆞ外篇》實多詮釋《老子》之意，當中或襲用、或化用《老子》文辭，而多所推衍；或採擷不同《老子》篇章，加以重新組合、發揮而赋予新義。可見《莊子ᆞ外篇》詮釋《老子》之法不一而足，於《老子》之意，多所發揮，非僅純然因襲而已。全面考釋《莊子》一書詮釋《老子》之法，或有助瞭解老、莊學説之傳承關係。
In his biographical note on Zhuangzi 莊子 Sima Qian 司馬遷 said, “There was nothing on which his teachings did not touch, but in their essentials they went back to the words of Laozi.” “He worte Yufu 漁父 (The Old Fishermen), Daozhi 盜跖 (Robber Zhi), Quqie 胠篋 (Rifling Trunks) in which he mocked the likes of Confucius and made clear the teachings of Laozi”. Efforts have been made to explore the philosophical relationship between the Laozi and the “inner chapters” of the Zhuangzi, but that between the Laozi and the “outer chapters” has only been touched upon. By comparing the “outer chapters” of the Zhuangzi with the Laozi comprehensively, this paper shows that the former modified the latter in various ways, which involved summarizing, expanding, and paraphrasing. All in all, it can be argued that the modification was a systematic reworking on the Laozi. In addition to studying the parallel passages found in both books, this paper expounds on typical examples of the different modifications on the Laozi by comparing them with the “outer chapters” of the Zhuangzi in order to show how Zhuangzi did his reworking. This may facilitate the understanding of the relationship between the teachings of Laozi and Zhuangzi.
《清初詩壇：卓爾堪與〈遺民詩〉研究》
Authors: 陳 漢文
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

近年來，海内外學人皆着力於遺民文學的研究。研究以詩人群體爲主，詩社爲副。例如謝正光《明遺民傳記索引》（上海古籍，1990年）、《明遺民録彙輯》（南京大學出版社，1995年）、方勇 《南宋遺民詩人群體研究》（北京人民，2000年）、王次澄《宋元逸民詩論叢》（臺北大安出版社，2001年）、李瑄《清初五十年間明遺民群體之嬗變》（載《漢學研究》23. 1, 2005，頁291—324）等等，創獲不少。詩社方面，以宋末元初的遺民文學爲討論焦點，計有Terutoshi Yokota（横田輝俊）“Getsusen ginsha nitsuite 月泉吟社について”（Hiroshima diagaku bungakebu kiyo 廣島大學文學部紀要14, 1958，頁99—125）、王次澄“The Moon Spring Chanting Society and its Poetry”（Chinese Studies 14. 1, 1996, 頁213—248），分别從詩歌結集的角度析論選詩標準、評騭方法，爲遺民文學與選集的研究立下基礎。潘承玉博士的新著《清初詩壇：卓爾堪與〈遺民詩〉研究》選取了清初卓爾堪編纂的《遺民詩》爲討論起點，可謂一新耳目，不論就選題或時段而言，都是值得留意的論著。(撮要取自內文首段)
和合是中國人文精神的精髓
Authors: 張 立文
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
中國傳統文化思想的精髓，中國文化的首要價值，究竟是甚麼？筆者認為是和合。和合學是對於中國哲學、特別是宋明新儒學和現代新儒學的道德形上學的反思和檢討，即對其對象性理論前提的能否成立、如何成立及其自身進行了考察。從宋明新儒學到現代新儒學，其道德的形上學的理論體系、邏輯結構都漸趨完善和穩定。任何哲學或思想，其理論體系的完善，就意味着超越意識的淡化；其邏輯結構的穩定，便預示着創新意識的式微。完善的理論體系，穩定的邏輯結構，便由主體對象性的創造性實踐活動和思維活動，異化為觀念化、精神化的先在的形上學本體或存有的範式、規則、原理等；先在的形上學本體或存有的範式、規則、原理反過來支配、控制主體的哲學創造性的實踐活動和思維活動，把主體的哲學創造性活動限制在既定的框架、模式、觀念內，使之凝固化、僵死化，而不得突破和超越。因此，哲學體系完善之時，也便是哲學轉型之際。雖然現代新儒學的新理學、新心學、新氣學，都在西方文化的挑戰下，吸收西方文化中某些理論觀念和方法，改鑄宋明新儒學中的程（頤）朱（熹）舊理學，陸（九淵）王（守仁）舊心學和張（載）王（夫之）舊氣學，而開出新來。但從歷史運動和 理論發展的角度來看，新與舊是相對的，現代新儒學的新理 學、新心學、新氣學在當前世界現代化思潮衝擊下，都有成為 舊學的趨勢。正如宋明理學被稱謂為“新儒家之學”一樣，到 了二十世紀30年代末，馮友蘭撰《新理學》而“接着”程朱理學 講，便宣吿原來的“新儒家之學”的程朱理學為舊學了，“新理 學”之新代替了“新儒家之學”之新。熊十力的《新唯識論》之新 代替了“新儒家之學”中的陸王心學之新，賀麟“建設新儒家思 想”的新，亦宣吿陸王新學為舊學了。(撮要取自內文首段)After proclaiming, with explanation, the death of contemporary neo-Confucianism, the author announces the direction for the rebirth of Chinese philosophy, viz, hehe (harmony-unity). The author elaborates why hehe is the essence and spirit of traditional Chinese culture and of all major schools of traditional Chinese philosophy. He therefore argues that hehe is the key to the new birth of Chinese culture. Hehe has four dimensions: (i) human-nature dimension, (ii) human-society dimension, (iii) interhuman (human-human) dimension, (iv) intrahuman (mind-body) dimension. After discussing the nature of hehe, the author also expounds its principles and applications. (Abstract taken from first paragraph of document.)
三論穆弘
Authors: 馬 幼垣
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

