bluuebunny/crossref_metadata_2025 huggingface dataset:
悲涼的觀照一一嚴歌苓小說的老年男性書寫
Authors: 李 仕芬
Published: November 2022

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

本文以嚴歌苓小説的老年男性書寫爲研究内容。作者如何通過叙述來演繹日暮黄昏的生命，爲論文重點所在。首先探討的是老年男性角色在愛情、婚姻追求上遇到的挫敗，接著論述其對親情的渴望，最後以自我的失落作結。在愛情、婚姻關係上，老年男主角往往波折重重，其中帶出的亦是老人常見的負面刻板形象„相對來説，在親情關係上，這些老年男性角色反而較能取得精神上的滿足，而和孫輩的親密關係，更往往成了箇中契機。自我價值的未能肯定，更是這些老年角色面對的困境。無論昔日人生是否璀璨，他們要爲今日的尊嚴取得認證，仍然困難重重。悲涼觀照下的老年生活，是否作家難能逃避的寫作情結？嚴歌苓筆下的老年男性形象，反映的又是否這種現象？

This essay explores the male in advanced age, as depicted in Yan Ge-Ling’s fiction. The emphasis is focused on the fiction’s narration of the lives and feelings of old male characters. This exploration of the inner male starts with their failing in love and marriage, continues with their yearning of family love and affection, and concludes with their loss of self-esteem. In love and marriage, the older males often face considerable difficulties, rooted mostly from the common old age stereotype. Comparatively speaking, they tend to be more successful in finding solace from their family, particularly through the channel of their grand descendents. Self insecurity is the greatest predicament of the old male psyche. Regardless of past glory, the old male desperately seeks respect and approval, but they face extreme challenges. With so much literary depiction of old age as being synonymous to misery, despair and discontent, can writers ever escape the old age stereotype? By examining the old male characters in Yan Ge-Ling’s fiction, this work seeks a reflection of this common literary phenomenon.
香港非粵語母語者語言轉移的初步探討
Authors: 梁 慧敏 , 李 貴生
Published: November 2022

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

本文嘗試從社會語言學角度出發，調查在香港工作的非粤語母語人士日常會話中的語言使用情况，探討的範圍包括工作場所和非工作場所中粵語、普通話和英語所占的比重。文章會通過均值分析和變項比較，闡述香港非粤語母語者的語言兼用與轉移的實際情况，并探討語言轉移的背後因素。

This paper aims to investigate the everyday language use of non-Cantonese native speakers who work in Hong Kong from the perspective of sociolinguistics. The three languages, namely Cantonese, Putonghua and English, will be examined closely in terms of their frequency of use in both workplaces and non-workplaces. By comparing the mean scores and related variables, this study further discusses and explains the phenomena of language shift of non-Cantonese native speakers.
解志熙：《考文叙事録——中國現代文學文獻校讀論叢》
Authors: 張 松建
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

在當代中國的學科體系中，現代文學研究早已有“顯學”之稱。幾十年來，無論理論方法的革新抑或研究領域的拓展，均展示了許多值得稱頌的實績，一些標志性的著述我們亦耳熟能詳。可以想見，在此形勢下，如何突破“影響的焦慮”而另闢學術新路，不能不説是擺在學人面前的一大挑戰。新近出版的解志熙的《考文叙事録——中國現代文學文獻校讀論叢》可算這方面的大膽嘗試。(撮要取自內文首段)
有蟲還是無蟲？———中國上古醫療史中的“蠱”
Authors: 陳 嘉禮
Published: November 2022

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

中國醫療史的研究在過去百年得到長足的發展，然而，“蠱”作爲一個與疾病有關的名詞，雖然在古代醫學或非醫學的文獻中屢見不鮮，但前人多把視野聚焦在畜蠱害人之上，忽略了“蠱”在醫學疾病中的意義。本文以甲骨文、清華簡及其他先秦文獻入手，探索“蠱”在先秦時期的含意，並討論古人防“蠱”與治“蠱”之法，亦會窺探上古醫療疾病觀。

Scholarship on Chinese medical history has made considerable progress since last century. However, despite its frequent occurrences in ancient medical and non-medical documents, the word gu, a term associated with diseases, has only been studied in light of the practice of “collecting gu to harm others” in previous scholarship, no attention has been paid to its meaning in the medical study of diseases. Making use of inscriptions on oracle bones, bamboo slips preserved at Tsinghua University, and other pre-Qin documents, this essay aims to (1) explore the meaning of gu in pre-Qin contexts, (2) discuss how ancient people prevented and treated gu, and (3) observe the concepts of illnesses and medical treatments in ancient times.
彭淑敏：《民國福建協和大學之研究：以師資和財務爲例（1916—1949）》
Authors: 區 志堅
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

今天學界多從輸入（input）及輸出（output）兩方面衡量研究高等院校的辦學成效。輸入方面分爲硬件及軟件。硬件如：財政資助、教職員學歷等人才資源、課程設計、校舍設施及圖書館藏書等；軟件如：學生校園生活、學生組織、課外活動、學生歸屬感、校友會組織等。至於輸出方面，如畢業生成就、師生的學術研究成果及爲社會創造知識等。豐裕經濟支援，較能爲師生提供豐盛的校園生活，以及資助教職員進行更多研究，不能否定的是校方適當地運用經濟資源，較容易培訓人才，錢“財”與人“才”配合得宜，更容易締造一代學風。(撮要取自內文首段)
琉球的出版文化與琉球漢詩集
Authors: 高津 孝
Published: November 2022

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

琉球王國久米村人，系明朝由福建移居琉球的華人後裔。歷史上，久米村人一直承擔著琉球與中國的貿易和外交往來；琉球漢詩的創作與出版也主要出自久米村人之手。琉球人創作的詩集，在中國的北京和福州，以及日本的京都、江户和大阪均有出版。1本文在琉球的出版文化這一場域中，對久米村人的出版活動，尤其是漢詩集的出版情況進行考察，並確認和評估其在東亞海域文化交流中的歷史意義。

The residents of Kume Village of Ryukyu Kingdom are descendants of Chinese emigrants who moved from Fujian province in the Ming dynasty. Historically, Kume villagers have played an important role in trade and diplomatic relations between China and Ryukyu, and they were responsible for the creation and publication of much Ryukyu Chinese poetry. Anthologies by Ryukyu poets were published in Beijing and Fuzhou in China, and Kyoto, Edo, and Osaka in Japan. The present essay is a study of the publication culture of Ryukyu. It examines the publication activities of Kume villagers, especially the publication situations of Chinese poetry anthologies, recognizing and evaluating their historical significance in cultural exchange in the marine areas of East Asia.
艾朗諾：《美的焦慮：北宋士大夫的審美思想與追求》
Authors: 張 萬民
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

此書作者艾朗諾，曾任教於美國哈佛大學及加州大學聖芭芭拉分校，現任教於斯坦福大學，是美國漢學界宋代文學研究的代表人物，《劍橋中國文學史》北宋部分的撰寫者。艾朗諾教授長期研究歐陽修、蘇軾、黄庭堅等宋代文人的作品和思想，曾出版過研究歐陽修、蘇軾的專著，近年又出版了關於李清照及其身後形象重塑的著作。(撮要取自內文首段)
傳統與現代的激蕩———論劉毓盤的詞學與教育
Authors: 吳 志廉
Published: November 2022

