bluuebunny/crossref_metadata_2025 huggingface dataset:
晚清“崇實”思潮與現代印刷文化的興起——以張元濟爲中心的論述
Authors: 雷 啓立
Published: February 2023

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

本文以張元濟爲中心，討論晚清“崇實”思潮與現代印刷文化興起之間的關係。論文首先“呈現”了清末民初的知識和思想狀況，解讀了“崇實”思潮何以在晚清發生，這一思潮使當時的知識群體對建設一種新的文化有怎樣的想像等問題，探討了具有“現代”意義的印刷文化何以在晚清民初興起的原因。論文指出，以張元濟爲代表的“精英”知識群體，把印刷媒介作爲“智民救國”的一種武器、一種方式，分析了文學“與群治的關係”何以在那樣的時刻通過印刷出版發生之原因。在這樣的分析背後，論文認爲，印刷技術變革帶來的運作方式的變化使印刷媒介内在地成爲社會變革運動中的一個重要組成部分，而不僅僅是一種手段，“現代”印刷文化的興起不僅僅是一種知識傳播方式的變革，更是一種“在地”的“做”和“運動”。

Taking Zhang Yuanji (1867-1959) as an example, this paper discusses the relation between the wave of “pragmatism” and the rise of the modern printing culture in late Qing and early Republican China. From a macro perspective on history of thought and cultural background, this essay specially “represents” the intellects’ situation of late Qing, explains how the wave of “pragmatism” and the modern printing culture took shape during that periods. After analyzing the reasons why literature became related to the mass culture and social control through the development of printing technology, the essay points out that a group of “elitists” represented by Zhang Yuanji made the new printing culture a medium and weapon to enlighten the mass and save the nation.

The essay points out, the notion of “modernity” penetrated into the organization of cultural production, institutional management, capital operation and management due to the wide application of printing technology in the process of cultural production. In the forming process of new social pattern, the modern printing technology became a significant part of social power by acting more than an instrument. This means, the rise of the modern printing culture is not only a reform on the means of knowledge spreading, but also a “doing” culture and movement in late Qing and early Republican China.
《中國現代文學研究史》
Authors: 劉 濤
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

一門學科發展到一定階段，都會出現學科史一類的著作，對該學科誕生、發展和成長的歷史進行鉤沉和描述，以總結經驗教訓，爲學科進一步發展提出自己的看法。學科史或學術史著作的大量出現，因此往往被看作該學科進一步發展的契機和走向成熟的標誌。現在，已不年輕的中國現代文學學科也迎來了自已的這個時期。在大量具有學術史性質的著作、論文出現之後，又一部學術史專著在學科接近60周歲之際出版了，這就是黃修己、劉衛國主編的《中國現代文學研究史》（以下簡稱《研究史》），該密2008年7月由廣東人民出版社出版。全書共100萬字，上下兩冊，分五卷，第一次從宏觀角度，全面系統地描述和總結了現代文學研究約90年的歷史。編者在該書前言中説：“我們的任務首先是爲這一門學科構搭起它的歷史框架，描繪出它的比較清晰的面目，爲我們的學科建史，做這方而的草創工作。”這種“爲學科建史”的明確意識，自始至終貫徹在這部專著之中，內在制約著它的體例、內容和風格，形成了該著作最明顯的特點，使其成爲一部具有較髙史學品格的學術史。（撮要取自內文首段）
《中國鄉土小説史》
Authors: 李 城希
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

2007年1月北京大學出版社出版長達34萬字的《中國鄉土小説史》，這是丁帆教授對現代中國鄉土小説長期思考與研究的結果，它的出版標誌著鄉土小説作爲重要研究對象從現代中國文學中正式獨立出來，在爲鄉土小説進一步研究確立全新歷史起點的同時也對這一研究提出了更高的歴史性要求，這就是必須在人類而不僅僅是現代中國文學與文化複雜進程中重新審視現代中國鄉土小説的意義。(撮要取自內文首段)
《中山陵：一個現代政治符號的誕生》
Authors: 區 志堅
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

辛亥革命爆發，國民政府（以下簡稱國府）成立，中華千年帝國瓦解，中國走向政黨政治，開始民族國家的發展歷程。國府自北伐後統一全國，統治地位日漸鞏固，國民黨成爲執政黨，政府不獨以強大的政治、軍事、經濟及教育制度，確立黨與國家的管治模式，又借助政治文化、社會儀式，控制及影響群衆公共、私人生活。今天中外學者已廣泛研究1949年前國府制度，卻較少從社會文化及知識傳播學的角度，分析這種黨、國結合的管治模式，更少注意孫中山死後，後人如何藉築陵墓、行葬禮，建構其“國父”形象。研究“國父”地位建構的過程，可見國府參與民間日常祭祀事務，藉紀念物的誕生，營造官方設定的紀念內涵，配合大衆參與，把國家政治和民衆公共生活結合成爲一個重要景觀，從而凝聚“黨治”的形象，以及建構國家、民族的集體記憶和認同。李恭忠著《中山陵：一個現代政治符號的誕生》一書，就是“考察孫中山逝世後的葬事操辦和中山陵作爲一個巨型政治符號的興起過程，將它與20世紀20年代的國民革命和‘黨治國家’體制的建立與過程結合起來分析，展現國民黨人通過喪葬運作來塑造孫中山身後形象，樹立新式精神偶像、增進現代國家認同的努力，從而揭示國民黨統治時代乃至整個20世紀中國政治文化變遷”（頁2），李氏更以中山陵的落成及爲中山舉行的“奉安大典”爲例，成功研究黨國政治文化的管治模式及成效。(撮要取自內文首段)
《論語疏證》
Authors: 孟 琢
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

在近幾年的“《論語》熱”中，各式各樣的《論語》注本層出不窮，相較而言，楊樹達先生《論語疏證》一書的再版顯得曲髙和寡，並沒有引起太大的反響。《論語疏證》是遇夫先生的舊作，初稿成於1942年，初版於1955年，他在《自序》中説“凡費時九十日”，並沒有花費太多的時間，但在成稿之後，他“以一本常置案頭，隨時增益材料，及最後書成，視石印本殆增加二分之一矣”[1]，則此書實是千錘百煉之作。在筆者看來，在清人劉寳楠《論語正義》之後堪稱經典的《論語》注釋，首推此書。(撮要取自內文首段)
《在夢想與現實之間——魯斯與中國》
Authors: 侯 傑 , 段 文豔
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

亨利•魯斯因創辦風靡世界的《時代》週刊、《財富》雜誌和《生活》畫報而聞名於世。這位新聞大亨于1898年出生於中國山東省登州，童年是在中國度過的，其父爲著名來華傅教士魯思義。獨特的生活境遇，使他與中國結下了不解之緣。通過對魯斯的研究來考察民國時期基督教信仰與中美關係的歷史演進，當是一個充滿挑戰，但卻極富研究價值的課題。2005年7月，人民出版社出版了南開大學歷史學院羅宣副教授撰寫的《在夢想與現實之間——魯斯與中國》一書，可謂一次比較成功的嘗試。作者系統研究了魯斯踟躕於宗教夢想與政治現實之間的中國情結，探討了基督教信仰與中美關係發展演變的相關問題。翔實的史料與精彩的評述使該書成爲一本集人物研究、國際關係研究、媒體研究於一體的優秀史學著作。(撮要取自內文首段)
《立憲派與辛亥革命》
Authors: 楊 凱
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