《水滸傳》中的沒遮攔穆弘是個無事可述的人物。論析起來，除了指出其雖家有善父，且頗具家財，卻在鄉里為非作歹，稱王稱霸，強治安人員充爪牙，視魚肉鄉民和過往旅客為快事外，充其量僅能再點明此人的種種惡行既非逼於形勢，更非出於飢寒交加，而是源自其只知有己，不知有人的性格，和罔視法紀的態度。這些討論，因為無法談細節，也只能約略講講。此外，就不易找到別的話題。(撮要取自內文首段)There are characters among the 108 heros in the Novel “Water Margin” who are ranked very high in the hierarchy but plays merely a very minor role in the story. In short, their deeds and importance in the storyline do not justify the high ranking. The author of the paper using Mu Hong as an example (Mu ranks 23 in the hierarchy, whose importance in the story is considerably less than those ranked below him in the Tien Gang section) argued that the current version of “Water Margin” must have an urtext . The ranking is according to the story in the urtext. Episodes are deleted from the urtext and others are added in the current version, without rearranging the final ranking to fit the changed storyline. (Abstract taken from first paragraph of document.)
「沿根討葉」與「望路爭驅」——從根與路的意象看劉勰論文學的傳統和發展
Authors: 鄧 仕樑
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《文心雕龍》是古代文論中體系最完備的著作。這是ー般學者承認的。如果説文學是現實生活種種印象的反映，傾向於感性，則文學批評也未嘗不可以説是對這些反映的回應。論文者倘若把他對作品的印象，用他善於表達的形式寫出來，同樣會傾向於印象式和感性。這正是中國傳統文論的最大特色：強調印象、重視感性、不求嚴謹的體系、下結論往往沒有經過推理和分析。對於這些特點，我們不一定要作價值判斷。事實上，傳統的文論，往往有極高明的體會，也時有難於索解理會之處。不過就現代學術的立場説，文學批評倘若要成為一門學問，就必須有它的理論根據，以及處理問題的程序和方法。僅僅寫出個人感受，很難使人接受為學術論文。(撮要取自內文首段)Liu Hsieh’s Wen-hsin tiao-lung is the most systematic work of literary criticism in ancient China. The book is a work of letters in its own right in which a great deal of imageries are used. The imageries concerning the root are used eleven times and those in relation to roads and horses over sixty times. The recurrence of certain imageries in the process of creative activities provides some clues to the author’s views of literature. A detailed analysis of the imageries may help clarify some literary concepts in the book. (Abstract taken from first paragraph of document.)
中國講唱源流小説的藝術特色
Authors: 曾 錦漳
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

通常把中國古典小説分為“文言小説”和“白話小説”兩類。這兩個稱謂的確方便應用，卻總嫌不夠學術性。譬如《三國演義》，其語言是以淺近的文言為主，間雜白話而已，怎麼可以稱為“白話小説”呢？稱為“文言小説”吧，在ー大堆志怪、傳奇面前，難免有“非我族類”之譏。又如〈杜十娘怒沈百寶箱〉， 文言白話混雜，也不知該稱為“文言小説”好還是“白話小説”好！何況，這兩個名稱使人過份集中注意語言上的區別了，其實這兩類小説各有不同的起源，不同的發展，體裁上也顯然有別，實是兩個不同源流的作品。(撮要取自內文首段)The origin of Chinese vernacular fiction can be traced to the “sing and narrate” stories popular in the monasteries in the T’ang Dynasty. That the stories were partly narrated and partly sung influenced later Chinese fiction writings, especially the “chaptered fiction”（章回小説）, from Bien-wen（變文）down to Ching Dynasty. Every aspect in the “chaptered fiction”, be it style, language, narrative, technique, plot or character building, bears the impact of this narrate and sing tradition. The paper is a detail study of this influence. (Abstract taken from first paragraph of document.)
趙吉惠：《中國傳統文化導論》
Authors: 黃 嫣梨
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

對中國傳統思想文化研究達三十年的陝西師範大學教授趙吉惠先生，最近出版了他的新著《中國傳統文化導論》。(撮要取自內文首段)
詹冠羣：《黃乃裳傳》
Authors: 李 金強
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

生於福建閩清縣之黃乃裳(1849-1924)，為清季福建著名之基督徒，教育家，新聞工作者，地方士紳，以及諮議局議員。黃氏早年歸信基督，加入美以美會(The Methodist Episcopal Church)，成為該會之傳道人，其後竟以教會中人，參加清季科舉考試，得中舉人，實為晚清教會史上之罕例。時列強不斷入侵，國勢危殆，黃氏遂孑然而起，投身晚清之維新及革命運動，從事救國之活動，並且策動福州府屬之農民，移墾英屬婆羅州之詩巫(Sibu)，由是得以知聞當世。黃氏在教會與國家之 抉擇中，逐漸轉向後者，得以建立上述世俗之事功，遂引起日後中外史家對其研究之興趣，相繼發表研究成果，而黃氏在近代中國之歷史角色及地位，亦日見明確而備受尊崇。(撮要取自內文首段)
黃開國：《經學辭典》
Authors: 宗 靜航
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

經學是我國傳統文化的重要部分，張岱年説「經學是中國自漢代以至明清佔統治地位的學問」，《經學辭典》（以下簡稱《辭典》）的編者也説「經學，深深地滲透到了哲學、文學、語言學、美學、歷史學、藝術以及自然科學的各個方面，在中國傳統文化中居於主幹地位。不了解經學，就難以真正認識中國傳統文化。」「然而，至今尚無一部經學的專門辭典。」黃開國等諸位先生編纂《辭典》的目的正「是為國內外研究經學與希望了解經學的人們提供一部工具書」，並「力求全面而有重點的反映經學的歷史發展概貌」。(撮要取自內文首段)
簡評五本中國哲學辭書
Authors: 羅 秉祥
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

在過去十八年，一共有五本中國哲學的辭書問世，它們分別是：（1）韋政通著，《中國哲學辭典》，台北：大林出版社，1977，32開本，819頁：（2）韋政通編，《中國哲學辭典大全》，台北：水牛出版社，1983，32開本，905頁；（3）《中國大百科全書•哲學》，北京：中國大百科全書出版社，1987，16開本，1372頁；（4）馮契主編，《哲學大辭典》，上海：上海辭書出版社，1992，16開本，2085頁；（5）方克立編，《中國哲學大辭典》，北京：中國社會科學出版社，1994，16開本，802頁。有了這五本辭書的出現，對於中國哲學的研究及教學，都是好消息。現在也該是對這五本書作一比較評估的時候了，筆者不自量力，在這裏作一初步嘗試。(撮要取自內文首段)
Lily Xiao Hong Lee: The Virtue of Yin，Studies on Chinese Women
Authors: 畢 熙燕
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

