bluuebunny/crossref_metadata_2025 huggingface dataset:
“我們不能控裁我們的青春”——嚴歌苓及其“文革”題材小説解讀
Authors: 錢 虹
Published: November 2022

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

近年來，美籍華人女作家嚴歌苓在國内越來越“走紅”。但人們關注得較多的，往往是她那些“虚構”型文本，如《扶桑》、《小姨多鶴》、《第九個寡婦》、《金陵十三叙》等。本文則選取《灰舞鞋》等有關“文革”題材的“穗子的故事”系列小説，從作品與作者生活經歷的重合度、小説的“自傳”色彩、時代的印象寫真、殘酷的青春記憶等方面，做較爲深入的解讀與剖析，并以此凸顯嚴歌苓有關“文革”

American-Chinese writer Yan Geling is becoming more and more popular in Mainland China. However, most attention focuses on her fictional works, such as Fusang (Japan), Xiaoyi Duohe (Little Aunty Duohe), and Dijiuge guafu (The Ninth Widow). The present essay focuses on “Stories of Suizi, “a series of works on the Great Cultural Revolution. The discussion involves several aspects; the similarity between the author’s life and that depicted in the story, the autobiographical feature of the work, likeness of the image of the time, and the cruel memory of youth. The in-depth examination and interpretation of these aspects will highlight the value of Yan Geling’s “Impressionist” novels on the Great Cultural Revolution.

題材小説的“印象派”版本的價值與意義。
新詩中的“城”與“鄉”
Authors: 盧 楨
Published: November 2022

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

清末民初的文化革新促使中國文學的大觀念發生了轉變，傳统鄉土詩學的穩固性逐步動摇。伴隨著現代都市文化在中國的興起，詩人開始在“願望時間”（wish-time）與“願望空間”（wish-space）之中體驗到價值層面（城市化、現代化、西方化）與經驗層面（對鄉土中國的深厚情感）的錯位感，其美學（文化）現代性對資產階級現代性的拒斥集中體現在對城市和鄉村複雜的態度上。通過不斷地經驗整合，現代都市話語成爲新詩重要的理論資源，它所引領的速度感和空間模式、技術崇拜、商業氣息都在一定程度上契合了新詩自身變革的内在要求，而傳統的“鄉土/田園”抒寫則演繹成爲城市宏觀視野之中的潜在詩性結構。作爲城市抒寫的表達方式之一，抒情者透過“城鄉邊緣人”的觀察視角爲其多樣性的生存方式作出詮釋，從而拓展了新詩寫作的精神空間。

The cultural reform during the late Qing and early republican periods gave direct rise to dramatic changes in the general concept of Chinese literature. Consequently, the deep-rooted local-rural poetics began to find itself in a shaky position. As Chinese urban culture grew up, modern poets began to experience and feel the displacement between their “wish-time” and “wish-space.” This kind of displacement occurred at the level of value and that of experience; the former was a reaction to urbanization, modernization, and Westernization, while the latter concerned one’s keen attachment to China as a rural homeland. The poets’ attitudes towards the city and countryside were complex. The continuous integration of experiences turned the modern city discourse to an important theoretical resource. The modern city introduced new elements, such as a sense of speed, spatial mode, technolatry, and hue of business. These elements to a certain extent accorded with the internal features needed for the development of modern poetry. The traditional homeland/idyllic writing, on the other hand, had evolved to a poetic structure hidden behind the broad vision of the city and become one of the representation modes for versification on this topic. The lyrical poet took the point of view of “a person between the city and countryside” in the explanation of his/her many different ways of living and thus broadened the spiritual space in modem poetry.
詩、畫、禪與蘇軾、黄庭堅詠竹題畫研究———以墨竹題詠與禪趣、比德、興寄爲核心
Authors: 張 高評
Published: November 2022