近日讀了張朋園先生所著《立憲派與辛亥革命》一書，深受啓發。此書初版於1969年，迄今已刊行第三版。作者自云“行年即將八十”，“實無餘力大肆翻修”（三版序）。雖然如此，現在讀起來，依然感覺史料豐富，論證嚴密，不愧爲大家之作。但是在我接觸的史學期刊及史學論著中，還没有對此書的專門評論。鄙人不揣淺薄，談一下自己對此書的一些想法。(撮要取自內文首段)
傳統與孔子
Authors: 韋 政通
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文是探討孔子以前傳統中的宗教、文化、政治、經典這四方面與孔子的關係，希望經由此探討，能了解孔子如何溫故知新，如何轉化傳統，又為何能在中國古典的文化史與思想史上，成為一位繼往開來的人物，以及賦予繼往開來的具體內容是甚麼。
針對以上問題的研究，使我們得到一個重要的啟示是：在文化創新上，愈深入傳統，愈能超越傳統。This article is a research into the relations between Confucius and his antecedent traditions, covering four aspects: religious, cultural, political, and the classics. By such inquiries, a better understanding on the following key problems can be expected: How was Confucius “Finding the New by reviewing the Old”? How did he transform the tradition? How could Confucius be a unique giant in the cultural/intellectual history of ancient China, by his role of “Inheriting the Past and creating the Future”? In addition, what were the actual contents in his doing such an “Inheriting the Past and creating the Future”?
During the research focusing on the above questions, there is an important inspiration enlightened to us: In trying to create and refresh the human culture, the deeper the traditon is digged into, the more probable the tradition can be transcended.
王質《詩總聞》的文學觀
Authors: 李 家樹
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文乃前作〈王質「詩總聞」初探〉（見李家樹：《傳統以外的詩經學》〔香港：香港大學出版社，1994〕，頁9-26）的姊妹篇。〈初探〉一文，透過通盤檢查《詩總聞》的內容，探討王質説詩的觀點和方法，並特別指出：真正打倒《毛詩序》的，在南宋是鄭樵(1103- 1162)、王質(1127-1189)，而非人人公認的朱熹 (1130-1200)。本文再次檢閱《詩總聞》全書，從王質「以人情論《詩》」説起，考察他怎樣啟導了用文學眼光來研究《詩經》的傾向，重點是把《詩總聞》所揭橥的文學觀清晰地呈現出來。此文可與作者前文合看。This is the author’s second paper on Wang Zhi’s (1127-1189) Shizongwen, a long-neglected work in the study of the Shijing of the Nan-Song period. His first paper, “Wang Zhi’s Shizongwen: A Preliminary Study” (see Lee K. S., The Alternate Studies to the Book of Songs [Hong Kong: Hong Kong University Press, 1994], pp. 9-26), explores the way and manner Wang Zhi interpreted the 305 pieces of poems of the Shijing and has come up to the conclusion that it was Zheng Qiao (1106-1162) and Wang Zhi who had really overturned the Maoshixu in Nan-Song and not Zhu Xi (1130-1200), though Zhu was regarded as the leader of the anti-traditionalists at that time as far as the study of the Shijing is concerned. After re-examining the contents of the Shizongwen, this present paper attempts to show that Wang Zhi’s elucidations of the Shijing poems with special reference to the feelings of individual poets are, in fact, the first of their kind to begin to systematically to study this monumental anthology from a literary point of view. Last but not least, it has also tried to provide an account of the literary views expounded by Wang in his Shizongwen.
《淮南子》、《呂氏春秋》、《戰國策》三書高《注》互異集證
Authors: 何 志華
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
東漢高誘為《淮南子》、《呂氏春秋》、《戰國策》三書作《注》，當中有一事而兩見者，高誘訓解多同。因此，後人每參照高誘前後注語互相校讎，以本證法校正今本三書高《注》訛誤。然而本文作者比勘三書高《注》，發現高誘有訓解同一事而前後不同者，或則高誘依據不同，或則注語詳略不同，或則高誘更訂前説而立論有異。此蓋高誘注解三書非在同一時也，故説義不盡相同。因輯錄之，分類羅列，以説明三書《注》雖有同出於高誘者，亦自有別，並略述其互異之因由。Gaoyao 高誘, a scholar of the Han dynasty, was the author of commentaries on the Huainanzi 淮南子, the Lushichunqiu 呂氏春秋, and the Zhanguoce 戰國策. As comments as well as glosses, appearing in these works, are similar in wording, they are useful for collation purposes.
Perhaps, Gaoyou wrote his commentary on three works at different periods, as there are cases of discrepancies in otherwise similar wording. These fall into three categories. Firstly, there are cases where the authorities cited by Gaoyou are different. Secondly, there are cases where in one work Gaoyou's commentaries is in greater detail than in another. Thirdly, there are cases where Gaoyou made a mistake in an earlier work which is corrected in a later work.
This article attempts to compare Gaoyou’s commentaries and to offer an explanation for the discrepancies.
唐詩史宋詩史
Authors: 韓 經太
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

許總先生在對中國文學史及唐宋文學的沉潛研究中，於近年推出的有關唐宋詩史的兩部巨著——《唐詩史》、《宋詩史》特別引人注目。這兩部新著都是「第一部」斷代專體文學史，自應給予高度評價，而作為愛好唐宋詩有年且又不時涉足唐宋詩研究領域的我，在通覽這兩部新著之餘，不禁想到：若將此兩部著作視為一體，並引入自南宋始便引人入勝亦困擾思路的唐宋詩之爭的話題，那又會是一種怎樣的感受呢？顯然，這兩部著作卷帙浩繁，體大思精，若要全面評述，則不免涉及問題太多，想來不是此一小文可以勝任的。為此，這裏只想就筆者私意所好之兩點略作説解，但願能起到由一斑而窺知全豹的作用。(撮要取自內文首段)
逝去的啟蒙
Authors: 蔡 方鹿
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

上海同濟大學朱義祿教授最近出版了他的新著：《逝去的啟蒙——明清之際啟蒙學者的文化心態》一書（河南人民出版社1995年4月版，361頁，人民幣16.00元）。全書共26.8萬字，分為八章。(撮要取自內文首段)
猶太百科全書
Authors: 何 溢信
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

本書書名的第一部分是以希伯來文題的，其意思就是書名的中文部分。出版資料中的書名英譯是Encyclopedia Judaica Chinese Edition "這一冊長的中文版當然不能亦不應與大規模的英文版Encyclopedia Judaica比較。這是中國的第一部猶太百科全書，其重要意義不在乎其長短，甚至不在乎它 有沒有原創性的學術貢獻，而在於它是中國猶太學研究的「零的究破」，而且只是用了短短三年的工夫便峻工；中國學術界在這方面的努力、毅力、和決心可見一斑。西方的猶太學研究歷史源遠流長，與基督教在西方普遍被接納有關，甚至現今的大學傳統，也可追溯到中古時代修道院的訓練制度。因此，猶太希伯來聖經的研究，是大學最古老的學科之一，世界大多最古老、最有聲望的大學皆有設立。中國的大學，雖然有不少是基督教會所創辨（單是循道公會和衛理公會所辨的已有十所，其中有些附設神學院），但歷史的條件不利於希伯來聖經或別的猶太學科的研究，現時甚至只有少數大學有提供。此猶太百科全書的出版，顯然與中國近來的國際關係的發展有關。一九九零年，以色列的科學與人文學院(The Israel Academy of Science and Humanities)聯絡辦事處在北京設立，九二年中以簽署全面建交協議，ー年後，這猶太百科全書便出版了。(撮要取自內文首段)
淮南子俶價韻讀
Authors: 劉 殿爵
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

王念孫遺稿《淮南子韻譜》以古韻分部編排，列出《淮南》一書叶韻韻字。《韻譜》旨在研究西漢古音而不在研究《淮南》。本文嘗試依《淮南子•俶眞篇》正文編排，標出《韻譜》所收用韻之部分，俾便治《淮南》學者查檢；而《韻譜》有所脫漏未足者，試作補訂。
清末至抗日戰爭前我國教學法的改革
Authors: 周 漢光
Published: February 2023

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

我國自清末至抗日戰爭前後，經歷了前所未有的文化、政治、經濟大變革。在教育上，也經歷了從傳統走到近代化的道路。其間不獨建立了我國近代的學 制，在課程與教材方面，也隨着社會的演進，有了新的發展。至於教學法方面，因受了西方教育思想與教學方法的影響，也更能照顧到學生的需要，注重啟發式的教學與學生的自學。本文的目的，在述評（1）清末至民國成立前、（2）民國成立至五四運動，及（3）五四運動至抗日戰爭前三個階段我國在教學方法方面的發展。其中有因社會背景不同、條件不同，外來的教學經驗未必都能在中國開花結果：有些經改良後為我國不少學校所採用：也有些由我國教育家自行創設而適應本國國情的教學方法。無論如何，這個時期我國教學法的改革，對日後我國教育的發展都有長遠的影響。During the period from the end of the Ching Dynasty to before the Sino-Japanese War, China experienced unprecedented cultural, political and economical changes. In education, she moved from her traditional ways towards the road of modernization.