蕭虹的《中國婦女研究論文集》是她近年來研究婦女問題的成果。其所選文章不論是在材料的豐富性、議論的詳實性及涵蓋範圍的廣闊性上，都給人以深刻的印象。作者在引言中説：本書所論及的中國婦女，她們生活在不同的歷史階段——從公元一世紀到二十世紀；她們來自於各式各樣的家庭背景——有窮苦的農民家庭，有高級士大夫家庭，還有中層商人家庭：她們的成就建樹也大相徑庭——歷史、道德教育、文學、哲學、宗教、政治鬥爭以及西方音樂。從地理區域角度看，她們除了來自沿海一帶及人口密度最高的長江黃河之間，還有人出生於貧瘠的西北地區或西南的熱帶叢林。其中之一還是成長在海外的華僑。(撮要取自內文首段)
論清代蘇軾研究的幾個特點
Authors: 莫 礪鋒
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
清代學術始於對明代學術的反撥，清代的詩學研究也是如此。正是在這種背景中，作爲宋代最大詩人的蘇軾進入了清人的研究視野。清人高度評價蘇軾的道德文章，以至於在蘇軾生日集會紀念，并繪製爲數甚多的蘇軾畫像。清人對蘇文、蘇詩與蘇詞的研究都投入很大的力量，達到了前所未有的學術水準。清人厘清了蘇栻生平的許多事實，以全新的注釋闡釋了蘇詩的意義，他們確立了蘇軾作爲整個古典詩歌史上的大詩人的地位。正是通過清人的深入研究和重新評價，宋人所説的“蘇潮”终於變成了“蘇海”。The academic of Qing Dynasty begins from the turnabout to that of Ming Dtnasty, so does the poetry study of Qing. In such a background, the greatest Song poet Su Shi enters into the realm of thought of Qing scholars. Qing scholars highly evaluate Su Shi’s virtue and writings. They even gather to commemorate Su’s birthday, and paint lots of Su’s portraits. Qing scholars put great strength into the studies on Su’s prose, poems, and chi-poems, also they arrive the highest academic level. Qing scholars make many details of Su’s life clear, and explain the meaning of Su’s poems by new notes. They establish Su’s position as a great poet in the whole classical poetry history. Through the deep study and new evaluation of Qing scholars, “Su Tide”, so called by Song scholars, turns into “Su Sea”.
華麗緣中的愛玲女神——《樸廉紳士》、《半生緣》和進念舞臺改編探論
Authors: 何 杏楓
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“張愛玲”這個名字，在今天已成爲一個閃亮的符號。藉由媒體傳播，張愛玲其人其作，反覆見諸各選集和評傳，以至熒屏和舞臺。這個現象，到底帶來了甚麽啓示？本文的目的，便是以《半生緣》爲切入點，探討這個“張愛玲（改編/造神？）現象”。本文嘗試把張愛玲的《半生緣》、馬寬德的《樸廉紳士》（《半生緣》的寫作藍本）和香港劇團“進念ᆞ二十面體”的《半生緣》舞臺改编，置於一個互文脈絡中加以考察。論文第二部分，討論進念的舞臺改编如何藉著佈景、服装和音樂，製造一個去歷史的抽離時空，并把張愛玲的上海弄堂視角置换成一種當代的時間感知。第三部分藉著港臺兩地對此劇評價的分别，探討香港的劇作人和劇評人，如何改編和接受張愛玲。張愛玲既是象徵著現代性和都市生活的女神，同時亦是帶著悲憫的地母。第四部分是有關《半生緣》和《樸廉紳士》的互文思考，提出張愛玲對馬寬德的借用，紀録著張愛玲與世界文學同步的現代經驗。緬懷和追憶，是兩個作品互通的基調。
The name “Zhang Ailing” (Eileen Chang) has now become a shining symbol. The works and images of Chang repeatedly appear in various anthologies, critical biographies, and on screen and stage. What are the implications of this phenomenon? The aim of this paper is to investigate this “Zhang Ailing (adaptation/ deification?) phenomenon”, with her novel Half a Lifetime Love (Bansheng yuan) as the focus of examination. The paper discusses Zhang Ailing's Half a Lifetime Love, John P. Marquand’ s H. M. Pulham Esquire (the structural source of Half a Lifetime Love) and the Hong Kong drama group Zuni Icosahedron’s Eighteen Springs (a stage adaptation of Half a Lifetime Love) in an inter-textual context. The second section of the paper analyzes how Zuni Icosahedron’s adaptation creates a de-historicized setting by its backdrop, costume and music, therely replacing the nongtang (lane) perspective of Zhang with a contemporary consciousness of time. The third section examines the differences in the reviews of this adaptation in Taiwan and Hong Kong, so as to understand how playwrights, directors and reviewers of Hong Kong adapt and receive Zhang. Zhang is not only a goddess symbolizing modernity and urban life, she is also an earth-mother with sympathy. The fourth section is a (re) consideration of the relationship between Half a Lifetime Love and H. M. Pulham Esquire, holding that Zhang’s appropriation of Marquand marks her modern experience, which is in synchronization with the West. Also, nostalgia and remembrance are the common themes between the two works.
温庭筠《菩薩蠻》“小山重疊金明滅”句辨疑
Authors: 陳 國明
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
對温庭筠《菩薩蠻》之一首句“小山重疊金明滅”的解釋，歷來衆説纷紜，莫衷一是。歸納起來，大致有以下四種：一、屏山，二、眉額，三、枕山，四、髮飾。不過，四説内部的意見仍然相當纷歧，難以一概而論。愚見以爲，出現上述局面，實因過去研究者多從一己視域立論，并無參酌各家説法而知所取捨；即使少數學者本有平亭衆説之心，却又礙於種種原因，終歸勞而無功。鑑此，本文嘗試以個人對中國古典文學特别是温庭筠詩詞的初步體會，對邏輯原理的基本認識，對語言結構的粗淺瞭解所構築的詮釋框架，會通自明代至當代的各種代表性説法，重新解讀此句，冀能探得本義。
From the Ming dynasty to the present, scholars held different views on the meaning of the sentence “Range upon range of small hills with glittering shine” in the first one of Wen Ting-yun’s “Fourteen Pusaman Ci Poems”. Their opinions can be generally categorized into four streams: "screen hill", "forehead and eyebrow”, “pillow hill”, and “hair accessories”. Despite this kind of grouping, every stream still has its various explanations. The author thinks that this chaotic situation emerged mainly because in the past many scholars explored this problem only from their own perspectives and did not consider their previous ones’ ideas seriously. Although a small number of scholars tried to make a critical review of these various schools of comments, their efforts came to nothing for different reasons. This paper examines the problem from a new perspective based on the author’s fundamental understandings of Wen Ting-yun’s works, logical principles and syntactic analysis.
身處時代交替裏——北京大學第一任校長嚴復
Authors: 甘 穎軒
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