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

從晚清過渡到民國的傳統詞人劉毓盤，其《詞史》作爲中國第一本通代詞史，乃嘗試對千年詞壇作出系統梳理與規律把握；此外，他尚撰有《中國文學史》，輯有《唐五代宋遼金元名家詞輯》，蓽路藍縷之功，值得關注。然劉毓盤逝世八十多年後，才陸續出現幾篇論文開始關注他，其“身後名”長期備受冷落，與其生前作爲構成强烈反差。本文嘗試進入20世紀30年代的詞學氛圍，並以學術史與教育史的眼光探討爲何劉毓盤長期被學界輕視；繼而重新挖掘劉毓盤被學界輕視的詞學貢獻，分别是：《詞輯》與《詞史》的文獻積累爲後世詞籍整理提供便利，《詞史》多面向而客觀的理論框架爲後世詞史撰寫提供借鑑，《詞史》有效推動傳統詞學向現代詞學轉型。本文同時關注劉毓盤當年盡責而靈動的課堂傳授，旨在反思側重學術研究而輕視課堂傳授的大學趨勢，是否有調整的需要；並藉著《詞史》反思愈趨“理論化”的學界，如何在理論闡發與詞史描述的張力之間取得平衡。

Liu Yupan, a traditional “Ci” writer across the late Qing Dynasty and the Republic of China who made his name with “Cishi”, which was the first book in China summarizing the history of Ci and the principles behind systematically. In addition, he was also known for his “Zhongguo Wenxue Shi” and “Tang Wudai Songliao Jinyuan Mingjia Ciji”. His contributions to the studies of Ci deserve great attention. Yet, just a few articles mentioned about him after 83 years since his death. His poor popularity has formed a sharp contrast with his excellent contributions. By getting into the atmosphere of Ci study in 1930s, this paper attempts to investigate why Liu has been overlooked by scholars for such a long time from the perspectives of academic history and educational history. This paper also aims to re-discover the neglected contributions made by Liu to the following generations, including how his works of “Ciji” and “Cishi” bring convenience to the collection and classification of Ci; how the multidimensional and objective theoretical framework of “Cishi” serves as a reference for the drafting of Ci history; how “Cishi” promotes the transformation of traditional Ci study to modern Ci study. Besides, the present study discusses the teaching activities conducted by Liu in an attempt to examine the need of adjustment of the current tendency of university education, in which academic research was seen as more important than knowledge impartation. Finally, by studying “Cishi”, this paper explores how the current academic circle could strike a balance between theoretical development and Ci history description.
《海光文藝》與香港六十年代的流行小説
Authors: 魏 艷
Published: November 2022

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

本文主要分析香港20世紀六十年代的一本重要左派文藝刊物《海光文藝》中的流行小説。之前對《海光文藝》的研究主要在於它作爲左派的灰色刊物在冷戰時期的意義，本文則對其中的流行小説部分進行細讀，大致分爲兩個部分，第一部分討論《海光文藝》中對流行文學的研究，包括梁羽生、金庸對於武俠小説的討論，盈若思對瓊瑤及郭良蕙的言情小説的分析等。第二部分以文本細讀的方法，分析《海光文藝》刊登的流行短篇小説，特别是選取鄭慧、依達、亦舒這三個分别在五十年代、六十年代及七十年代最爲流行的言情作家作品來討論他們所寫作的言情小説中所反映的不同世代的創作特色。文章認爲《海光文藝》在評論及創作兩個方面均對當時的流行文學研究做出貢獻。它以一種嚴肅的、論文探討式的方式來分析時下的流行文學類型，同時，在創作上，刊物中發表的流行文學在世代、性别、背景上也有多樣化的特點，因此在香港六十年代流行文學的研究及創作上具有重要價值。

This paper discussed the popular fiction in Haiguang wenyi, one of the most important literary journals by the leftist in the 1960s Hong Kong. Previously the studies of this journal mainly focused on its significance as a grey journal of the leftists during the cold war, this paper, however, conducted a detailed analysis in its texts of popular fiction. It consisted two parts. Part one discussed the essays on the theory of popular literature published in this journal, including discussions on martial art fiction by Liang Yusheng and Jing Yong, the analysis by Ying Ruosi on the topic of romances of Qiong Yao and Guo Lianghui. Part two did a detailed readings of the popular fiction in this journal, especially the stories written by Zheng Hui, Yi Da and Yi Shu. These three writers were the most popular romance writers of the 50s, 60s and 70s each. In general, this paper argued that Haiguang wenyi contributed greatly to the popular literature writings in the 1960s Hong Kong literature. Not only did it take a serious attitude to treat popular literature at that time, but also the popular stories published in this journal exhibited the diversity of genres and generations at that time.
王世貞《高拱傳》史實探析
Authors: 岳 金西
Published: November 2022

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

明王世貞《首輔傳》卷六《高拱傳》，是高拱逝世後最早出現的一篇政治性傳記。該傳除傳主從政歷程、裕邸講讀大抵近實及其俺答封貢之功略有論及之外，其基本傾向是持否定態度。在徐階逐拱出閣、高拱復政原因、嘉靖遺詔紛爭、隆慶閣臣去政之真相以及所謂傳主報復徐階、貪污受賄等問題上，表現出甚爲明顯的歷史偏見。形成這種偏見的原因，既有王氏與傳主之間的是非恩怨，也有政治史觀上的對立，還有高傳主要取材于高拱之政敵徐階的訪談資料等因素。故此，明清史家將《首輔傳》判定爲不確、不真、不實，並非虛語。

The sixth volume of the Biography of the Prime Ministers by Wang Shizhen is Biography of Gao Gong, the earliest political biography ever since Gao’s death. Apart from Gao’s initiation into the political realm, his teaching in the Yu Palace and his pacification of the Anda, the general attitude towards Gao is negative. Wang’s biography is steeped in prejudice as far as the following issues is concerned, such as the exclusion of Xu Jie, the restoration of Gao Gong, the disputes on Jiajing Emperor’s posthumous ordinance, his vengeance against Xu Jie, the problem of bribery and so on. Such prejudice is brewed in both the ingrained mutual hatred between Wang and Gao and their opposing political standpoints. In addition to it, Wang’s materials are mainly based on the interviews with Xu Jie, which is why so many historians consider it to be unauthentic, imprecise and unbelievable.
金聖歎批評《第六才子書西廂記》———傳承、創新與接受
Authors: 凌 筱嶠
Published: November 2022

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

本文擬將金聖歎評《第六才子書西廂記》放置於古典文論以及朱熹《讀書法》脈絡中，考察金批《西廂》有關創作與閱讀體驗自成一體的理論建樹。金批《西廂》一反傳統的“發憤著書論”以及作者寄身翰墨以期不朽的文化心理，強調古人／作者之不可知，將文本生産與天才作者的英雄人格相剥離，轉而將創作、閱讀主體共同放置於茫茫天地間洶湧萬世的時間潮流中。妙文成爲“普天下萬世錦繡才子”構成的精英讀者群體與聖歎間通過儀式性的情感交流以及“平心斂氣”的身體體驗得以從天下萬世人人心中“偷取”出的公共之寶。如此立論，看似與二十世紀後結構主義的“作者已死”觀念相貫通，實際却植根於十七世紀文人藉木刻本爲公共平臺，對古典文論如陸機《文賦》中靈感生成論的有力補充。其中折射的明清之際文人審美趣味，既承接朱熹以《讀書法》強調身體力行的閱讀功夫以對抗商業印刷業影響下的閱讀功利性以及量化趨向，又展現出晚明醫藥話語和禪、儒合一的專業性知識體系。有趣的是，金批《西廂》中針對閱讀體驗完整的理論體系，在清代的接受史中不敵刻書家、戲曲家對“才子”概念的慣性理解。追溯《第六才子書西廂記》對前人的選擇性繼承以及對後人的影響，呈現出閱讀接受史中種種吊詭與概念挪用。傳承、創新與接受因此而成爲富含張力與生命力的動態過程。