During this time, in addition to building her contemporary education system, there was also new developments in curriculum as well as teaching materials to meet the demand of the changing society.

The Western educational philosophy and teaching methods made a strong impact on China’s pedagogic development. There was more attention given to take care of the needs of the students, emphasis was placed on motivating self learning on the part of the students.

The aim of this essay is to critically comment on the pedagogic development in China in three different stages, namely:

1. from the end of the Ching Dynasty up to before the setting up of the Republic of China;2. from the beginning of the Republic of China to the May 4th Movement; and3. from the May 4th Movement up to before the Sino-Japanese War.

The imported educational experience did not necessarily flourish due to the different social background as well as social conditions. Some pedagogic methods were modified and adopted by many schools while other educators created teaching methods that suited the Chinese situation at that time.

However, the pedagogic reform at this stage of the Chinese history had a strong and long term impact towards the pedagogic development of China in her future days.
分析與綜合——形聲字的雙重特性
Authors: 周 國正
Published: February 2023

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

本文從製碼/編碼及解碼/析碼角度檢討有關漢字（主要是形聲字）特性的兩種看法：一、漢字是詞符性的（logographic）。二、漢字字形與讀音之間的關係是晦澀的（opaque）。這兩種看法都是建基於這樣的認識——漢字是整體性的，而拼音文字是分析性的。

實際上這種認識從製碼角度而言既不盡恰當。在解碼角度方面亦缺乏心理語言學方面的證據。漢字其實具有既綜合、又分析的特性，心理語百學對漢字進行測試時，結果往往會與預期不符，原因可能就在於此。From the perspectives of encoding and decoding, the paper reviews the claims that Chinese graphs (mainly xinsheng) are: 1. logographic and 2. opague in terms of graph—sound relationship. These claims are based on the understanding that Chinese graphs are holistic while alphabetical writing systems are analytic. The paper demonstrates that such understanding is inaccurate from the perspective of encoding and lacks support from psycholinguistic experiments. In the final analysis, Chinese graphs are both holistic and analytic. This is the characteristic that can account for many unexpected results in psycholinguistic experiments.
老子哲學的無的概念之探究
Authors: 吳 汝鈞
Published: February 2023

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

《老子》中有三個最重要的概念：道、無、有。要言之，道是真理，無與有表示道這真理的形上性格。但無一概念的內容非常豐富，經筆者細心研究，發現無一概念起碼有六面意思。一、指本體的道。道是客觀的實體，是實際存在的，且是天地萬物成立和滋長的超越依據。無亦是這個意思。二、是本體的道的描述語。無表示道以沖虚為體，由此可產生無窮妙用，包括創生萬物在內。三、表示道的虚無為用。虛無狀態之能有用，由於“反”的義理。四、表示工夫修行。要撤除一切的障礙，化解人生的挫折。五、表示處事方法或態度。這便是無為和無不為。無為是不妄為，不刻意做些干擾人的本性的事。能如此，則一切都能辦得妥當，這便是無不為。六、指主觀的實踐境界。即在主觀的心上實現客觀的道而成的一種沖虛的精神境界。

貫串無的這六面意義的，是虛無的狀態。這是客觀的道的性格，也是主觀的心境。

老子是《老子》或《道德經》一書的作者。他的哲學有三個最重要的概念，這便是道、無、有。如下文所表述那樣，道是老子心目中的真理，無與有是道這真理的形而上性格，老子又視道為無，而無與有又有相對相關的密切關係。故無似乎介於道與有之間，是老子哲學的一個關鍵概念。了解了無，老子哲學的整個輪廓與根本精神，便能把握得到。故本文即以“老子哲學的無的概念之探究”為題，闡述與探討老子的哲學。

很多研究老子哲學的學者，都不會忽視他的無的概念。他們通常認為這無的意義有兩個層次：其一是指作為客觀實體的道，另一則是一般的意思，指不存在，是有無的無。這樣理解自然是對的，不過，筆者認為並不足夠，不夠全面，也不夠具體。筆者以為，老子的無有以下多面的意思：它指本體的道，是本體的道的代語：它也指道的虛無為用，也涵有工夫修行及處事方法或態度的意思：另外，它也指一種主觀的實踐境界。這樣理解，自然包含上面的兩個層次的意思。以下我們即就無的這些方面的意思來進行探討。在探討中，我們會廣泛地參考現代學者研究老子哲學的成果，並把重要的説法也推介出來。There are three important concepts in Lao-tzu’s philosophy, namely, Tao, Nothing and Being. Tao is the Truth, whereas Nothing and Being represent the metaphysical nature of this Truth. The content of the concept of Nothing is, indeed, very abundant. It consists of at least six meanings. 1. It denotes the metaphysical Tao which does exist, serving as the transcendental ground of all entities. 2. It describes the essence of Tao as voidness. Numerous wondrous functions originate from this voidness, including giving birth to all entities. 3. It denotes the various functions based on Tao’s voidness. That voidness can induce functions is due to its implication of “return”. 4. It involves the implication of cultivation which is achieved in the eradication of all kinds of hindrance and the dissolution of all difficulties. 5. It denotes the methods or attitudes of dealing with daily matters, namely wu-wei and wu pu-wei. Wu-wei means one does not initiate unnecessary actions that will hamper human nature. If one can do so, there is nothing that cannot be done well. This is Wu pu-wei. 6. It denotes a subjective state achieved through practice. That is, one realizes the objective Tao in one’s mind, attaining a spiritual state of emptiness. This empty state is Nothing.

These six meanings are not separated from each other. They are co¬related through the implication of voidness, which denotes, objectively, the nature of Tao, and subjectively, a state of the mind.
原始情欲：視象、性、人種誌與當代中國電影
Authors: 朱 耀偉
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

《原始情欲》是周蕾繼Woman and Chinese Modernity: The Politics of Reading between West and East （《婦女與中國現代性：東西方之間閲讀記》）和 Writing Diaspora: Tactics of Intervention Contemporary Cultural Studies （（寫在家國以外》）之後第三部專著。《原始情欲》的論述策略大體上是作者前兩部著作的延伸，都是按東方主義、後殖民論述的脈絡，以尖端的媒體、文化理論分析中國現代性和女性的問題，帶出現代中國文化論述介入跨文化政治的對策。《原始情欲》將矛頭瞄準當代中國電影，藉重新閲讀陳凱歌、張藝謀等第五代導演的作品，帶出現代性的視象向度，立論精闢。在周蕾眼中，現代性帶來了從文字到視象的過渡，亦更新了跨文化的論述情況。全書分成三個部分，且以周蕾自己的話來概括各部分的重點：

第一部分嘗試通過科技化的視覺影象，寫出現代中國的文化歷史及人類學：第二部分提出一套有關主要當代中國電影的細讀方式：第三部分則是有關中國 電影作為人種誌及文化之間的翻譯的理論性探討。（頁X）(撮要取自內文首段)
柳詒徵評傳
Authors: 區 志堅
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