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

會通化成，爲宋型文化特色之一；題詠繪畫，爲宋代詩畫之岀位之思；詩畫一律之觀念，至北宋元祐年間已流行應用。宋代士人習染佛禪，以水墨作畫，往往滲透於其中；詩人題詠墨畫，亦以禪爲詩，得游戲之三昧。竹在宋代，既名列歲寒三友，又比德爲四君子之一。竹之形象，中空、有節、長青、參天、堅勁、柔韌，故引發士人喜愛，或見之歌詠，或形之畫圖。尤其竹之本固、性直、心空、節貞諸德操，詠竹詩、墨竹畫往往多所體現。本文綜考北宋蘇軾、黄庭堅之詠竹詩篇及墨竹題詠，作爲研究文本。蘇軾有墨竹、水墨山水，以及枯木之詠。黄庭堅亦作墨竹11首，題詠横竹、偃竹、竹石、畫竹、緑筠、風雨竹、竹石牧牛之倫若干首。詩人或以比德，或以興寄，詠物之妙，蔚爲文人畫之墨戲，多體現爲游戲三昧，蓋合詩、畫、禪而一之。詩、畫、禪三者之跨際會通，新奇組合，形成詠竹、墨竹之一大特色。清吴之振《宋詩鈔》引曹學佺序宋詩之言，謂宋詩特色爲“取材廣，而命意深”，宋人之水墨畫題詠可見之。

One typical aspect of the zeitgeist of the Song dynasty is “comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign-period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.

In the Song, bamboo was regarded as one of “the three friends of wintertime” and one of “the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant’s virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.

The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand-copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan’s (1574-1647) “Preface to Song Poetry”: the main characteristics of Song poetry include “a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings.
《夷堅志》中不公正的蒼天和軟弱的神仙
Authors: 艾 朗諾
Published: November 2022

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

《夷堅志》是洪邁生前就已經廣爲流傳的神怪故事巨製，往往被用來重構宋代的民間宗教和鬼神觀念。這篇論文探討在《夷堅志》研究中被忽略的兩點：（1）故事中神靈常從事欺騙和不義的行爲；（2）神靈常顯露與普通人無異的弱點。《夷堅志》中有许多善有善報惡有惡報的故事，但也有違背因果報應的，告訴我們神靈有時任性、虚僞和不可靠，反映人們對神靈庇佑熱切渴望的同時，也對神的無常有深深的惶恐。我們可提出一個宋代神性觀念的不同思考模式，把正義和邪惡視爲坐標軸的兩端，將個别神靈的表現置於這兩極之間的横軸上。《夷堅志》還有許多故事中的神靈與凡人打交道時展現出人類的弱點，像凡人一般衝動和善變，讀者無法預測他們下一步會做什麽。這些人性的弱點賦予了故事的“人情味”，讓我們在他們身上看到了自己。從文學的角度來看，這是爲什麽洪邁40間年發表了至少32種版本的《夷堅志》，故事總數超過一萬則，而讀者仍對這部著作保持濃厚興趣的原因。

Hong Mai’s (1123-1202) Yijian zhi (Records of Yijian) is well-known as a rich source for Song dynasty popular religion and the beliefs about supernatural creatures. This paper looks at aspects of Yijian zhi stories that belong to such beliefs but are often overlooked in studies of Song popular religion: (1) actions by gods and supernatural creatures that are amoral and deceptive or even cruel and unjust; and (2) the human weaknesses often displayed by gods and other divinities. The first of these is analyzed as part of a continuum found in Hong Mai’s stories that stretches from divine justice (including karmic retribution) all the way to divine treachery and cruelty. This is explained as a projection of deep human ambivalence about the reliability of the divine. The second is a projection of human personality traits upon the divine, which makes them flawed, unpredictable and, in a word, “more like us.” The two traits are absolutely central to the nature of divine agents in Hong Mai’s tales and also help to explain their effectiveness as literature and their enduring appeal.
論元末顧瑛“三教合一”視域中的玉山雅集
Authors: 吴 新雷
Published: November 2022

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

元末昆山名士顧瑛是體現“三教合一”觀念的典型人物，他以“儒衣僧帽道人鞋”的形象出現，在主盟玉山雅集期間，匯集了一群儒士、詩僧和道徒，如“儒林四傑”中的柳貫、黄溍等，龍門僧良琦、净名居士倪瓚等，茅山道士張雨、大癡仙黄公望、鐵笛道人楊維楨等，融通文學、書法、繪畫、聲藝於一堂，形成了儒釋道多層面多元化文化交互爲用的奇特局面。本文以《玉山名勝集》、《草堂雅集》等典籍爲依據，勾稽各種史料，考論其三教會同的表現形態，揭示玉山雅集多重意藴的文化内涵。