This paper situates Jin Shengtan’s (1608-1661) The Sixth Genius Book: The Western Wing in the context of traditional Chinese literary criticism and discourse on reading, in an attempt to examine Jin’s contribution to the history of reading. In his tremendously popular commentary on the romantic play The Story of the Western Wing, Jin defines the text as an artifact that captures the aesthetics of a single moment, which is utterly unique and unreproducible. Any writer does not possess his text once it materializes into “marvelous writings between heaven and earth” (tiandi miaowen), as these are treasures of talented men whose brilliance of learning renders the patterns of nature as the text’s simulacrum. The present essay examines how Jin uses this definition of the literary text to promote his understanding of reading as a bodily experience that fuses subjective identities of the author, the reader, and the commentator in a virtual community of reader- writers sharing “brocade-like minds” (jinxiu caizi). Jin’s theory of reading shares concerns in Lu Ji’s (261-303) “Poetic Exposition on Literature” and Zhu Xi’s (1130-1200) teachings on the act of reading: Lu Ji’s trenchant awareness of literary precedents and preoccupation with originality on the one hand and Zhu Xi’s wariness of commercialization of knowledge and its fragmentation in the age of printing on the other. Yet The Sixth Genius Book sets itself apart from these precedents with Jin’s evocation of medical and religious discourses that, by the seventeenth century, had become part of a broadly-shared repertoire of professional knowledge. Ultimately, Jin’s The Sixth Genius Book showcases the contested nature of the non-linear dynamics of continuation, innovation, and reception epitomized in his promotion of The Western Wing as a well-recognized cultural icon.
“新傷痕時代”及其文化應對
Authors: 楊 慶祥
Published: November 2022

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

這究竟是一個什麽樣的時代？應該從何種層面來對這個時代命名？這是知識者的責任和義務。在全球化和中國本土的雙重視野中，楊慶祥從精神性的角度將這個時代命名爲“新傷痕時代”，它在普遍的意義上指的是一切非人性的秩序對個體和共同體的傷害，它在其最具體性上指的是中國的“改革”之陣痛及其傷害。楊慶祥進而提出只有通過有效的“新傷痕文學”的書寫，才能表達、呈現並拯救這種傷痕。

What age are we living in? From what perspective can we name this age? These are two very real responsibilities and obligations of intellectuals. From the perspectives of both globalization and domestic China, the author of the present study has developed the concept of “The Age of New Scars” from an intellectual standpoint. Generally speaking, “The Age of New Scars” refers to all sorts of harm and trauma that the inhuman order brings to the individual and community. In a more specific sense, it refers to the throes and damage during the “reform” of China. The author further proposes that only through effective writing of “New Scar Literature” can we express, represent and finally heal this kind of scar.
卿憐及相關作品考論
Authors: 趙 杏根
Published: November 2022

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

清乾隆間，吳地常熟女子王伏，爲浙江巡撫王亶望所娶爲侍妾，以卿憐名。王亶望因貪腐被殺，其後某年，卿憐被侍郎蔣賜棨送給和珅爲侍妾。和珅垮臺，卿憐所作或托名卿憐所作並且以她的經歷和情感爲題材的詩歌，開始流傳。以其故事爲題材的詩文、詩話、筆記等廣爲流傳，其中不乏出自名家之手的優秀作品。這些作品，反映了當時的官場生態和文化生態，抨擊貪官、警示世人，諷刺那些當初攀附貪官、謀取貪官恩惠的人。

Qinglian was a nickname given to Wang Fu, a native of Changshu in the Wu region who lived in the Qianlong reign-period (1736-1795), when she became concubine of Wang Danwang, governor of Zhejiang province. A few years after the latter was executed for corruption, Qinglian was given to Heshen as a concubine by Jiang Ciqi. After the downfall of Heshen, the poems authored by or attributed to Qinglian began to be circulated. These poems are mainly about her life and feelings. In the meantime, her story became a significant theme in some poetry, essays, poetry critique, and narratives, which were in wide circulation. Among these works were some of high quality and some by famous writers. These works may be seen as a warning as they criticized the corrupt officials and satirized those who were once adherents to corrupt officials in order to curry favor.
近現代報刊傳媒與戰前新馬漢詩
Authors: 王 兵
Published: November 2022

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

在1881年《叻報》創辦之前，新加坡和馬來西亞的漢詩創作無法進入公衆的視野。而在《叻報》創立至1941年底新馬淪陷前的60年間，新馬中文報紙的發展異常迅猛，陸續誕生的報紙計有《檳城新報》、《星報》、《天南新報》、《日新報》、《總匯新報》、《中興日報》、《南洋商報》、《星洲日報》等二十餘種。這些華文報紙，幾乎每一種都定期或不定期地登載舊體詩。因此，華文報刊的定位、副刊主編的喜好等也會影響到新馬漢詩的發展。同時，新馬地區這一時期出現的“新派詩”亦可視爲這一傳播載體影響下的産物。另外，就華文報刊對於傳統漢詩發展的意義而言，近現代華文報刊登載漢詩的意義不僅僅局限於提供傳播渠道和保存原始史料，更爲深層的價值在於詩人的創作成果從“私人領域”進入了“公共空間”，從而實現向廣大讀者傳達審美欣賞、文化再現和社會政治參與等層面的價值。

Han poetry (classical Chinese poetry) did not enter the sphere of the general public until the publication of Malaya’s first newspaper, Lat Pau, in 1881. In the 60 years of its publication history, from 1881 to late 1941 before the downfall of Singapore and Malaya, the Lat Pau witnessed a rapid, robust development of Chinese newspapers. Following this were the respective debuts of more than 20 newspapers, such as Penang Sin Poe, Sing Po, Thien Nan Shin Pao, Jit Shin Pao, Union Times, Chong Shing Yit Pao, Nanyang Siang Pau, and Sin Chew Jit Poh. These newspapers became important for the circulation of classical poetry, as some of them published poems on a periodic basis and some daily. Therefore, the status of Chinese journals and newspapers and preferences of the editors were decisive factors in the development of Malayan Han poetry. Meanwhile, the “new-style poetry” that emerged at this time may be seen as products of Chinese newspapers published at this time. Furthermore, the significance of publishing classical Chinese poetry in modern newspapers lies not only in the provision of communication channels and the preservation of original materials, but, more importantly, they brought the poets’ creative works from a “private sphere ” to the “public space,” and thereby conveyed to the reader the values of aesthetic appreciation, cultural reproduction, and social and political participation.
嚴志雄：《牧齋初論集———詩文、生命、身後名》
Authors: 許 建業
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

嚴志雄先生新著《牧齋初論集一一詩文、生命、身後名》，是繼The Poet-historian Qian Qianyi（Routledge，2009）（此乃嚴先生1998年博士論文修訂而成，中譯本《錢謙益的“詩史”理論與實踐》將於今年由中華書局出版）、《錢謙益〈病榻消寒雜咏〉論釋》（臺灣“中硏院” ，2012）、《秋柳的世界一一王士祺與清初詩壇側議》（香港大學出版社，2013）等之後的重要論著。若初步翻看諸作目録，我們會很容易判斷新著僅爲與錢謙益詩文相關的論文集，與之前幾部精心擘劃論述方法與規模的作品很不一樣。已故學者張暉（1977—2013）評論《錢謙益〈病榻消寒雜咏〉論釋》時已指出，嚴先生首兩部著作在結構上“存在著一些相似之處”，即從架構上先將理論框架和問題意識辨析清楚，開展具體的課題探討，然後聚焦到詩歌文本的細讀（close reading），從而進入和理解詩人生命所面對不同境遇、關情與證悟。（《〈錢謙益《病榻消寒雜詠》論釋〉的啟示意義》，《朝歌集》，2013年）若仔細辨察，二書又有分別：前者先釐清錢氏的“詩史”槪念，繼而以詩歌文本對照參證；後者先分專題議論，確立組詩意義，再透過仔細的箋釋工夫辨析和深化各詩語詞背後的本事、意象和符碼，不單結構創新，也是一種論述方式的超越。這種相似與超越，反映嚴先生對論述理路和方法的深思熟慮，並非偶然。以此延伸照看，若我們將嚴先生四部作品視作更爲宏大的論述結構安排，《牧齋初論集》雖似乎沒有自成緊密的體系，但結合前三者，則體現了嚴先生這些年來治學思路的層累，以及理論關懷的輻輳反映。(撮要取自內文首段)
楊聯陞：《漢學書評》
Authors: 梁 右典
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