柳詒徵（1880-1956），字翼謀，亦字希非，晚號劬堂，江蘇省鎮江人，民國著名的歷史學家、教育家、書法家及圖書館學家。早年任南京江楚編譯局編輯，曾任江南高等學堂教習、南京高等師範學校（簡稱「南高」）國文史地學部教員、東南大學（前身為南京高等師範大學，簡稱「東大」）國文史地學部教員，及後主持江蘇省立國學圖書館，更在1948年獲第一屆中央研究院院士的殊榮。柳氏教學期間更主編《學衡》、《史地學報》、《史學雜誌》等學術刊物，專著《歷代史略》、《中國文化史》、《调史要義》等：在二、三十年代的中國史壇，與北方任教的史家陳垣、陳寅恪並稱「南柳北陳」。(撮要取自內文首段)
論“天民”“大人”之際：《孟子•盡心上•有事君人者》章新詮
Authors: 王 棕琦
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
前賢在分析“有事君人者”章時，往往著眼“天民者”中的“天”字，以爲“天民”即大德、其德如天之民。然而，這種解讀方式一方面無視了在《孟子》裏所有作名詞用的“天民”其實都解作“天生之民”，另一方面則無視了“有事君人者”章中的“大人”境界仍在其之上的事實。例如朱熹在解釋“天民”時指出“必其道可行於天下，然後行之；不然則寧没世不見知而不悔，不肯小用其道以殉於人也”，這就跟《孟子》“大丈夫”“得志，與民由之；不得志，獨行其道”的描述幾乎無異。《孟子》中的“大丈夫”其實就是“大人”，换言之，在朱熹的解釋下，“有事君人者”章中的“天民”跟“大人”竟變得毫無分别。有見及此，本文嘗試另覓出路，以《孟》證《孟》之法，指出“天民者”與“大人”之差異在於前者著重外在事功而後者著重内聖功夫。本文繼而還原“有事君人者”章之本貌，並結合《孟子》“民爲貴”章分析，論證“有事君人者”章中“天民”實爲動賓結構，“天”作動詞用，“民”則爲受事者，“天民者”解作“定天下四海之民者”。在方法學上，本文嘗試指出在解讀早期中國文本時，有必要兼顧義理與語文學的角度。
The phrase tianmin zhe 天民者 in Mencius 7A:19 has always been rendered as people who possess heavenly virtue, that is, the greatest virtue. Although widely accepted nowadays, this interpretation is untenable for two reasons. First, the phrase tianmin 天民, when used by Mencius in other contexts, consistently means “all people under heaven” 天下之民 or “the subjects of heaven” 天生之民. In other words, the term has never been used to denote morality. Second, to understand tianmin zhe as people who possess the greatest virtue is to ignore the fact that “the great men” 大人 in 7A:19 actually surpass tianmin zhe in terms of morality.
Since the traditional interpretation is untenable, this essay suggests that the phrase tianmin should rather be understood as a verb-object construction. Tianmin zhe are people who, acting on behalf of heaven, put into practice benevolent governance. The word tian, when used as a verb, means taking care of and feeding common people in a way reminiscent of heaven giving birth to and feeding common people. This essay also argues that the important difference between tianmin zhe and “the great men” is that an former lays a heavy emphasis on the pursuit of external political accomplishments, whereas the latter sets their minds on achieving internal sagacity. Since only the latter is regarded as the ideal type in the Confucian tradition, it is only natural that Mencius places “the great men” at the top of the hierarchy in 7A:19.
《左傳》接受與貞觀視角———以《群書治要》截録“華元食士”爲例
Authors: 張 瑞麟 , 林 朝成
Published: February 2023

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

貞觀五年魏徵等人編纂《群書治要》，該書究竟有無思想内涵？如果有，應該如何把握？根據序文，魏徵意圖編纂一部不同於《皇覽》、《遍略》，講求文義、見本知末、治國理政、合時可用的經世群書文本。因此，如何從截録自古籍的文句，挖掘出藴含編纂者詮釋的叙述，致用就是問題的關鍵。本文挑選《群書治要·左傳》裏的一則記載———“華元食士”，以此爲切入點，透過文脈的分析與語境的掌握，明晰《群書治要·左傳》藴含異於《左傳》的視角與意義。文分三大部分，一者，以經典還原的方式，掌握《左傳》取捨先後面貌，以爲詮釋基礎；二者，透過掌握“華元食士”記載的歷史解讀，定位唐代解讀的取向；三者，説明“羊斟敗國”到“華元食士”評價觀點的異同，以及透過《貞觀政要》的語境外證與《群書治要》編纂意圖的内證，彰顯此思想的内涵。經過以上的分析，藉由“華元食士”叙述取向關注“恩結人心”的情感、重視“屈己得人”互動的人際經營，顯見《群書治要》擁有反映時代的思想特色，“以編代作”的詮釋意圖，所以持續從文本的比對與詮釋，拓展《群書治要》的思想研究有其重要性。

The Qunshu zhiyao is an anthology compiled by Wei Zheng (580-643) and his team in 603. Does this book embrace any specific ideology? If so, how should one ensure understanding of such an ideology? According to the preface to the Qunshu zhiyao, Wei Zheng intended to compile an anthology that would differentiate itself from two predecessors, the Huanglan and Bianlue. By laying emphasis on the meaning of the text, he aimed to reveal the causes and effects of events in order to illustrate governing principles and provide practical solutions to contemporary issues. Therefore, the book was intended to uncover the implicit interpretation of the editors of the sources from which he excerpted the texts that became the entries of his compilation. Practicality is one such key principle. The present article discusses a Zhuozhuan narrative on “Hua Yuan Feeding His Soldiers” anthologized in the Qunshu zhiyao, contrasting the perspective and meaning in this excerpt in the Tang compilation with the Zhuozhuan original context.

This article has three goals: (1) to identify the differences between the original Zhuozhuan and its edited version by means of restoration of the original status of the classic; (2) to reconstruct the Tang preferences of interpretation through collecting and surveying historical interpretations of the narrative on “Hua Yuan Feeding His Soldiers”; and (3) to explain the differences and similarities between the critical perspectives of “Yang Zhen Causing Downfall of His State” and “Hua Yuan Feeding His Soldiers” to discover how the ideology embedded within was intended to be justified and illuminated in light of the context of the Zhenguan zhengyao and the editorial principles of the Qunshu zhiyao.

The present study comes to a conclusion that the narrative on “Hua Yuan Feeding His Soldiers” centers on “winning people‘s hearts” and “humbling oneself to win support from people.” The former reveals human affections while the latter concerns relationship management. While it is apparent that the Qunshu zhiyao reflects ideologies of the Tang dynasty, there is also a clear attempt by the editors to proclaim their interpretations when selecting excerpts from ancient classics rather than writing new works. Therefore, comparative and interpretative study of these texts is essential in deepening our understanding of the ideology of the Qunshu zhiyao.
載道與抒情：明清之際散文發展的兩種論述兼論古文與小品之關係
Authors: 李 向昇
Published: February 2023

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

新文學運動時期周作人不滿一般論文學史者對明清散文發展的論述，認爲他們一來抹殺了晚明小品，二來以桐城派概括清代文章太過籠統。因此他標榜晚明小品，推崇公安派的文學觀，甚至引爲新文學運動的同調。他的這一觀點影響巨大，後凡論述明清散文者無不論及小品文，衆多文學史著作也開始重視明清散文，且尤其推崇小品文。然而實際上這一現象的形成有一個發展的過程，背後涉及到了載道與抒情兩種文學觀之間的角力。兩種論述之間何者更爲準確？如何較爲客觀準確的描述明清之際散文的發展，以及古文與小品之間的關係，成爲了問題。本文擬從周作人對明清散文的論述切入，梳理前人對明清散文發展的兩種論述，並揭示這兩種論述背後的文學觀，從而指出周作人二分“言志”與“載道”的論述儘管未必準確，但對論述明清散文發展仍有重要意義：分析明清之際小品文作者的古文觀與古文家的小品文創作，可以知道小品與古文的關係並不如周作人所描述的那般對立，然而周作人所强調的“言志”與“載道”的緊張關係，正正是明清散文演變的内在動力。