辛亥革命雖然一夜之間推翻清王朝的統治，但却不能將封建王朝遺留下來的建制一并推倒。新的制度來不及建立，舊制度下的各種規章與人事安排仍然繼續影響著新時代的領導者。改革者要在這個時代交替的時期開拓新氣象，往往需要相當勇氣與毅力，然而，很多時候都仍只會是吃力不討好。

有“西學第一人”美譽的嚴復(1854—1921 )，早年留學英倫，掌握西方新知識，對中國的高等教育發展也有所見解。1912年，他被委接任京師大學堂監督。隨着學堂其後更名爲國立北京大學，嚴復也成爲大學首任校長。他在任内致力整頓各學科課程，積極籌措經費，對提升大學水平貢獻良好。可惜，他與以蔡元培爲首的教育部時生衛突，令他的工作受到諸多掣肘。半年後，心灰意冷的他選擇離任。The Revolution of 1911 had overthrown the regime of Qing Dynasty, nevertheless the original management culture including old regulations and personnel could not be abolished immediately. It still remained and affected those new leading cadres until new culture was created in the future. In this changing era, reformers always felt frustrated since they worked diligently but gained very little.

Yan Fu who was a returned student from Britain in the late Qing, mastered well much new Western knowledge and had a lot of progressive insights about the development of higher education in Modem China. He was appointed as the chancellor of National Peking University in 1912. He devoted much effort in dealing with those works such as Modified subjects and raised money to support the university’s expenditure. Unfortunately, he could not solve the conflict with the Educational Ministry which was headed by Cai Yuanpei at that time. Having no alternatives, he resigned from his post at last.
唐代守選之制與干謁之風
Authors: 王 栓
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
唐代干謁風氣的盛行與守選制度之間有密切的聯繫。唐人應舉及第後并不能即刻授官，即使釋褐授官，若不得敕授官職，或累資進階至五品以上，通常都要遵守周而復始的守選制度。對於前進士等和六品以下的旨授官員而言，欲選滿冬集而得授美職，或滅少選數而提前釋褐，或得敕授而不再守選，或累資進階至五 品以上而逃離選曹，此間成敗，很大程度上要取決於干謁的效果。只要尚不能出吏部選門，唐人就必須不斷地行干謁之事。中國古代文人的干謁行爲畢竟以仕進爲终極目的。守選制的存在正是唐人頻繁干謁，甚至終其一生需要干褐的重要誘因之一。
There was a close relationship between Shouxuan (守選) and Ganye (干謁) in Tang Dynasty. The Shouxuan regime applies not only to new-comers to the official ranks but also to those many appointed officials with a position lower than the 6th rank. Those exofficials who have not been able to get above the 5th rank or who remain below the 6th rank without any special appointment, will never be able to escape from recurring selection processes. The long duration of Shouxuan as well as the uncertainty of its results causes a lot of officials to remain unelevated or at very low ranks for a lifetime. The existence of the Shouxuan regime is an important motivation behind frequent Ganye activities of many appointed officials.
孟軻之辯的政治哲學背景
Authors: 李 巍
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
對孟軻之辯的研究一直是孟學研究的薄弱环節。并且僅有的研究多是在邏輯學領域展開，而未觀照先秦儒學作爲政治哲學的基本性格，因此從政治哲學的角度檢討孟軻之辯的研究尚付闕如。本文將以詮釋孟子所謂“辯”之“不得已”爲中心，説明孟軻之辯的如何奠基在其獨特的政治哲學背景上，以及這個政治哲學背景對解讀孟軻之辯的詮釋學意義。The investigation of Mencius’ debating ideology is always the weakest part of all the Mencius researches, and the investigations we already had today are almost developed in the philosophy area, but not based on the Confucianism of Pre Ch’ in Dynasty which is the basic personality of Political Philosophy. Therefore the researches from the view of Political Philosophy are still vacant. This article will try to focus on the explanation of “unwilling” idea of Mencius‘ debating ideology, and will try to explain how this ideology is laid as a foundation of its special Political Philosophy background. And the article will also explore how the Political Philosophy background works for Mencius’ debating ideology.
作爲《周易》邏輯基點的“人是生命”命題
Authors: 吳 述霏
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“人是生命”判斷是《周易》的邏輯基點，也是具備明確中國哲學史意義的根本命題，因此，深入分析該命題無疑會增進我們對於《周易》哲學的瞭解。本文將以中國哲學史尤其《周易》爲背景，圍繞存有論、宇宙論、人生論及價值論等幾個方面對這個命題展開分析，以期限定出基於該命題的哲學體系在具體開展時的邏輯可能與應該。
The judgment “Man is life”, as the logical base point of The book of Changes, is the fundamental philosophical proposition in terms of its concise significance in the history of Chinese philosophy. Therefore, the profound analysis of this proposition will undoubtedly give rise to the improvement of our understanding about the philosophy of The Book of Changes. Based on the history of Chinese philosophy, especially The Book of Changes, this paper will discuss the proposition by analyzing the related theories of ontology, cosmology, the theory of human life, and ethnics in an effort to prescribe the logical possibilities as well as the necessities of the philosophical system which is based on the above-mentioned proposition “Man is Life” in the course of its development.
《中國晚明與歐洲文學——明末耶穌會古典型證道故事詮》
Authors: 林 質心
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
中國學者中研究西洋修辭學人數甚少，蓋因西洋修辭學牽涉甚廣，上可溯古希臘羅馬時期的教育理念、城邦或議會體制、文史哲學，下可引人中古基督教士林哲學、詩學、講道學及文藝復興以降之人文教育、詩學以至十七世紀科學興起後對修辭學的諸般討論、貶抑及重新定義。可是正是因其牽涉甚廣，任何想要研究西洋文史哲學的學者都應瞭解其基本理論架構并歷史源流。但其既牽涉如此深廣，想要尋得一適合之切入點頗爲不易，討論時也不免枝葉繁雜、顧此失彼。本書却能化繁爲簡，從證道故事人手，捨去細談古典修辭學中議事修辭學 (deliberative rhetoric)、法庭修辭學 (forensic or judicial rhetoric) 及展示修辭學 (epideictic or demonstrative rhetoric) 之三種題材 (inventio) 之分野，以中古講道學爲基，并以寓言及其詮釋爲主幹，研究證道故事之發展。本書以奥利根(Origen)之《論第一原理》、馬克羅比(Macrobius)之《〈西比歐之夢〉疏》及亞蘭 (Alan of Lille) 之《講道的藝術》等書爲中古以降之證道故事中寓言改寫及詮釋之藍本，研究十六世紀晚期耶穌會士如何化古典寓言 (fabula)、世説 (chreia)、神話及傳説 (legend) 爲其傳教之工具。若想要瞭解中古以降之講道藝術如何以修辭學爲基，達到以文字教化人心之目的或想一探歐洲中古或文藝復興時期文學如何重新利用及詮釋古典文學，本書實提供了一入門之管道。(撮要取自內文首段)
《陳振孫評傳》
Authors: 李 丹
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