前輩學者有人願意花50年時間在書評這塊園地持續耕耘，並在漢學界闖出天地，不可不以楊聯陞（1914一1990）先生爲代表之一。楊聯陞的書評在兩岸陸續都有出版，見於他的《漢學散策》、《國史探微》、《漢學論評集》等書；而2016年8月由大陸蔣力編輯《漢學書評》（商務印書館）値得關注，是楊聯陞的書評論文第一次以中文方式大規模與讀者見面。(撮要取自內文首段)
《王勃集》的編纂時期———以日本傳存《王勃集》卷三十所收《族翁承烈致祭文》爲中心
Authors: 道坂 昭廣
Published: November 2022

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

在流傳於日本的《王勃集》卷三〇中，有一篇王承烈爲祭奠去世的王勃的靈魂而作的《祭文》。作於王勃死後八年的這篇祭文，是爲了安慰未能返回故鄉而被葬於南方的王勃的亡靈。這篇作於684年的祭文，是《王勃集》中最晚創作的作品。《王勃集》的寫本中避諱了“華”字，即“華”字最後一筆缺失（未寫）。另一方面，武則天創作的文字（即則天文字）也未被使用。而在中國仅“華”字闕筆的这一避讳情况持续到６８９年。綜上可知，《王勃集》編纂於684到689年之間。且此僅流傳於日本的《王勃集》，是在其編纂後的五年內被抄寫的文本。

In fascicle 30 of the Collected Works of Wang Bo circulated in Japan, there is a funeral oration (jiwen 祭文) dedicated to the spirit of Wang Bo, written by Wang Chenglie eight years after Bo’s death. This oration was intended to comfort the soul of Wang Bo who could not return to his hometown but was buried in southern China. Composed in the year 684, this funeral oration is the last work in the Collected Works of Wang Bo. In the manuscript of this collection, there is a taboo word, hua 華, the last stroke of which is not written. In addition, the characters created by Empress Wu are not used. It was only until 689 that the character hua was written without the last stroke. Hence, it can be concluded that the Collected Works of Wang Bo was compiled in the period between 684 and 689 and that the edition that is only found in Japan must have been transcribed within 5 years after the compilation.
從《費諾洛薩筆記》看森槐南的李白詩解釋
Authors: 長谷 部剛
Published: November 2022

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

費諾洛薩（Earnest F. Fenollosa, 1853—1908）1901 年在日本跟從森槐南學中國古典，留下了三冊關於中國古典詩歌的筆記，即《費諾洛薩筆記（Fenollosa’s Notes）》。龐德（Ezra Pound）Cathay（1915）基本上依靠《費諾洛薩筆記》而做成。雖然《費諾洛薩筆記》是研究龐德中國詩英譯的最重要資料，但是由於客觀限制，即使如 Wai-lim Yip Ezra Pound’s Cathay（1969）等先行研究成果也只是看到了《費諾洛薩筆記》中同 Cathay 相關的小部分、未能參看筆記整體。本文則依靠《費諾洛薩筆記》中李白詩部分以及森槐南《李詩講義》等比較全面的資料來探討森槐南的李白詩解釋。

Earnest F. Fenollosa (1853-1908) studied Chinese classical literature under Mori Kainan (1862-1911) in Tokyo in 1901 and left three notebooks about Chinese classical poetry, which have been referred to as “Fenollosa’s Notes.” These notes formed the framework of Ezra Pound’s (1885-1972) Cathay. Despite the importance of “Fenollosa’s Notes” for the study of Pound’s Cathay, for some reason, not enough attention has been given to these notes. For example, in one of the earliest studies of Pound, Wai-lim Yip only referenced a small part of “Fenollosa’s Notes” in his Ezra Pound’s Cathay (1969). The present essay attempts to make use of “Fenollosa’s Notes,” Mori Kainan’s Rishi Kougi (Lecture Notes on the Poetry of Li Bai), and other relevant sources to reconstruct Mori’s interpretation of Li Bai’s poetry.
“文如其人”、“風格即人”與李長之的“傳記批評”
Authors: 廖 棟樑 , 錢 瑋東
Published: November 2022

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

“文如其人”是中國古代文論中涉及“人———言／文”關係之一大命題，其假定了“言／文”爲“人”心之外發外現，因而兩者之間理應若合符契。進入二十世紀後，隨著西方文學觀念的東漸，“文如其人”屢被用作轉譯或比附於法國布封的名言Le style, c’est l’homme（風格即人），並與當時流行的西方自然主義理論相結合，在現代文學批評的語境下持續發揮影響力。而這一傳統文論話語在經歷中西對接的意義轉化後，又爲李長之創造性地借用，他汲取了狄爾泰的“體驗”論和洪堡特的語言觀，重新省思中國古代“文如其人”的觀念傳統，並摶成其獨具特色的“傳記批評”之理論基礎。緣此，對“文如其人”此一古今中西對接演繹過程之勾勒梳理，允爲考察古代文論在西學東漸潮流下的傳承和轉化之絕佳案例。

The belief that “writing reflects the author’s personality” (wen ru qiren 文如其人) was a major theory in traditional Chinese literary criticism concerning the relationship between Man and Word/Text. It presumed that Word/Text is a manifestation of the author’s thought; therefore, the two should perfectly correspond with each other. Since the beginning of the 20th century, with the introduction of Western literary theories into China, wen ru qiren has frequently become a rendering or counterpart of the famous saying “le style, c’est l’homme” by Georges-Louis Leclerc, Comte de Buffon (1709-1788). It was also combined with the then-popular Western Naturalism theory and exerted continuous influence within the context of modern literary criticism. This traditional literary discourse underwent conversions of meaning as a result of its interactions with Western theories before Li Changzhi (1910-1978) borrowed it for his own creative use. Li drew upon Wilhelm Dilthey’s (1833-1911) philosophical theory on “Erlebnis” and Wilhelm von Humboldt’s (1767-1835) philosophy of language, reevaluated the traditional Chinese concept of wen ru qiren, and thereby molded these Western and Chinese theories into the theoretical basis of his unique “critique of biographies.” For this reason, the investigation of the process through which wen ru qiren evolved by connecting a traditional Chinese concept with modern Western theories makes a perfect case study for examining the inherence and conversion of traditional literary theory during the era when Western knowledge was introduced to China.
張愛玲的“姘”字練習：《桂花蒸阿小悲秋》的文學實驗
Authors: 張 小虹
Published: November 2022

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

以張愛玲短篇小說《桂花蒸 阿小悲秋》爲主要文本，分別從“語言姘合”、“男女姘合”、“翻譯姘合”三個面向，可以探討語言文字、性別關係與跨語際翻譯實踐所可能展現的交織力量。首先，小說中上海話的此起彼落，洋涇浜英文的翻來覆去，以及各種古典小說詞語的摻雜，是新與舊、中與西、高與低之間的“姘”字練習與文學實驗。其次，重新歷史化與政治化的“上海女傭”的出現，結合阿小與阿小男人的關係，展現出城市空間中男女社交、婚姻形態、家庭組合、經濟生活所給出的一種新形態可能。再次，聚焦於張愛玲自譯該小說的英文版本“Shame, Amah”，並從此翻譯文本中擇選出幾個字作爲“文本表面”，可以展現帝國殖民主義在不同地理區域的文化流動，如何將“根源”化爲“路徑”。透過此三個部份的分析，能夠有效揭示張愛玲文學書寫中語言姘合、性別姘居與文化翻譯彼此之間互文交織的變化與不確定性。