During the New Culture Movement, Chou Tso-jen 周作人 was dissatisfied with general discussions on the development of Ming-Qing prose. He considered that these discussions left late-Ming essays unheeded and that they overgeneralized Qing-dynasty prose and placed it under the Tongcheng 桐城 School. Chou instead promoted late-Ming vignette essays and advocated the literary thoughts of the Gong’an 公安 School, even regarding them as a parallel of those from the New Culture Movement. These thoughts were highly influential. Ever since then, scholars who discussed prose of the Ming and Qing dynasties could not avoid mentioning vignette essays. Consequently, in most studies of Chinese literary history there has been an emphasis on Ming-Qing prose, especially vignette essays. In fact, this phenomenon was formed as a result of the competition of two literary thoughts, namely “representing the Way” 載道 and lyricism. There are some issues worth our consideration: Which of the two literary thoughts is more accurate? How can we evaluate prose development during the Ming-Qing transition in a fair and accurate manner? What is the relationship between classical prose and vignette essays? Starting from Chou’s disagreement with discussions of Ming-Qing prose, the present study aims to clarify the two discussions on the development of the prose of Ming-Qing times and discuss their literary thoughts. Although the discussion of the dichotomy of “expressing one’s aspiration” 言志 and “representing the Way” by Chou is not accurate, his discussion of the development of Ming-Qing prose is of significance. Based on the analysis of the views of classical prose of Ming-Qing essayists, we observe a less tense relationship between vignette essays and classical prose than what Chou discussed. However, his emphasis on the tense relationship between “expressing one’s aspiration” and “representing the Way” became the major motivation for change and development of Ming-Qing prose.
以“父”爲名：《紅樓夢》中的賈政新論
Authors: 歐 麗娟
Published: February 2023

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

《紅樓夢》聚焦於貴族階層，書寫百年世家面臨末世的歷程，其主軸之一即家業傳承之必須，因此特重門風與子孫教育，尤其每一代的家族繼承人最是攸關重大，關於資質禀賦、性格特質、培育塑造皆有一定的脈絡可循，並建構出榮國府之世代軸心群，尤以賈政最體現了完整乃至完善的“貴族子裔之成長模式”。本文納入“父親”的概念以及“男性成長”的啓蒙議題，聚焦於賈府第三代的賈政，採取回歸傳統雅文化脈絡的視角、把握文本内容的全面基礎而重新探討此一人物的立體面相與縱深層次，就其以“政”爲名、以“存周”爲字，再以幾乎成爲杜甫之代稱的“工部員外郎”爲職銜的設計，闡發諸特定詞彙所内藴的文化指涉，並彼此互文而强化出一個正統菁英分子的完美典範，即以周公、杜甫與第一代始祖賈法爲重像，結合“正”字所代表的方正、官長之義，以及“攵”字所象徵的父親之義，從煉石場走到補天域，完整演繹了寶玉的前驅、同道與未來。明乎此，更能奠立堅穩的人物評論參照系，爲《紅樓夢》的創作宗旨、文化意義提供正確的定位。

The Dream of the Red Chamber narrates a story of a century-old aristocratic family (世家), which would finally face its decline. One main concern of an aristocratic family is to assure the endurance of its family career (家業). For this concern it is very important to educate the children, especially the family heirs, to keep the family reputation (門風). The Jia mansions education covers the recognition, cultivation and shaping of youngers’ talents and personality traits. Its long-lasting achievements constitute the generational axis of the Rong-guo Mansion (榮國府). Among these generation heirs, the Jia Zheng case well represents a complete and almost ideal “growth model” of an aristocratic male- child. The article incorporates the notion of “Father” and the enlightenment issue of “male growth” and focuses on Jia Zheng, the third-generation heir of the Jia mansions. I adopt a perspective of returning to the traditional elegant cultural context and re-discuss the three-dimensional aspect and depth of this character on the basis of the overall text content. Regarding the design of his name (政, “Politics”), his courtesy name 字 (存周, Cuenzhou, keeping Zhou), his official career title (工部員外郎, which has almost become Du Fu’s surrogate name), I explain the cultural references contained in this specific vocabulary, which mutually connoting each other to strengthen an ideal example of orthodox elites, namely, a combined image of Zhou Gong (周公), Du Fu and Jiafa the first-generation ancestor of the Jia Family. Further, the name 政 is combined from 正 and 攵; the former connotes a meaning of rectitude and ruler, the latter symbolizes the father. Thus, in the mythological and allegorical image, from the stone-in-smelting to the stone-patching-the-broken-sky, Jia Zheng leads and exhibits a role for Jia Bao-yu’s forerunner, on-the-way company, and a would-be future. The analysis on Jia Zheng helps to establish a firmer reference frame for comments on characters of The Dream of the Red Chamber. It also helps to provide a correct positioning for the creation purpose and cultural significance of the novel.
倪春軍：《宋代學記文研究：文本闡釋與文體考察》
Authors: 朱 剛
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

幾乎所有人到達學齡以後，會有十到二十年的時間在學校接受教育，這種情形在目前的中國已習見爲常，但施予教育的小學、中學、大學乃至研究生院這一體系，其實是晚清以來纔逐步建立的。换句話説，我們所熟知的教學系統，基本上是從西方社會移植過來的，在其初期，有“新式學堂”之稱。在此之前，傳統中國的教育史，當然也並非乏善可陳，而且由於科舉制度的存在，國人對“考試”這件事具有相當的熟稔度，至今仍把許多科舉話語移用於高考。不過，科舉雖稱“考試”，其主體部分並不採取對答案、判分數的形式，所以它更像是一種作文競賽，有關能力的養成未必依靠學校。我們在各種反映古人生活的文藝作品中，可以看到兒童到學校接受啟蒙教育，但秀才們則大抵在家裏温習功課，通過自學，或者向前輩請教，以提升作文能力，這個階段的他們不再需要上學。就此而言，與科舉制度相適應的學校教育，即便非常繁榮，其發展的程度卻極其有限，以純粹的知識增長爲追求的人，將不能在這樣的學校獲得生存的資源，而後者乃是現代高等學校的一個關鍵特征。(撮要取自內文首段)
彭玉平：《況周頤與晚清民國詞學》
Authors: 朱 惠國
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

彭玉平教授《況周頤與晚清民國詞學》是其繼《王國維詞學與學緣研究》之後的又一部力作，該書的出版不僅是況周頤研究的一次重大突破，也將對當下不斷趨熱的晚清民國詞學研究産生積極影響。對於該書的學術評價，王兆鵬教授在序中用高度、深度、廣度、氣度八個字從四個方面加以概括，非常精煉，也比較周全，符合實際。除了王教授總結的四點外，該書的研究方法也比較有特點，值得關注與借鑒。(撮要取自內文首段)
上古五帝神話及其科學内涵
Authors: 王 爾敏
Published: February 2023

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

上古以至秦漢，形成各類偉大神話。不一而足。在眾多神話之中，自春秋戰國以桸，產生兩組五帝傳説。其中一組重在歷史人物一面，在此不及申説。而 另一組始终不脱神話格局的五帝説，在指：太昊、少昊、黃帝、炎帝、顓頊。他們分別掌管水、火、木、金、土五星的運行，並東南西北中五個方向，以及春、夏、秋、冬四季變化。當是神通廣大。雖是如此誇誕，而其中卻涵概若干科學成分。

在這個五帝傳説中，表現的科學成分有四，一是五星運行、東西南北中方向、以及春夏秋冬四季變化，正表現天文氣象的自然現象知識。二是在對五帝 配合生命物種之論，確定了土地上動物五種分類，即是：羽類（鳳）、毛類（虎）、鱗類（龍）、介類（龜）、倮類（人）。三是五帝治理世界天地萬物所用工具不過是人生日常必不可少的繩子、圓規、矩尺、水準和權錘。毫無神權至上法力無邊意味。四是神在一年四季嚴格管理人類日常活動行止。而在其行止規定之中，正是要維護自然生態的生息傳衍。不可破土興工，不可伐木材，不可殺幼夭，不可聚眾，以妨農業。正是合於自然環境長久維護之宗旨。Since the 8th Century B.C., two sets of legends about the Five Emperors of Ancient China had emerged. One of them was mythology-related. The Five Emperors — Tai Hao （太昊）, Shao Hao （少昊），Huang Di （黃帝） , Yan Di （炎帝）and Zhuan Xu （顓頊） —were each in charge of the running of the five planets of Mercury, Mars, Jupiter, Venus and Saturn; the five directions including east, south, west, north and central as well as the changes of the four seasons of spring, summer, autumn and winter. As a matter of fact, the legend of the Five Emperors did, to a certain extent, reflected the scientific knowledge of the Ancient Chinese.