陳振孫的《直齋書録解題》與此前的晁公武《郡齋讀書志》，一直被稱爲中國目録學史上的雙璧。這不僅是因爲二書同在南宋，又是《四庫全書總目》之前僅存的兩部私家藏書解題目録，更因爲這兩家書目收書豐富，在圖書分類、著録體例、敘録方式、解題内容、文獻考察等方面，都有它特别的價值，對後世目録學的發展有著重要影響。其譽之爲“雙璧”，良有以也。(撮要取自內文首段)
中國戲劇在道教、佛教儀式的基礎上産生的途徑
Authors: 田仲 一成
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
作者認爲，鄉村咒術演變爲戲劇的途徑主要有兩條，一是從趕走瘟疫鬼邪的儀式演進到儺舞和攤戲，最後形成武戲；一條是從鎮撫孤魂野鬼的超幽儀式演進爲悲劇或文戲。本文着重討論了從事鄉村祭祀的道士們在道教儀式中採用的法系儀式和道系儀式，及其分别發展爲武戲和文戲或悲劇的可能性。
The author argues that Chinese village shamanism evolved into drama via two routes. First, rituals for exorcising plague devils evolved into nuo dance and nuo plays, which finally gave form to martial drama. Second, rituals to pacify forlorn, wandering ghosts evolved in tragedies or civil drama. This article examines “mantic rituals” and “dao rituals” practiced by Daoist priests who hosted ceremonial rituals in rural areas, and the possibility that these Daoist rituals separately evolved in martial drama and civil or tragic drama, respectively.
簡論宗教與戲劇之關係——以儺戲寺廟劇場與元明清雜劇爲論述内容
Authors: 曾 永義
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文所謂的“宗教”，是指中國人所信仰的賽社、驅儺與儒釋道而言；所謂的“戲劇”，則指凡“演故事”者皆屬之，包括“合歌舞以代言演故事”的“戲曲”在内。宗教與戲劇關係錯综複雜而密切，限於篇幅，實難進行周延而深入的探討。因此這裏嘗試提綱挈領的從五個方面來探討這個問題：（一）先秦儺儀與戲劇、戲曲的源生，（二）由現今儺戲觀其“儀”與“戲”交替雜糅之關係，（三）宗教儀式與戲劇演出之交互運用關係，（四）由寺廟劇場觀察宗教與戲劇之關係，（五）雜劇中宗教劇所蘊含的意識形態。“Religion” mentioned in this article refers to Sai She, Qu nuo and Confucianism Buddhism Taoism in traditional Chinese belief. And “opera” refers to “play a story”, including the “Play” which “combines song and dance to play a story”. The relationship between religion and opera is close and complicated; limited to space, it is difficult to have a comprehensive and thorough discussion. We, therefore, try to concentrate on the main points from five aspects as follows: (1) the sources of nuo ceremony, opera and play in pre-Chin Dynasty; (2) the mingled relationship between “ceremony” and “play” from the perspective of contemporary nuo play; (3) the alternating application of religious ceremony and opera performance; (4) the relationship between religion and opera from the perspective of temple theater; (5) the ideology contained in religious mixed opera. We obtain research materials only from the mixed operas in Yuan, Ming and Ching Dynasties without a comprehensive and thorough investigation, due to the limitation of time and space.
略論紀昀的《玉臺新詠》研究
Authors: 傅 剛
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
紀昀對《玉臺新詠》用功甚勤，先後批、校數次，最终完成《玉臺新詠考異》，解決了《玉臺新詠》中許多至關重要的問題，具有極高的學術價值。同時紀昀以其學界領袖的身份，用力於集部，其校勘、考訂的方法，對乾嘉學風的形成是起到了示範作用的。但學術界對紀昀的這種研究却没有深入的認識，本文比較全面地清理了紀昀的幾次批校本，對《玉臺新詠考異》一書冠其父紀容舒名的原因作了分析，基本理清了紀昀《玉臺新詠》研究的過程。文章最後對《玉臺新詠考異》一書的主要成就作了充分的肯定。
After several rounds of arduous work on the commentary and collation of the New Songs from the Jade Terrace, Ji Yun (1724-1805) finalized his work entitled Critical Examination of the New Songs from the Jade Terrace. In this project he resolved some critical problems and thus accomplished great significance in the field. As a leader in academia, Ji set up a model for emulation of his devotion to the study of literary anthologies and his methodology in textual collation and examination, which gave direct rise to the formation of the scholarship of the Qianlong and Jiaqing reign-periods (1736-1820). However, Ji’s scholarship has yet to be seriously studied. The present essay examines the history of Ji’s study of the New Songs from the Jade Terrace in two respects. First, it systematically introduces all the commentated and collated editions produced by Ji. Second, it accounts for the reason Ji attributed his Critical Examination of the New Songs from the Jade Terrace to his father Ji Rongshu. The author of the present essay renders full credit for the achievements of Ji’s book.
章太炎的白話文立場探析
Authors: 陳 學然
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文有三個重點。第一，指出章太炎在一生中的兩個不同階段，因思想背景的不同而產生了兩種對待白話文的迥異態度；第二，透過舉述與太炎同時代的人或其門生後學的相關評議，瞭解他們如何評價他的白話文立場；第三，紹述北京大學陳平原教授新近再次刊行的一篇長文，該文曾論及太炎的白話述學文體及其與白話文運動之間的關係，但部份觀點仍有待商榷。透過這幾方面的論述，有助我們認識太炎的學術關懷指歸以及進一步反思他在新文學運動中的角色和位置。The purpose of this paper is three-fold. The first is to study Zhang Tai Yan’s life which can be divided into two different stages. Due to the different background of thoughts, Zhang’s attitude towards Vernacular Literature changed completely. The second is to analyze a selected group of scholars in Zhang’s time as well as his students in order to understand how these people view Zhang’s attitude towards Vernacular Literature. The third is to study a lengthy essay written by Professor Chen Ping Yuan of Beijing University. In the essay, Professor Chen discussed about the relationship between Zhang’s Vernacular Literature Movement and the Vernacular Literature Text-type. However, some of the viewpoints did not gain enough evidence. It is this paper’s hope that by making the three analyses, the understanding of Zhang Tai Yan’s academic passion will be enhanced and it can be made clearer the role he played in the new literature movement.
夢裏不知身是客——重讀脂評
Authors: 趙 咏冰
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“脂評”自其被發現以來，就一直被當作《石頭記》的副文本來閱讀，研究者或藉其作歷史考證，以倡《石頭記》自傳説；或爲“脂評”本身的歷史真實性大費周章，力辨其真僞。這類研究往往忽略了“脂評”本身的創作性和虚構性。本文旨在釐清上述討論之誤區，通過對“脂評”之語言風格、批評策略的舉例論證，探討“脂評”批書人特殊主體性的建構。要之，“脂評”批書人以《石頭記》之小説作爲參照物（鏡子）所作的自我認同，其中充滿想像、誤識、自戀和分裂的成份，故此，“脂評”是否能作爲閱讀《石頭記》的可靠依據，是紅學或脂學研究者亟需要深思的一個根本問題。
“Zhi-ping” has been regarded as the sub-text of Shi-tou ji or The Story of the Stone since it was discovered. Critics either employ the commentaries as historical proofs of Shi-tou ji being autobiography, or study the historicity or authenticity of the commentaries. What has been neglected is the subjectivity of the commentator(s). This essay tries to discuss the construction of the Subject of the commentator(s) of “Zhi-ping”. I am intended to argue that in the process of annotating, the commentator(s) regards the novel Shi-tou ji as his “mirror” of identification, which pervades with imaginary, misrecognition, narcissism, and split. As a result, reading of Shi-tou ji relying on the historicity of “Zhi-ping” is always misreading and questionable since “Zhi-ping” is itself a creative and fictive work.
《〈全明詞〉補編》
Authors: 沙 先一
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