This essay studies Eileen Chang’s short story “Steaming Osmanthus Blossoms: A Xiao’s Lament for the Autumn” as a central text, in an attempt to explore the potential power of language. It is interwoven with gender relationships and the translingual practice of translation through three aspects of pin (“pairing up”), namely, “linguistic assemblage,” “male-female cohabitation,” and “translative complication.” Part I will focus on the mixture of Shanghai dialect, Chinese Pidgin English, and expressions from classical Chinese novels in this short story as a pin exercise of linguistic assemblage and a literary experiment between old and new, Chinese and Western, high and low. Part II will highlight the context of Shanghai urban modernity to re-historicize and re-politicize the emergence of “Shanghai Housemaid.” It will take the relationship between A Xiao and her man as a new form of cohabitation by which we redefine the social, marital, familial, and economic life between the sexes in urban space. Part III will focus on the English version of this short story, “Shame, Amah,” translated by Chang herself. It will highlight several words in the English version and treat them respectively as “textual surfaces” to map out various complications created by the cultural flow of colonial imperialism among different geographical areas, and thus to explore how the “root” becomes “routes.” Through these analyses, the present paper aims to effectively explore the changing and indeterminate intertextuality of language, gender relationships, and cultural translations disclosed in Chang’s literary writing.
錢志熙：《陶淵明傳》
Authors: 劉 淑麗
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

陶淵明是中古著名詩人，硏究他的著作可謂汗牛充棟，但是，錢先生在代序《田園中的生命沉思——以一種新的期待閱讀陶淵明》中，揭明了本書的新創所在：政治當然也是陶淵明人生中的重要主題，尤其是他與他所處的政治背景中的複雜關係，其真相還有許多我們現在沒法究明的。但淵明思想與感情的全部主題，遠非政治這一個主題所能局限。政治雖然那樣密切地聯繫著陶淵明的人生，但畢竟是短暫的，稍縱即逝；並且政治上的是非，決非淵明思考的終極，他情感的最後歸宿也是超越在政治之上的。陶淵明的那份情緒與思考，則更帶有永恒性的內容，只有用生命這個主題去闡發它，才可能真正進入他的內心世界。也只有我們把握住詩人生命中的這份沉抑與激揚之後，才能真正欣賞他的超越與平淡，真正領略他詩中的田園之美與隱逸生涯的情趣，並且真正了解它們的價値。”而在本書的《尾聲：啟示與感想》中，錢先生認爲“淵明是高度實現了自我的人，淵明的詩歌是人生與藝術的高度統一”，本書即是圍繞陶淵明的人生、自我、藝術展開，試圖告訴我們陶淵明是如何直面現實人生，即如何面對仕與隱之矛盾，如何解決心靈問題，如何成就爲己之學與進行詩意化表達情感的。現僅從以下三方面認知。(撮要取自內文首段)
《天問》“徹彼岐社”與文王事殷史述考
Authors: 曹 勝高
Published: November 2022

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

《天問》述商周之際的史事，言及“何令徹彼岐社”，一般釋爲“通岐社而爲太社”，認爲事在武王之時。此與所述史事順序不合，歷來未能定詁。若將此事置於季歷被囚殺、姬昌事殷、西伯受命諸事中考察，可知文王繼位之初曾率伐殷而大敗，不得不徹除岐社而奉殷祀，與殷王室通婚，再次服事商王。被任命爲西伯後，重啓岐社並受命於此，上告天帝，公开伐殷。武王即位於商太社，周公營周太社於雒，文王、武王時並無通岐社爲太社之事。從社祀制度的視角來看，《天問》中所言的廼立冢土、徹彼岐社、遷藏就岐、受命岐社，是周人遷岐、服商、自立、反商的標誌性事件。

The poem “Heavenly Questions” (“Tianwen”) tells of the history of the Shang and Zhou dynasties and mentions “why the order to remove the Qi shrine was given.” The line is usually interpreted as “changing the Qi shrine to the highest shrine [of the Zhou],”and is believed to refer to what happened in the time of King Wu of the Zhou (d. 1043 BCE). However, this reading is not in accordance with the chronology of history and has yet to be resolved. The content of this line may make more sense if it is dated to the time when Jili was imprisoned and put to death, and Ji Chang (posth., King Wen of the Zhou, ca. 1152-ca. 1056 BCE) submitted himself to the Shang regime to later accept the heavenly mandate and become ruler of a new dynasty. This dating shall lead to a new interpretation: at the beginning of his succession, King Wen revolted against the Shang but was defeated. As a result, he was forced to remove their Qi shrine, resume their sacrificial service to Shang’s ancestors, and marry his clan members to the Shang’s to show subordination. After Ji Chang was appointed Earl of the West, he reopened the Qi shrine, where he accepted heaven’s mandate, appealed to the thearch of heaven, and began his expeditions against the Shang. As King Wu ascended to his throne in the Shang’s highest shrine, the Duke of Zhou built the Zhou’s highest shrine in Luoyi. Therefore, in the time of Kings Wen and Wu, they would not have used the Qi shrine as the highest shrine. From the perspective of the shrine sacrifice system, we find that the “Heavenly Questions” relates a series of historical events: the establishment of the shrine, its replacement and recommencement, and acceptance of heaven’s mandate. These events are hallmarks of the history of the Zhou people’s settlement, their submission to the Shang, independence, and revolt against the Shang.
趙惠俊：《朝野與雅俗：宋真宗至高宗朝詞壇生態與詞體雅化研究》
Authors: 胡 秋妍
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

雅與俗是中國傳統詩學的重要範疇，起源于先秦儒家樂論。宋代之前，雅俗觀念已經流行于音樂、文學領域，配合詞體文學演唱的隋唐燕樂與中原清商樂構成了一組音樂層面的雅俗對立。而詞體最初是作爲流行音樂最先在世俗社會傳播開來，後於宫廷與士大夫間產生影響，於是又出現社會階層領域的雅俗對立。一部詞史就是雅化尊體、雅俗的對立與交融貫穿，由此詞體雅化便成爲詞學研究的核心問題，受到國内外學者的關注，如謝桃坊《南宋雅詞辨原》、吴蓓《南宋雅詞的特質與時代因素》、黄雅莉《宋詞雅化的發展與嬗變：以柳、周、姜、吴爲核心》、劉少雄《南宋姜吴典雅詞派相關詞學論題之探討》等論著相繼問世。(撮要取自內文首段)
江巨榮：《詩人視野中的明清戲曲》
Authors: 李 碧
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

明清兩代作爲古典戲曲發展的黄金時期，一直是戲曲研究的重中之重，以往的戲曲研究在文本生成、舞臺演出、文化背景及社會影響等諸多視角予以密切關注。就文學層面來説，往往是重視文本、忽視演出，導致考證某些劇目的演出狀況時常常缺乏可靠的文獻佐證。一直以來，明清的筆記、日記等史料被用作戲曲演出紀録的主要文獻支撑。而近年來，江巨榮教授從《四庫全書》系列以及《清代詩文集彙編》等大型叢書中爬梳出大量詩文史料，這些作品直接涉及劇目的生成年代、演出場景、文人的參與及觀感等方面，有的是演出當場即興之作，也有觀後不久所寫成的觀感之作，既可以作爲戲曲演出史研究的第一手資料，又爲文學層面的戲曲演出研究提供了大量的新見史料。從《明清戲曲：劇目、文本與演出研究》（上海古籍出版社，2014年）到《詩人視野中的明清戲曲》（復旦大學出版社，2018年，下簡稱“江著”），江教授的兩部著作均圍繞明清的詩文閲讀與曲學研究的開拓逐步展開，後者分爲“詩與劇目”“演劇詩話”“詩外談劇”三編，鉤稽三十餘種稀見明清傳奇、雜劇劇目，並深人剖析，鞭辟人裏。(撮要取自內文首段)
作家•導演•出版：多重主體“合謀”下的九十年代中國電影小說
Authors: 黄 勇军 , 柳 謙
Published: November 2022