The scientific connotations of the legend of the Five Emperors were firstly, the ancient people’s knowledge of astronomy and meteorology. Secondly, animals were classified into five main groups. Thirdly, that the tools used by the Five Emperors to govern Heaven and Earth were simply those used by ordinary people showed that the Chinese were practical. Finally, that the daily activities of human beings in the four seasons were severely restricted was in keeping with the idea of long-term environmental protection.
論中國大陸《現代美學體系》中的「審美感興」觀
Authors: 文 潔華
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
八十年代末期，中國大陸一批青年美學家撰寫了《現代美學體系》，為一部採用新的理論架構，探究美學原理的教科書籍。該書旨在融貫中西古今的美學，兼顧理論與應用，不失為一部宏觀及具規模之作。
本文對該美學體系中的核心概念——「審美感興」作出了分析及檢討，特別注意此美學概念中蘊涵的主客體關係，如何反映了當代中國美學的發展。從「審美感興」之內容分析所見，建議中的新美學，不主張對主體的建構活動有所偏頗，強調審美想象離不開知覺客體的性質，謂二者處於一種「同構對應」的關係當中，有別於西方傳統美學的主客對立觀。細察之下，作者們主要是採用了西方近代美學中的移情説、現象學中的「意向性結構」及中國古典美學的形上意境等來構想 「審美感興」；此等理論資源，亦構成了《現代美學體系》的知識論大概。最後，作者們又試圖以馬克思主義中的實踐美學觀念來總其大成。
本文在介紹及分析「審美感興」的理論成素之餘，亦展示了中國當代美學界對審美中主客關係的爭論史，以見出建議中的「審美感興」對過往派别的主張，作出了怎樣的修正或發展。本文最後指出，該觀念在不同的美學立場間搖盪折衷，產生了不少理論困難，實有需要整理其中的差異和矛盾。It is said that aestheticians, art critics and philosophers today are yearning for some kind of ‘salvation’ for contemporary art. They would like to re-establish foundations or authentic roots for art, which is basically the aesthetic experience, so as to enable resistance to the trend of contemporary discourse, i.e. pure discursive reflection and intertextuality. This reference to ontologically based norms, which is claimed to be the central notion of contemporary aesthetics today, may be for different reasons, is shared among young aestheticians in Communist China.
In 1988, a modern aesthetics system was published in a book form in China, entitled by the same name, Modern Aesthetics System. （《現代美學體系》）It is edited by Prof. Ye Lang, the head of Philosophy department of Peking University, and is written collectively by a group of 9 young aestheticians. The book aims to become a basic textbook for colleges and readers nationwide introducing aesthetic theories using new theoretical models. “Aesthetic Ganxing”, a new term introduced in the book, is suggested to replace the old word ‘aesthetic experience’ in aesthetics and has become the central core of study in this modern aesthetics system in China. This article is both an introduction and a critical analysis of the notion to examine how new the notion is and towards what direction has it been developed into.
The article is composed of the following six sections:I) Introduction: introducing the significance of the notion of “aesthetic ganxing"II) A content analysis of the notion of “aesthetic ganxing"III) An examination of the epistemology of the “Modem Aesthetics System”IV) A historical reflection on the debates of the origin of beauty in Marxist ChinaV) A critique of the subject-object relation in the notion of “aesthetic ganxing"VI) Conclusion
After a detailed content analysis of the notion, the epistemology behind the notion is examined. The notion is also compared with the discussion of aesthetic experience in the modern history of aesthetics in China after which it is evaluated and its theoretical problems are investigated and presented for consideration.
基督教改革者——黃乃裳與清季改革運動
Authors: 李 金強
Published: February 2023

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

基督教（新教）來華宣教與中國現代化具有密切關係。其中傳教士除宣教建堂，贈醫施藥，設辦學校，注意慈惠工作，更進而出版書刊，譯介西學新知，鼓吹變法，影響清季改革運動。就此而論，不少出身於基督教之華人信徒，由於與教士之過從關係，得以知悉西學新知，從而成為清季之改革家，美國史家Paul Cohen並將此批背景之改革家標貼為「基督教改革者」(Christian Reformer)，本文所研究之黃乃裳(1840-1924)即為個中之顯例。黃氏原為美以美會(Methodist Episcopal Church)之傳道，早年服務教會，參與宣教與文字工作；中年中舉，成為福州士紳，繼而倡導改革，投身戊戌維新運動。故本文即從基督教入華宣教，促進中國現代化之線索下，探討黃氏與清季改革運動之關係，全文共分三部份，包括福州美以美會教士之宣教事業，黃乃裳之社會及政治改革言論與活動。This paper aims at finding out the relationship between Christainity and the modernization of China. Focus is placed on the introduction of western learning in China by missionaries which led to the emergence of “Christian reformers” and the reform movement in late 19th Century China. This historical phenomenon has aroused the interest of historians such as Paul Cohen and Wang Shuhuai and much research has been carried out on “Christian reformers”, mainly from the provinces of Jiangsu and Guangdong. My case study of Huang Naichang, a convert and reformer from Fujian, gives further testimony to the influence of Christianty on the formation of reform ideas in Late Qing.

Converted to Christianity in 1866 when he was seventeen, Huang became an active member and preacher of the Methodist Episcopal Church in Fuzhou. Together with missionaries such as Stehpen L. Baldwin, Nathan Sites, Franklin Ohlinger and Myron C. Wilcox, Huang became involved, not only in preaching the gospel, but also in literary work including the translation of works on religion and western learning as well as editing of missionary journals. His exposure to western ideas led him to the road of reform.

This paper is divided into three parts:1. Missionary enterprise of the Methodist Episcopal Church in Fuzhou;2. Huang Naichang’s ideas and activities on social reforms; and3. Huang’s ideas and activities on political reforms.
淮海集箋注
Authors: 羅 立剛
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

以隻言片語品評作家及其文風，言簡意賅，是古人文學批評（尤其是詩話、詞話）的一大特色。當然，這樣做有時也難免偏頗。宋代文人，「蘇門四學士」之一的秦觀，同時之人及後人對他的品評，就難免此誤。自元好問《論詩絕句》ー出，八百年來，口耳相傳，「女郎詩」似已成定論。清人曹雪芹在《紅樓夢》中，寫賈寶玉夢游仙境，所見的對聯，即為太虛（秦觀字）詩句。所有這些，似乎都説明，斯人文風單一，情思悱惻，入柔美一路。然則，千百年來，有真知少游者乎？(撮要取自內文首段)
關於鴛鴦蝴蝶派
Authors: 柳 存仁
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

鴛鴦蝴蝶派這個名詞用來稱某一些的舊派小説，或小説家，大概已經有七、八十年歷史了。這個名稱的來歷，其實恐怕也還是很模糊的。有一種説法是：大約在民國九年（1920）有一位在上海的名士楊了公請客吃飯，約了些文士朋友，其中有好幾位寫小説都有鴛、蝶、鵷雛、鶴這些筆名或別號。他們那天也「叫局」（召妓侍酒），所叫的妓女之中，有清末民初著名的四大金剛之一的林黛玉。據説這位林黛玉愛吃用外洋進口的麵粉製的花捲兒，主人楊了公興起，就提議用「洋麵粉」、「林黛玉」分詠，作兩句詩鐘。座上朱鴛雛（名璽，江蘇松江人）文思很快，立刻就口占二句是「蝴蝶粉香來海國，鴛鴦夢冷怨瀟湘。」海國指的就是外國，像魏源的《海國圖志》書名的用法。林黛玉本是小説裏的人物，小説《紅樓夢》中的林黛玉別號稱瀟湘妃子，這裏借用瀟湘來稱真人的林黛玉正合適。他們正在嘖嘖歎賞的時候，忽然大家的老朋友劉半農闖進來了，更加熱鬧成一團。劉半農就是劉復，他本是舊派作家，號半儂，先前在上海中華書局做編輯。後來應約北上，加入了北京大學，成了五四新文化運動的健將了！民國七年（1918）他在《新青年》四卷三號 上寫的〈答王敬軒書〉，這封和舊派鬥爭的「雙簧」信，是周氏兩兄弟都寫過文字贊揚的。這一天劉先生路經上海去法國，也被人邀在同一家飯館吃飯，聞聲而至，所以就有機會和這些舊交們重聚。據説當天劉先生「認為駢文小説《玉梨魂》就犯了空泛、肉麻、無病呻吟的毛病，該列入『鴛鴦蝴蝶小説』」。(撮要取自內文首段)
儒學的理性重建與典範轉移
Authors: 馮 耀明
Published: February 2023