相對於唐宋詞的研究而言，學界對明詞的研究不夠重視，原因主要有兩個方面：一是自清代以來一直認爲明詞是千年詞史上的衰微期，存在曲化、俗化等弊病，整體研究價值不高；二是明代詞學資料較爲零散，没有經過系統的整理，無法全面認識有明一代詞作。(撮要取自內文首段)
《佛教與基督教對話》
Authors: 高 慎濤
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

佛教與基督教同爲世界性宗教，在發展過程中不免會相遇。尤其是自冷戰結束以後，由世界經濟一體化而引發的世界政治和文化生活一體化過程日趨明顯，兩大宗教的接觸日益頻繁，佛耶之間的對話也隨之提上日程。吳言生、賴品超、王曉朝教授主編的《佛教與基督教對話》，正是中國佛耶對話成果最新、最系統的反映。(撮要取自內文首段)
嚴羽詩學兩則小議
Authors: 陳 國明
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

《滄浪詩話•詩辨》和《答出繼叔臨安吳景仙書》，是研究嚴羽詩學的重要文獻，當代學者對此每有申論，惜因襲之見多，識度高明者鮮。本文特拈出其中兩個論題：一、“分限”與“分限之悟”，孰是孰非？二、“於詩則用健字不得”與杜詩評論，有何關係？略加辨析，藉此展示版本校勘及文本解讀的若干問題，以見時論之偏蔽。