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

發軔于二十世紀初葉的中國電影小說在 1940 年代中後期出現發展的第一次高潮，但在此後長達近半個世紀囿於多重因素發展相對緩慢。進入1990年代以來，在影像文本的電影和紙質文本的文學二者共同誘導與塑造下，電影投資方、製作方等製作主體，導演編劇、作家等創作主體以及圖書出版方等媒介主體這些與電影小說相關的各方對電影小說的本質屬性、生成機制、價值作用等有了充分而深入的認識，以“作家主動參與”、“導演自覺利用”、“出版争相涉足”爲三大表徵，電影小說的創作與行銷成爲電影界、作家界、出版界等多方聯袂協作、互利共贏的一種“合謀”與“狂歡”，由此促使電影小說逐步勃興，並爲在新世紀出現第二次發展高潮奠定了堅實基礎。

Chinese film novels debuted in the early twentieth century and saw their first climax in the mid-to late 1940s, but for various reasons had been relatively slow to develop for nearly half a century. Since the beginning of the 1990s, as the production of film and film texts underwent some reciprocal developments, there was much more interaction among film investors, producers, filmmakers, directors, screenwriters, writers, and other media subjects, such as book publishers. Stakeholders from all walks of life started to have a full and in-depth understanding of the essential attributes, generation mechanisms, and value of film novels. This new development is reflected in three major phenomena, namely, “writers’ active participation,” “directors’ conscious use of these novels,” and “publishers’ contests for publication.” Characteristically, the creation and marketing of film novels have become a kind of “collusion” and “carnival” of the reciprocally beneficial collaboration of the filmmaking industry, writers, and publishing circles, which have led to the gradual rise of film novels and laid a solid foundation for its second peak of development.
蔣寅：《清代詩學史》（第二卷）
Authors: 李 小雨
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

繼2012年蔣寅教授《清代詩學史》（第一卷）出版七年之後，學界期待已久的《清代詩學史》（第二卷）“學問與性情”（1736—1795）而今又以同樣的巨帙長篇呈現在我們面前。作爲通史性詩學論著的第二段分期，該卷主要論述對象是乾隆朝詩學，這在第一卷導論解釋清代詩學分期時就已劃定：清代詩學史的分期也就是順、康、维三朝爲一期，乾隆朝爲一期，嘉、道兩朝爲一期，咸、同、光三朝爲一期。”？如此分期與對詩學史的理解有關，作者認爲，詩學史“是融觀念史、批評史和學術史爲一體的工作”，“和清代詩歌史、批評史及學術史是緊密地交織在一起的，也可以說正是在三者的互動中展開的”。*2正因爲秉持這樣的詩學史觀念，作者在撰寫過程中致力於展示出詩學史發展過程中的多樣與豐厚，這也是作者自研究王漁洋詩學時便提出的“進人過程的文學史研究”這一學術理念的延伸與持续踐行。(撮要取自內文首段)
緑萼承趺玉蘂輕：姜夔《疏影》詞旨新論
Authors: 蕭 振豪
Published: November 2022

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

《疏影》的詞旨向無定解，較爲主流的政治説仍有缺陷。本文指出《疏影》所詠的梅花品種，並非前人研究所舉引的古梅而是緑萼梅，故詞中著重渲染和緑色相關的事物。修建於宣和四年（1122）的艮嶽是北宋最大型的皇家園林，其萼緑華堂種植了數以萬計的緑萼梅，象徵了北宋的記憶和命脈，以姜夔《疏影》爲首的詠緑萼梅之作，無不以緑萼梅塑造宋室偏安的孤寂情態。本文從緑萼梅出發，重新討論《疏影》與徽欽二帝的關係，並指出緑袖佳人與王昭君的典故，又見於姜夔和范成大圈子的詩人；姜夔藉緑萼梅象徵宋室命脈，並呼籲時人努力維護南宋。《疏影》所用的典故成爲了後人詠緑萼梅的固定意象，然而緑萼梅與宋皇朝的關係卻逐漸被人遺忘。

The theme of “Dappled Shadows” (“Shuying”), a ci-poem by Jiang Kui (1155-1221), has long been the subject of dispute in relevant scholarship. This paper contends that the relatively mainstream political readings have not satisfactorily addressed the complexity of the theme. By pinpointing the specific species of green calyx plum mentioned in the poem, rather than any unspecified “ancient plum” as accepted by previous scholarship, one can feel the lyrics’ emphasis on green imagery and motifs. Constructed in 1122 CE, the largest Northern Song imperial garden, the Northeast Marchmount, had a plantation named Hall of Green Calyx Plums (Yuelühua Hall) where ten thousand trees of green calyx plums were planted. These trees may be seen as symbols of the memory and lineage of the Northern Song dynasty. Poetic works on the green calyx plums, such as Jiang Kui’s pioneering poem “Dappled Shadows,” all convey a sense of solitude of a court-in-exile through the imagery of the plum trees. In this regard, this paper presents a renewed assessment of the relationship between “Dappled Shadows” and Emperors Huizong and Qinzong by taking the image of the green calyx plum as a point of departure. It also discusses the allusions the “green-sleeved beauty” and Wang Zhaojun (b. ca. 50 BCE) in “Dappled Shadows,” which are found in the works by Jiang Kui, Fan Chengda (1126-1193) and their circle of poets. In this light, Jiang Kui’s adoption of the image of the green calyx plum as a lingering motif of the memory and lineage of the Northern Song may be read as a rally call to his contemporaries for the protection of the Southern Song court-in-exile. The references alluded to in “Dappled Shadows” became fixed allusions for later generations who wrote on the green calyx plum, although its connection with the Song imperial court was no longer addressed until this present study.
《左傳》“凡去其國”例楊伯峻注訂補
Authors: 許 子濱
Published: November 2022

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

本文旨在探討《左傳》“凡去其國”一例，既嘗試釋讀凡例文字，結合出土簡 帛異文説明此例關涉的語言現象，也通過考察楊伯峻《春秋左傳注》的應用情 況，尤其是對杜預《注》、孔穎達《疏》的取捨，窺探《傳》例的來源及其解《經》的 效能。全文主體共分四個章節，包括：《左傳》“凡去其國”例釋義———兼從出 土文獻異文現象看《傳》例文字；楊伯峻“凡去其國”例總注辨證———兼駁安井 衡《傳》例文字訛誤説；從楊《注》對杜《注》孔《疏》引《傳》例解《經》的取捨看 其注釋策略；“史之書策，必有舊法”———據《傳》“凡去其國”例證“五十凡”實 有自來。杜預從《傳》例解《經》事，有根有據。於若干例外《經》文，杜説亦甚 通達，但有時過於執著，委曲牽合，難免招人詬病。楊伯峻注以舊注疏爲鑒，於 其説有取有捨，其注釋策略及説解《經》、《傳》之用心，無疑值得審視與借鏡。 楊注未爲“凡去其國”例文字釋義，以“凡去其國，復歸其位曰復歸”解《經》，實 有未安。凡杜《注》於例外説義，楊注均避而不談，有意擺脱前人束縛。安井衡 認爲，“凡去其國”例中“入”與“歸”二字爲誤换，論證粗疏，並不可取。純從文 字訓詁論，《傳》所見“入”“復入”“歸”“復歸”與“納”“復”“反”“還”，取義相 通，故每每互用。這種現象也出現在傳世與出土的各種《老子》版本中。古策 書法式應有如《傳》例的規條，後史或依或違。借鑒楊伯峻的實踐經驗，引《傳》例説《經》，須審慎行事，於兩者之相合處，固可據《傳》例並書法解讀《經》文義 理，於其不合處，不能一概而論，以免委曲牽合、膠柱鼓瑟。