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

本文的目的，主要是借用「理性重建」與「典範轉移」這一對概念來分析儒學發展的傳承與轉折。本文作者認為：孔學發展為孟學（或荀學），乃是一種理性重建的工作。新理論的主要工作，乃是引申舊理論的某些關键概念而予以重新釐定，並迎接新問題之挑戰而在這些概念的基礎上作理論的提鍊。孔子「仁」一概念的心性論化便是孟子的一大傑作。至於宋明理學與心學之出現，則可説是對先秦儒學的一個革命性的轉變。表面上後來者雖聲稱可「調適而上遂」，可得「先秦之真緒」，實質上乃是另立典範，血脈早已間斷而難通。此即涵有「不可通約」的問題出現。此中原因，實在於道德心性論與本體宇宙論的隔隔不入，難以牽合之故。如果説孟學是孔學的一大傳承，則宋明儒學可説是先秦（孔孟）儒學的一大轉折。This paper mainly aims at using the concepts of ‘Rational Reconstruction’ and ‘Paradigm Shift’ to analyse the developmental succession and deviation of Confucianism. On the one hand, the author thinks that the theoretical development from Confucius to Mencius (or Hsun Tzu) is a rational reconstruction. As a rational reconstruction, some key concepts in an old theory will be developed and redefined in a new theory in a new way. In order to face some challenge from a new situation, the new theory has to develop the old concepts with some kind of sophistication and subtlety. Mencius’ mentalistic interpretation of Confucius’ concept of ‘Ren’ is a good example of this kind of rational reconstruction.

On the other hand, the author claims that the development from Pre-Chin Confucianism to Sung-Ming Confucianism is a revolutionary change. Although the Sung-Ming Confucianists claim for their status as true successors of Confucius and Mencius, they do in reality establish a new paradigm and there is a real problem of ‘Incommensurability’ between the old theory and their new theories. The main reason is that there is a big gap between moral psychology and ontological cosmology, it is very difficult to combine them into one thing.

The conclusion of this paper is that Mencius’ theory can be considered as a rational development of Confucius’ ideas, but there is a radical change from Pre-Chin Confucianism to Sung-Ming Confucianism.
重讀《金鎖記》：鐵閨閣與雙重人格的儒家瘋女
Authors: 林 幸謙
Published: February 2023

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

本文試圖在中國傳統性別秩序的基礎上重讀張愛玲的〈金鎖記〉，並試圖借助西方女性主義理論去解構文本。這裏提出「鐵閨閣」的概念，藉此挖掘〈金鎖記〉中有關女性人物的壓抑符碼。在匮乏、焦慮和壓抑的主題下，作者把曹七巧推向歇斯底里的邊緣，並在性别文化的定位中把她推向瘋狂。此瘋女形象在中國現代文學史中具有獨特的意義。自傅雷〈論張愛玲的小説〉以來，評論者一向從慾望、壓抑與經濟的角度理解曹七巧的瘋狂現象。本文則進一步提出雙重人格的觀點，從人格分裂視角去理解曹七巧的瘋狂現象，及其深層的內在心理與文化層次的問題。This article attemtps to reread “The Golden Cangue” on the basis of the Chinese traditional gender order, also it attempts to deconstruct the text by means of the Western feminism theory. Hereby the article brings up the concept of “Iron Boudoirs” and by this, to dig out the oppression symbol regarding the female figures in this article. Under the premise of lack, anxiety and oppression, the author pushed Cao Qiqiao to the edge of hysteric and toward madness on the positioning of the gender culture. Moreover, Eileen Chang formed an unique mad woman image in the Chinese modern literature history. Ever since Fu Lei’s “The critique of Eillen Chang’s novel”, the commentators have always tried to understand the madness state of Cao Qiqiao from the viewpoint of desire, oppression, and economic. This article further brought up the viewpoint of split personality, to understand the madness state of Cao Qiqiao from the viewpoint of schizophrenia, as well as her psychical and the cultural aspect problems.
香港故事
Authors: 鄭 瑞琴
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

《香港故事》收集了盧瑋鑾（小思）「個人回憶」與「文學思考」兩部份文章。其特別之處，在於把個人的成長經驗與學術研究，同時結集在一書之內，「情」「理」並置。「個人回憶」承繼小思《路上談》、《承敎小記》、《不遷》等散文集脈絡，收藏了小思昔日（夢境）的影畫片段，分三輯寫成，全屬散文體。「文學思考」一輯，承繼小思編著《香港文縱》、《香港文學散步》等書的研究及發展方向，搜集並探討了又一批有關香港文學發展史的寶貴資料。收藏在這裏的六篇評論，全都曾經在85至93年間發表過，經修改後再在此書結輯出版。(撮要取自內文首段)
唐代詩僧《寒山子詩集》傳本研究
Authors: 陳 耀東
Published: February 2023

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

寒山子(691?—805?)，長安人，隱居天台山寒岩七十餘年。有自編詩集六百首，分體編次。詩多宣揚儒道釋之玄理，識諷時態，吟咏隱逸，與王梵志詩風相類。後有徐靈府採編本三卷，詩三百餘首；又有本寂注釋本，削徐序，增托名閭丘胤序，附拾得錄並其詩。行之宇內。久之，本寂注文為人删削，僅留寒、拾詩及閭序，並增豐干錄及其詩，是為《三隱詩集》。清代之前，寒山詩集已有數十種刻本，且遠及日本、高麗。本文是《寒山子詩集》傳本系列研究之一。據經眼和聞知之歷代國內外著錄及傳世之刻本、抄本、注本、校本、選本等百餘種，厘為四大系統：寒山拾得詩之「二聖詩」系統；宋刻《寒山子詩》一卷、《豐干拾得詩》一卷本系統；宋刻國清寺本系統；宋刻寶祐本系統。著錄諸系統諸本之行格、版式、詩數、編次，揭示其異同、特點和承繼關係，俾使研究。Han Shanzi (691?-805?) was bom in Changan in Tang Dynasty. He lived in Hanyan, Tiantai Mountain in seclusion for more than 70 years. He collected his 600 poems into his poetry anthology, which was edited according to different varieties. In most of his poems, he advocated mysterious and abstruse theories of Confucianism, Daoism and Buddhism, satirizing the society at his time and singing songs for seclusive life. The style of his poems was similar to that of Wang Fanzhi. Later Xu Lingfu edited more than 300 Han’s poems into 3 volumes. Ben Ji annotated them still later. In Ben’s edition, Xu’s prelude was omitted. Another prelude in the name of Lu Qiuyin was added. Also added into it were Shi De’s life story and poems. The edition was spread to all over the world. After a long period, Ben’s annotation was omitted, Han’s poems, Shi’s poems and Lu’s prelude were preserved, and Feng Gan’s life story and poems were added. Thus Poetry Anthology of 3 Hermits came into being. Before Qing Dynasty, there had been dozens of block—printed editions of Han Shanzi Poetry Anthology. They were spread to Japan and Korea. This thesis is one of the series on the inherited editions of Han Shanzi poetry anthology. The author of the thesis has seen or heard about more than 100 editions of inherited Han Shanzi’s poetry anthology, including block—printed editions, copied editions, annotated editions, checked editions and selected editions. He has divided all those editions into 4 systems: the system that collects the poems of both Han Shan and Shi De—the two saint poets; the system that includes one volume of Han Shanzi’s poems and one volume of poems of Feng Gan and Shi De, both of which are Song Dynasty block-printed editions; the system of Song Dynasty block—printed edition of Guoqing Temple; and the system of Song Dynasty block printed edition of Baoyou Period. In this thesis, there have been written or recorded the difference, similarities, characteristics, inheriting relationships of different systems and editions, including lines and checks in which poems were written, formats, poem numbers and orders in which poems were edited, so as to promote further research on this issue.
「三敎合一」與金代園林美學
Authors: 詹 杭倫
Published: February 2023