“Shibian”, (Making the Right Distinctions in Poetry) in Cang-lang shihua (Canglang's Remarks on Poetry) and “Da Wu Jingxian shu” (A Letter in Response to Wu Jingxian) are the significant documents to study Yan Yu's poetics. Contemporary scholars analyzed them frequently, but following the traditional opinions are more common than full of remarkable insights. This article deals with two argumentative topics from these documents. First, “fenxian” (distinctions in talent) and “fenxian zhiwu" (limited enlightenment), which is correct? Second, what are the relations between “yu shi ze yong jian zi bu de” (don't use the word Jian to evaluate poems) and the critique of Du Fu’s poetry. Through elaborating some critical points, the related problems of textual criticism and interpretation are showed up, and consequently the biases of the present opinions will be revealed.
淺論葉小紈《鴛鴦夢》的宗教色彩
Authors: 曾 惠仙
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《鴛鴦夢》撰於崇禎九年，是葉小紈唯一一部雜劇作品，頗獲後世推崇。古代著名劇作家沈自徵便稱它“補閨秀所未有”，作品足可與喬吉、貫雲石等名家媲美，肯定其在女性戲曲發展上的開創之功。若仔細考察《鴛鴦夢》一劇，不難發現它深受“神仙道化劇”的影響，無論是劇中的人物角色、故事情節和思想意蘊，均富有濃厚的宗教色彩。不過，它不像一般的“神仙道化劇”那樣著重向大衆宣揚宗教思想，以取教化之效。相反，葉小紈透過此劇提倡人生如夢的出世思想，寄託姊妹離世的哀痛，追求心靈上的慰藉，性質偏重個人化，可謂甚有特色。本文主要就這些要點進行仔細的分析，藉以加深學界對《鴛鴦夢》一劇的認識。
Ye Xiaowan 葉小紈, who wrote a play entitled YuanYang Meng《鴛鴦夢》, was one of the female pioneers in drama writing in the late Ming period. But most scholars just have a brief account of her work without appropriate recognition. It is worthwhile putting great emphasis on the study of her play, so as to deepen the understanding of the development of classical woman's drama writings.
This paper decides to investigate the religious consciousness of YuanYang Meng in different aspects, such as role, plot, and connotation. All these prove that this play was greatly influenced by the drama of Taoist Immortals in Yuan Dynasty. However, it differed from those general Taoist Immortals which solely aimed at preaching religious thought. It was tinted with personal sentiments as Ye Xiaowan intended to express her sorrow at her sisters’ death and wish for reunion of them. In this essay, the relationship between religious consciousness and personal emotion would be analyzed.
古代詩詞藝術鑒賞與詩學研究：從黄節到林庚
Authors: 李 鵬飛
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

顧隨、俞平伯等一批現代學者既具備舊體詩詞寫作的功底，又接受過現代學術方法的訓練，並且長期在大學講授並研究古典詩詞。他們的詩詞鑒賞研究類論著既能闡發古典詩詞藝術之奧義，又能進行自覺的詩學理論的探索，是傳統詩話類著作與當代研究者之間的重要過渡。對他們的鑒賞與研究經驗進行回顧和總結，必將給我們以寶貴啓示。

A group of modem scholars such as Gu Sui and Yu Pingbo spent a long period of time teaching and researching classic poetry in universities. Not only did these scholars receive rigorous Western-style academic training, they were also classically trained that they themselves were masters of classic poem composition. Such trainings were reflected in these scholars’ research works on classic poetry appreciation: while they were able to elucidate the profoundness of the art of classic poetry, they also made a conscientious effort to advance modern poetic theory in such works, initiating the critical transition from the classic poetry talks to contemporary poetic theories. The study on these scholars and their works on classic poetry appreciation, therefore, would certainly enlighten and further the understanding of classic poetry.
單複相證的詞義學依據及其在《廣雅疏證》中的運用
Authors: 張 其昀
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

單複相證是指以字面相關的單音詞與複音詞相互證義。單複相證之詞義學依據在於：單複可以同義。單複相證是《廣雅疏證》的一種一般性證義手段。書中單複相證共使用了“重言”、“合言”和“單言”三個術語。

The verification by mono-/di-syllables is the circumstance where monosyllables and disyllables containing a same character verify each other. The verification by mono-/di-syllables has the basis which the word meaning study, this is: word meaning of mono-/di-syllables possible same. The verification by mono-/di-syllables is a commonly used in Guangya Shuzheng (廣雅疏證). This method altogether has utilized chongyan (重言), heyan (合言), and danyan (單言) these three terminology in the book.
從分析哲學觀點看天人之際學説的根本問題
Authors: 馮 耀明
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

從老子開始一直發展下來的天人之際學説，乃是混雜了宇宙生化論和形上本體論而成的“天道論”，與混漫了成德之教與本體之學而成的“心性論”。這兩大混雜或混漫造成的後果是：生化之源可被混轉爲存有之本，超越本體可被混化爲超驗規律，宇宙秩序可被混同爲道德秩序，而自主心黨更可混昇爲宇宙心靈。針對這些“混混”，固可於思想史上找到各家同時及先後互動而混混之軌跡的合理説明；但就哲學理論本身所要求的概念表達的清晰性和邏輯論證的合理性而言，我們卻很難找到任何一種足以自圓其説的説法。

本文的目的乃是就儒道二家若干思想個案（老子和張載）以分析及説明此一混雜或混化的理論構成和後果，從而展示傳統中國天人之際的哲理探究或參究中所隱含的根本性問題及其思想謬誤。本文作者相信：只有徹底地擺脫此一天人之際的混漫，中國哲學才可回歸到健康發展的道路上來。

Since Laozi, the idea of the unity of heaven and man has been developed or constructed as a specific type of thesis or theory which is amalgamated with cosmogony and ontology, on the one hand, and merged with moral teaching and metaphysical doctrine, on the other. The consequence of this amalgamation and merger is to mistransform the generative origin into the ontological ground, to confuse the transcendent being with the transcendental principle, to mis-identify the natural order as moral norm, and most importantly, to promote the individual (human) mind up to the universal mind at the cost of losing autonomy and responsibility. I think the development of this kind of amalgamation together with the interaction between different schools of thought in the context of their merger could be reasonably explained in terms of its historical factor and background; but it is quite difficult to give a coherent picture of the thesis with conceptual clarity and logical validity in philosophy.