Of the so-called “Fifty Outlines” (fan 凡)found in the Zuozhuan, one states that:: In all cases concerning princes or ministers who left their domains, if the leaders of their domains escorted them and established them, it is called ru ('enter ' . If their positions were restored after returning from abroad, it is called fu gui (' restoration return.' ) If princes of other domains installed them in power, it is called gui (' return '. If the princes or ministers returned by force and violence, it is called fu ru ( ' restoration enter. ' ” Based on a thorough and in-depth examination of Yang Bojun's commentary on this rule and its applications throughout the Chunqiu Zuozhuan zhu, this paper finds that Yang misused the short form of the fan, and that his equivocal gesture on Yasiu Sokken's suggestion of the misplacement of the keywords in the fan is completely unacceptable. A comparison of the keywords in this fan with different manuscripts of the Laozi shows that the terms ru, fu gui, gui, fu ru are synonymous and simply mean “return.” This paper also attempts to prove the authenticity of this fan by applying the norms to relevant historical events recorded in the Zuozhuan and hence explore some issues concerning its sources.
曾永義：《戲曲演進史（一）———導論與淵源小戲》
Authors: 袁 睿
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
臺灣著名學者、戲曲家曾永義先生的總結性巨著《戲曲演進史》終於在萬衆期待中隆重登場。作爲曾先生集大成三部曲《戲曲學》（臺北：三民書局，2018年）、《戲曲劇種演1史考述》（北京：現代出版社,2019年）、《戲曲演進史》（臺北：三民書局,2021年）的收官之作，這部巨著熔铸了先生畢生學術心得，彙集多重學術議題,對中國戲曲史進行了全景式的描繪。(撮要取自內文首段)
張錯《連枝草》現代題畫詩對中國古典水墨畫的文本關涉
Authors: 解 昆樺
Published: November 2022

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

題畫詩是中國古典詩傳統之一，然則在現代詩的創作場域中卻尚待開展。現代詩人觀中國古典水墨畫而爲現代詩，本身即涉及詩和畫之間媒體形式的互文關係轉换，特别是中國古典水墨畫自成一再現體系，現代詩人如何出入圖像進行辯證，實爲重要課題。學者張錯既有《風格定器物》之論著，詩人張錯亦有《連枝草》之詩畫創作，兩者交相輻湊，實深化出“在現代情境中古典水墨畫之美與美感經驗如何發生？並且透過現代詩話語予以體現？”此一問題意識。本文即透過“觀中遊：動態觀視”“天工與畫工：生成意識”論述進程，研究張錯現代詩與中國古典水墨畫間的互文現象。從中可見張錯在題畫過程中，一方面爲畫作投置主體，透過畫中山水空間的層次組合，建構主體感官與山水自然的互動關係，突破繪畫本身形式上的静態限制，以詩話語釋放繪畫潛存之動能；另一方面則運用畫法入詩，整合中國古典水墨繪畫傳統進行繪畫山水與人物的再現，使文本産生藝術品評的功能，並揉入自身審美品味，進而使繪畫與詩美學得以共進。

Inscribing poetry on paintings is a tradition in classical Chinese poetic history, but it has been under-developed in the field of modern poetry. Classical Chinese painting, which involves a process of translation of language into the symbolic system, is viewed by modern poets as modern poetry. Notably, Chinese painting itself is a representation system；this therefore has given rise to an important issue concerning how modern poets enter and exit the images as a dialectic discourse. As a scholar, Dominic Cheung authored a monograph, Authenticating Art by Styles; as a poet, he created the poems and the painting in Clovers-Selected Poems. These two works are deeply intertwined and arouse the awareness of two questions: 1) how does the “experience” of the beauty and aesthetics of classical landscape painting take place in modern contexts? 2) how can it be embodied through modern poetic language？

Through the two discourses on “Viewing in Tours: Dynamic Viewing” and “Work of Nature and Work of Painting: Generating Consciousness,” this paper examines the phenomenon of the intertextuality between modern poetry and classical Chinese painting. It can be seen that in the process of inscribing a poem on the painting, the layout and the composition of the landscape in the painting establish an interaction between the subject and nature, which breaks the limits of the static state of painting itself and releases the potential agency within the painting through poetic language. On the other hand, the integration of traditional Chinese ink painting techniques in representing the landscape and character shall enable the text to feature a function of aesthetic valuation and to further enhance the aesthetic appeal of the painting and the poem.
Fen etkinliklerinin okul öncesi dönem çocuklarında çevre bilinci kazandırılmasına etkisi
Authors: Gezgin Vural Derya , Kılıç Mocan Didem
Published: November 2022

Çalışmada fen etkinliklerinin okul öncesi dönem çocuklarında çevre bilinci kazandırılmasına etkisini belirlemek amaçlanmıştır. Kontrol gruplu ön-test son test deneme modelinde gerçekleştirilen araştırmanın çalışma grubunu, resmi bir anaokuluna devam eden 48-60 ay arası olan 60 çocuk oluşturmaktadır. Çocuklara çevre bilinci kazandırmak için fen etkinliklerinin uygulandığı deney grubu ile MEB Okul Öncesi Eğitim Programında yer alan etkinliklerin uygulandığı kontrol grubundaki çocuklar seçkisiz olarak belirlenmiştir. Çocuklarının çevre bilinci düzeyini belirlemeye yönelik "Çocuklar için Çevre Bilinci Testi" çalışma grubuna ön test ve son test olarak uygulanmıştır. Verilerin analizinde çıkarımsal istatistikler için ortalama puanların karşılaştırılmasına dayanan t istatistiğinden faydalanılmıştır. Ön test ve son test puanları incelendiğinde deney ve kontrol gruplarında puan ortalamalarının uygulamalar sonrasında arttığı görülmüştür. Bununla birlikte son test puan ortalamaları arasında deney grubu lehine anlamlı ve yüksek düzeyde bir fark bulunmuştur. Bu durum okul öncesi dönem çocuklarına çevre bilinci kazandırmada fen etkinliklerinin, programda yer alan etkinliklerden daha başarılı sonuçlar verdiğini göstermektedir.
Mental images of 48–72-month-old children about the concept of mathematics
Authors: Akman Berrin , Akgül Esra , Ezmeci Fulya
Published: November 2022

The aim of this study was to find out mental images (metaphors) of 48–72 month old children were receiving preschool education, about the concept of mathematics by using the metaphor technique. This study was a qualitative research study. The following two sets of questions were asked to the children participating in the study and their answers were noted in order to reveal their metaphors about the concept of “mathematics:”, “What do you think mathematics is like? Why?” and “If mathematics were a color, which color do you think it would be? Why?”. The data were analyzed by creating codes and categories. As a result of the research; It was seen that children compared mathematics to paper and pencil even in early childhood education period, when everything needs to be presented by gamification. It was also observed that children formed metaphors for mathematics that contain elements of fear and hate.
Determinants of maintaining the development of an small online store in the conditions of economic slowdown in Poland
Authors: Moroz Mirosław
Published: November 2022

Since its inception, the sector of companies selling on the Internet in Poland has been undergoing a process of continuous growth. Even the crisis of 2008 - 2009 did not negatively affect the development of e-commerce in Poland. However, due to the stage of development of the sector, as well as the current macroeconomic conditions, the question of maintaining the development trend under the conditions of economic slowdown arises. The aim of the article is to identify and assess factors that may support its further development (or at least the maintenance of its position) at the level of an online shop operating in Poland under the conditions of the economic downturn. The results of the analysis indicate that standard actions taken in favorable market conditions must be modified during a slowdown. Those activities that allow reducing costs and/or reaching a wider audience with an offer (e.g. performance marketing) need to be strengthened.
Meios mornos: reflexões sobre a classificação dos meios de comunicação na era do digital
Authors: Dugnani Patricio
Published: November 2022

Nesse artigo pretende-se refletir sobre a teoria dos meios de Marshall McLuhan, e analisar sua classificação dos meios de comunicação como sendo frios e quentes. Parte-se do pressuposto de que desde o desenvolvimento dos meios digitais também floresceu uma maneira diferente de se relacionar através dos meios, o que acabou promovendo novos comportamentos sociais e novas percepções quanto à informação no usuário dos meios digitais. Por isso, pretende-se refletir sobre a possibilidade de os meios digitais não se encaixarem nessa classificação, sendo necessária uma revisão desse conceito, e sugerindo um termo intermediário: meios mornos.