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

「儒釋道」三敎合一哲學思潮源起於我國唐代之前，而盛行於宋代和金代。本文結合「三敎告ー」的哲理背景及其園林藝術觀念史，探討金代園林美學的一對理論命題：「心隨境移」與「心定境從」。通過這一探討，本文闡明了在園林審美之中，審美主體之心境與客觀外界之環境之間存在著一種互動的機制，並進而揭示出中國士人具有一種用禪宗智慧來融合儒、道理念的理論思維糢式。換言之，士大夫不一定是虔誠的佛敎徒或道士，但是，信仰的取向並不妨礙他們自覺和嫻熟地運用佛、道的思想和智慧。金代的園林美學為理解中國士人獨特的思維糢式提供了一個上佳的範例。全文分「命題之提出」、「命題之淵源」、「命題之深化」和「命題之影響」等四個部分。The philosophical Trinity that merged Confucianism, Buddhism and Taoism originated before Tang Dynasty and became popular in Song and Jin Dynasty. In the light of the Trinity philosophy and the history of garden aesthetics, this article examines the theme: “the mind changes with the environment but the environment will remain static if the mind remains tranquil”, and argues that these is an interactive mechanism between the subjective aesthetic ego and the objective outer world in the appreciation of garden beauty. The article further argues that traditional scholars in China showed a particular thinking pattern that employed the wisdom of Zen Buddhism to merge the theories of Confucianism, Buddhism and Taoism. In other words, the traditional scholars may not be pious Buddhists or Taoists, but this would not hinder them from using the ideas and wisdom of Buddhism and Taoism consciously and effectively. The garden aesthetics of Jin Dynasty is the best window for us to see the particular thinking pattern of the Chinese traditional scholars. The article has four parts: 1) the proposal of the theme; 2) the origin of the theme; 3) the development of the theme and 4) the impact of the theme.
國學詞典（謝謙）/「舊學」化「新知」
Authors: 黃 開國
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.

四川人民出版社最近推出了一部嶄新的《國學詞典》，這部近六十萬字的詞典完全出自謝謙先生一人之手，是他多年來要為中國讀者提供一部全面了解傳統文化的「現代讀本」的宿願的實現。(撮要取自內文首段)
論《石頭記》脂評本南北方音並存的現象
Authors: 楊 昆岡
Published: February 2023

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

本文從《石頭記》書中選取十八個與兒童生活有關的詞語，就其所屬方言類别、在書中使用的情況及其同義詞使用的規律，加以分析，歸結出這些詞語分屬北京話、江淮方言、吳方言和西南官話，而且其中有曹雪芹一直使用而屬於江淮方言和西南官話的。明清以來，滇南的語言風俗與南京相近，而曹氏用過的若干詞語還保留在今日的昆明話裏，故此推論曹氏用南京地區的語言寫作，在敘事和處理人物對話時都兼用多種方言詞語。

曹氏怕觸犯文禁，只認是《石頭記》的編纂者，小説不確指故事發生的時地，既突破歷代小説的陳規，也為自己作了掩護。他行文瑣碎細膩，撰此一部巨構，所涉社會面廣，自然要用大量詞語，而他用詞又特別注重新奇別致的效果，講究避複、錯综、音調協諧、四言成句，又重視語言與人物身份、地位、個性的一致。政治因素和藝術追求，解釋了書中南北方言詞語同時並存的緣故。 Eighteen words with their synonyms relating to children's daily life were chosen from The Story of the Stone. They can be grouped into Beijing dialect (Northern Mandarin), Mandarin of the Yang-tze region, Southwestern Mandarin and Wu dialect according to their nature. Some words of Mandarin of the Yang-tze region and of Southwestern Mandarin were solely used by the author. As the language and custom of the Hans in the southern part of Yunnan are similar to that of Nanking since the Ming Dynasty, and a number of words used by Cao xueqin have been preserved in the current language of the Hans in Kunming, we think that Cao Xueqin instead of using Beijing dialect or mainly Beijing dialect as scholars assumed that he did, composed his masterpiece with the dialect of Nanking region, and in narrating his story and handling his characters' dialogues he applied words and expressions of different dialects.

To protect himself from political oppression he admitted that he was the editor of the novel, not its author. The story was not situated in a certain dynasty and in a certain city. Trivial details reflecting the life of people of all ranks and classes, the purchase of a unique effect, the application of rhetorical devices such as to avoid repeating the same word, the harmony of the words applied, the habit of forming four-character expressions, the ideal that characters should speak the language appropriate to their position and personality, all resulted in the employment of a large amount of words or terms. Political reason and artistic perfection, therefore, explain clearly why the northern and the southern dialects coexisted in the first eighty chapters of the novel.
文人：士大夫、文官、隱逸與琴祺書畫
Authors: 楊 乃喬
Published: February 2023

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

在古老而漫長的中國古典文學發展歷程中，「文人」這一話語的緣起與表達負載着厚重的歷史內涵，「文人」作為「知識分子」，構成了中國古代社會中的一個重要階層。在歷史上，雖然文人的思想不直接創造財富，但他們的思想最終可以導出一種令人震撼的結果，那就是，文人在執著於理念、信仰中的創造並沒有直接帶來現實的價值而為後來者所接受，他們的價值潛在於他們的精神與生命的發展或逝去的過程中，並且，最终以他們的精神所佔據的百科全書式的地位而獲得權力。也就是説，最终他們的精神與思想將凝聚在百科全書式的文本中，這種百科全書式的文本，為後來者的查找或提取意義而釋放出能量，在知識上轉換為一種權力而征服他者。但是，在中國古代歷史上，那些坦蕩、正直的文人或士大夫一旦步入官場，他們便無法擺脱以一種情感、正直、智慧和思想來抨擊時弊或干預不公平的社會，他們總是以一種神聖的社會責任感與歷史使命感在天真中成就自己的自以為是，最終使自己陷入一種艱難的生存困境中。正是由於文人與士大夫本身所特有的這種精神氣質，因此，逃避於隱逸，逃避於琴棋書畫也成為文人士大夫在中國古典文學史上永恆演奏的一個母題。In the development of the ancient Chinese classical literature, the concept and origin of “wen ren” bear a profound historical meaning. As intellectuals, “wen ren” formed an important social class in the ancient Chinese society. Though they did not make a fortune to the society, the thoughts they conceived have led to a great impact on their followers. The thoughts and belief started by them did not virtually bring real values, nor were they accepted by their followers. Yet, the value of these intellectuals lies in the process of the development and the fading of their spirit and life. And, through this they were viewed as an authority as overwhelming as an encyclopedia. That is to say, their spirit and thoughts have eventually been put in a formal text that is as important and comprehensive as an encyclopedia.

This text, as a powerful resource, provided their followers with authoritative evidence to argue over others. At the same time, these intellectuals or officials were too honest and righteous to put up with the wrongs in the society. With their passion, righteousness, wisdom and thoughts, they could not help criticizing and interfering what is wrong to them when they became the bureaucrats. Driven by their innocent sense of responsibility to the society and sense of mission for the history, they always righted the wrongs which put them intovery difficult situations. Yet, it is due to this particular spirit and temperament they possessed that they had to escape from the reality. The study of their immersing into these artistic and academic accomplishments, including playing music, Chinese chess, reading and painting, therefore, becomes a major theme in the history of Chinese classical literature whenever people study the intellectuals.