The aim of this paper is to investigate the construction and consequence of this type of thesis or theory through two case studies (Laozi and Zhangzai). Based on this investigation, I shall demonstrate the basic problem of the thesis and the intellectual fallacy caused. My conclusion is that only when we escape from the trap of confusion in the idea of the unity of heaven and man, can we have a healthy road to the future of Chinese philosophy.
世紀的沉思——《空間的馳想》釋讀
Authors: 鐘 元凱
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

林庚先生的晚年詩作《空間的馳想》由“空間之思”與“生命之思”兩部分組成。詩人以20世紀出現的相對論、宇宙學爲知識背景，對時間與空間作出新的思考，彰顯了不要以時間感遮蔽空間感的思想感悟。詩中對空間的弘揚以及對時間虛化的藝術處理，融入了詩人對當下時代精神貧困的現實感受。科學不僅啓發了詩人的靈感，而且被詩人點化爲核心的隱喻。生命之思則闡發了詩人獨特的青春美學的意蘊，並在對藝術和美的思索中，指明生命的真諦乃在於對物的超越、對世界的覺醒，在於精神的自由和解放。詩章秉承了浪漫主義的詩學傳統，對深陷於物質主義之中的世紀病進行了批判性的反思，呼籲突破物的滯累與羈絆，邁向物質與精神、科技與文藝平衡的澄明之境。全詩體現了科學精神與人文精神的統一、邏輯語言與詩性語言的統一，是詩性的沉思録，是從詩美學出發的一種宇宙觀的掃描。

In his final years, Professor Lin Geng (1909-2006) composed a poem entitled A Spiritual Gallop in the Spatial Realm. This poem is comprised of two parts, namely “Meditation on Space” and “Meditation on Life”. The poet uses Relativism and Cosmology, two scientific theories that appeared in the twentieth century, as the intellectual background in his poem and presents new findings of his contemplation on the theme of time and space. The main thrust of this is “not letting the sense of time overshadow the sense of space”. The artistic arrangements of praising space and demeaning time are derived from the poet's sentiment on the common lack of spirit in the era that he lived. Science was not only the poet’s inspiration but also treated as the core metaphor in the poem. His philosophy of life expresses the significant meaning of what he terms “aesthetics of youth.” In his contemplation on art and beauty, moreover, the poet points out that the real meaning of life lies in Iwo aspects: transcendence of material goods and awakening in the secular world. In other words, it relies fully on the freedom and liberation of one’s spirit. The poem inherits the poetics of romanticism. It criticizes and reflects on people’s indulgence in material enjoyments, a common trend that is regarded as “illness of the era” by the poet. He calls to break free from the entanglement and impediment of materialism, whereby one may enter a limpid realm where one finds the balance between the material and the spirit, and the balance between science and the arts. The poem illustrates the unity of scientificity and humanity, as well as the unity of logical language and characteristic language. It is a record of poetic meditation and a scanning of the cosmologic landscape triggered by a poetical aesthetics.
論《國語》版本暨《古今韻會舉要》引《國語》例辨正
Authors: 郭 萬青
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

《古今韻會舉要》引用《國語》共79處，其中一些例句和今傳《國語》是有差異的，這種差異反映了北宋以前《國語》版本的一些文字異同。

Gujinyunhuijuyao quoted 79 sentences of Guoyu. Some sentences are not seen in present Guoyu. The writing of some sentences are different from those in present Guoyu. Some sentences should have been Guoyu's notes, but Gujinyunhuijuyao took them as text of Guoyu. The article correct them according to consulting correlating data.
《宜興胥井、武進前街董氏合修家乘》的文獻價值
Authors: 卞 孝萱
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

本文利用《宜興胥井、武進前街董氏合修家乘》，研究明清兩代，董氏家族支派在鄉村和城市的不同生活方式和生活取向。展示譜牒資料不同於正史、地方誌而獨具的文獻價值。

With the Genealogy Which Revised by Both Branches of Dong Family Who Lived in Xujing of Yixing and Qianjie of Wujin, this article has made a research on the branches of Dong Family, who lived in countries and cities with different ways and tendencies of life during Ming Dynasty and Qing Dynasty. Compared withauthorized history and gazetteers, the peculiar value of Genealogy has been showed by this research.
海外文字緣——清代中日筆談交流研究
Authors: 王 曉秋
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

筆談又稱筆話、筆語，就是用筆寫文字代替口説語言進行交談。用毛筆寫漢字交談則是東亞漢字文化圈各國人士之間一種特殊的文化交流方式。特別在清代，是中日文人筆談的最盛期。由於筆談寫在紙上，往往可以保存流傳下來。故而至今在日本和中國的一些圖書館、檔案館以及民間私人文書中，還收藏有相當數量的清代中日筆談記録原本。這些筆談爲研究中日文化交流史提供了大量既珍貴又有趣的原始資料。清代中日筆談具有原始性，真實性，內容的多樣性、廣泛性，以及互動性、趣味性等特點。本文根據筆者多年的收集和研究，著重解剖日本儒者與中國漂流民的筆談《得泰船筆語》、日本藩士與上海文人的筆談《沒鼻筆語》、日本漢學家與中國駐日使館外交官的筆談《大河內文書》等幾種清代不同時期、不同地點、不同身份、不同內容的典型筆談資料，介紹這些筆談的歷史背景與由來，分析其內容，評述其意義，從而進一步論述清代中日筆談交流的特點及其史學、文學價值。

The concept of bitan, also bihua or biyu——literally, “talks through the writing brush” (hereafter “brush talks”), refers to a particular kind of writing activity that can function as a form of conversation in lieu of oral language. Conducting conversations with the writing brush is a special means of cultural exchange adopted in East Asian countries within the “Sinograph-oriented cultural circle.” The Qing dynasty (1644-1911) witnessed a climax of the “brush talk” tradition. The content of “brush talks” was written on paper and could be preserved. For this reason, a considerable number of brush talks’ produced during exchanges between China and Japan are now preserved in Chinese and Japanese libraries, archives, establishments, and private collections. These are precious and entertaining materials for research on the history of Sino-Japanese cultural exchange. Qing-dynasty “brush talks” embody marked features, such as originality, veritability, varied contents, interactivity, and amusement. The present essay is an outcome of many years of data collection and study of the topic. Its foci of examination include three collections of “brush talks”. The first one is Detaichuan biyu, a collection of “brush talks” recording conversations between Japanese Confucian scholars and Chinese vagrants. The second is Meibi biyu, a collection of “brush talks’’ between delegates of certain Japanese suzerains and Shanghai intellectuals. The third is Daihenei wenshu, a collection of “brush talks" between Japanese Sinologists and Chinese diplomats stationed in the Chinese embassy in Japan. These three collections are representative, as they were all produced during the Qing but at different points of time, in different places, by different hands (i.e., hierarchies), and with different content. The present essay introduces their historical backgrounds, analyzes their content, and evaluates their significance. It also discusses the characteristics of the exchanges in Sino-Japanese “brush talks” of the Qing period, and their value in historiography and literary studies.