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In this article we intend to reflect on Marshall McLuhan's theory of media and analyze his classification of the media as being cold and hot. It is assumed that since the development of digital media, a different way of relating through the media has also flourished, which ended up promoting new social behaviors and new perceptions of information in the user of digital media. Therefore, it is intended to reflect on the possibility that digital media do not fit this classification, requiring a review of this concept, and suggesting an intermediate term: warm media.
PENGARUH ALOKASI WAKTU IBU DAN NILAI EKONOMI AKTIVITAS IBU RUMAH TANGGA TERHADAP KEBAHAGIAAN IBU
Authors: Vinasevaya Shafaa , Puspitawati Herien
Published: November 2022

Pekerjaan rumah tangga merupakan fondasi dalam membangun kesejahteraan keluarga, namun aktivitas ibu rumah tangga belum dianggap penting. Tujuan penelitian ini adalah menganalisis pengaruh alokasi waktu ibu rumah tangga dan nilai ekonomi ibu rumah tangga terhadap tingkat kebahagiaan ibu. Penelitian ini menggunakan teori struktural fungsional. Penelitian menggunakan desain cross-sectional melalui wawancara online sebagai cara pengambilan data primer. Contoh penelitian berjumlah 99 responden yang dipilih secara purposif di SDN Sukasari Kota Bogor dengan kriteria ibu yang tidak bekerja, keadaan keluarga lengkap (ayah, ibu, dan anak), dan memiliki anak berusia 11-12 tahun. Alokasi waktu ibu ditemukan paling besar pada aktivitas domestik dan paling rendah pada aktivitas waktu luang. Pada penelitian ini, tingkat kebahagiaan ibu termasuk pada kategori tinggi. Hasil regresi menunjukkan bahwa alokasi waktu domestik dan alokasi waktu luang (leisure) berpengaruh terhadap tingkat kebahagiaan. Hal ini menunjukkan bahwa bantuan dari pasangan akan berpengaruh terhadap tingkat kebahagiaan ibu.
Praktis shamanism dalam kalangan etnik beragama Islam di Pitas, Sabah: penilaian menurut perspektif Islam
Authors: Nasir Khairulnazrin , Kamarul Zaman Rahim , Abd. Azid Muhammad Adam , Hussain Abdul Azib
Published: November 2022

Shamanism merupakan istilah dalam bidang antropologi yang merujuk kepada aktiviti berkaitan dengan pawang, dukun dan perbomohan. Shamanism ialah satu bentuk daripada kepercayaan dan amalan yang dilakukan oleh individu yang dianggap memiliki kuasa dan pengaruh terhadap anasir ghaib dan makhluk supernatural. Etnik dan bangsa di negara ini turut memiliki pelbagai kepercayaan dan amalan shamanism, termasuk etnik-etnik peribumi yang beragama Islam di daerah Pitas, Sabah. Justeru, tujuan kajian ini dijalankan ialah suatu usaha untuk mengenal pasti bentuk kepercayaan dan amalan berhubung shamanism yang terdapat dalam kalangan mereka. Data-data dikumpulkan berdasarkan metode temu bual. Seramai tujuh orang informan terlibat dalam beberapa siri wawancara. Para informan terdiri daripada warga emas dan tokoh-tokoh masyarakat tempatan. Hasil penelitian mendapati bahawa kepercayaan dan amalan shamanism masih wujud dan dipraktikkan dalam kalangan warga Muslim di Pitas, Sabah. Segelintir anggota masyarakat terlibat dengan perkara syirik, khurafat dan tahayul, seperti ritual pemujaan, black magic dan lain-lain. Oleh yang demikian, isu ini perlu diambil perhatian oleh pelbagai pihak, khususnya agensi agama, termasuk JAHEINS, pemimpin masyarakat dan pendakwah demi menjaga kelestarian akidah yang sahih.
Analisis penentuan jarak ideal antara saf solat bagi kedudukan sujud sempurna di surau dan masjid di Malaysia
Authors: Husin Ezwan Rafiq , Mahaiyadin Mohd Hapiz , Borhan Farrah Payadhah
Published: November 2022

Solat merupakan tiang agama yang menjamin kesempurnaan iman seseorang Muslim. Kecacatan ibadat di dalam solat turut mengurangkan pahala dan menyebabkan hilang ketenangan emosi bagi pelakunya. Justeru kajian ini bertujuan untuk menganalisis kualitatif jarak ideal antara saf solat di hadapan dengan saf solat di belakang bagi pergerakan sujud sempurna mengikut ketinggian jemaah normal di Malaysia. Seramai tujuh orang makmum yang memenuhi kriteria dipilih sebagai informan untuk ditemubual kerana analisis mendapati temu bual ke atas kesemua tujuh orang jemaah telah mencapai ketepuan maklumat berkaitan jarak ideal saf dan sujud yang sempurna. Analisis kajian kes secara mendalam dijalankan bagi memaparkan data diperoleh. Bacaan Cohen Kappa terhadap perbezaan persetujuan pakar dari senarai semak temu bual adalah sebanyak 0.78 iaitu pada tahap sederhana. Kajian mendapati keseluruhan seramai 7 orang bersetuju bahawa jarak antara saf belakang dengan saf hadapan perlu dilebihkan bagi mendapatkan pergerakan sujud yang sempurna mengikut ketinggian badan jemaah yang normal di Malaysia. Kajian turut mendapati pertambahan jarak sebanyak 30 sentimeter antara saf hadapan dengan saf belakang membolehkan jemaah melakukan pergerakan sujud yang sempurna di dalam solat. Penyelarasan jarak antara saf hadapan dan saf belakang bagi pengamalan masjid dan surau seluruh Malaysia mampu menyebarkan lagi kebaikan para jemaah dalam mencapai kualiti pergerakan sujud yang sempurna seterusnya mengeratkan silaturrahim dan menggapai khusyuk di dalam solat.
Contribuição de Theodor Adorno para as Ciências da Religião
Authors: Silva Gidalti Guedes da
Published: November 2022

O artigo tem por objetivo apresentar as contribuições da epistemologia social de Theodor Adorno para as Ciências da Religião, com foco em estudos do fenômeno religioso na sociedade contemporânea. Para tanto, analisa os escritos de Adorno e de autores que dialogam com a Teoria Crítica, estabelecendo uma interface do pensamento adorniano com sociólogos de notória contribuição ao campo das Ciências da Religião, como Durkheim, Weber, Berger, Bourdieu, entre outros. O estudo demonstrou que existem elementos da epistemologia social do pensamento adorniano que trazem relevantes contribuições para as Ciências da Religião, como: a relação entre sujeito e objeto, a provisoriedade do conceito, o caráter dialético da sociedade, uma sociologia contra a barbárie, a arte e a religião em perspectiva sociológica e a experiência religiosa sob o impacto da indústria cultural.