Gu Ying (1310-1369), a famous literatus from Kunshan (modern Kunshan, Jiangsu province) in the late Yuan Dynasty, was a representative figure of the syncretism of the Three Teachings. When he presided over the Yushan salons, he wore Confucian apparel, a Buddhist hat and Daoist shoes. A group of Confucian scholars, Buddhist monk-poets and Daoist adepts gathered around him. Among them were Liu Guan and Huang Jin, two of the “Four Eminent Confucian Scholars”; the Buddhist monk Liang Qi from Longmen; the lay Buddhist practitioner Ni Zan; the Daoist adept priest Zhang Yu from Mountain Mao; the Transcendent of Stupidity, Huang Gongwang; and the Iron Flute Daoist adept Yang Weizhen. They brought together different fields of literature, calligraphy, painting and drama, and thus made a milieu for multi-layered interdisciplinary cultural exchanges between Confucianism, Buddhism, and Daoism. Based mainly on two books, Scenic Spots of Yushan and Caotang Salons, the present paper explores the features of this syncretism of the Three Teachings and analyzes the multi-layered cultural significance of the Yushan salons.
五四時期粤港新詩與基督教———李聖華之《和諧集》初探
Authors: 吴 美筠
Published: November 2022

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

李聖華所著《和諧集》是目前所見最早在廣東出版的新詩集。該書最早一篇作品完成於1922年，距離白話詩首次出現只相隔六年。作者李聖華（1903—1986），一般五四文學史料缺載，可查證的資料尚待鈎沉，目前只能在香港基督教文獻中得知其人其事。本論文分爲兩部分：第一部分考證作者生平及著作出版時地；第二部部分采取文學與基督教跨際研究的方法，分析書中新詩作品，并比較同期以北京、上海、杭州爲陣地的詩群。旨在通過《和諧集》的研究，印證二三十年代廣東省粤港區新詩已取得實質發展，打破二十年代現代詩在廣東省缺席的定論；并探討該書如何受《聖經》的意象和書寫風格影響，從而折射基督教及《聖經》文本如何通過新詩書寫進入五四文學，延展衍生現代漢詩的特質。詩作論述部分將從以下兩方向展開：（一）基督教意象與五四時期的祈禱詩；（二）擬《雅歌》詩體及其愛情意象與宗教神秘色彩的關係。

Li Shenghua’s Harmony Collection (Hexie ji) is the earliest extant collection of modern (vernacular) poetry published in Guangdong province. Recently it was rediscovered and republished by Hong Kong poets, and has attracted considerable attention. The earliest piece in it was completed in 1922, only six years after the first poetry in the vernacular. There is little information about the author Li Shenghua (1902-1986), in May Fourth documents, and the materials for his biography still need to be compiled and examined. For now, though, sources for the history of Christianity in Hong Kong do provide some information on his life and career.

This article contains two sections. The first section of the article uses primary sources to examine the author’s life and determine the dating of his writings and publications. The second section examines the nexus of literature and Christianity, comparing the modern poems in the collection with contemporary works composed in Beijing, Shanghai, and Hangzhou. This article uses the Harmony Collection to demonstrate that modern poetry in Guangdong, Hong Kong, and Macao had already made substantial progress in the 20s and 30s, and overturns the common view that modern poetry had not yet appeared in Guangdong in the 20s. This article further explores how this collection was influenced by the imagery and styles of the Bible, thereby showing how Christianity and Biblical culture entered May Fourth literature via modern poetry, broadening the very nature of modern Chinese poetry. The discussion of the poems addresses two main issues: (1) Christian imagery and the prayer-like poems of the May Fourth era; and (2) poems imitating the style and romantic imagery of the Song of Songs, and their religious mysticism.
殷墟王陵區人祭坑與卜辭所見“羌祭”及“殺牲法”研究
Authors: 唐 際根 , 牛 海茹
Published: November 2022

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

人殉人祭是商史研究中的重要問題之一。長期以來，甲骨學者的研究多集中于利用卜辭中的文例、語境來研究商代人殉人祭所涉祭名與祭法，考古學家則只注重對田野發掘中所獲人祭遺骸進行觀察與描述。基於1976年安陽殷墟王陵區發掘的191座商代人祭坑材料，本文嘗試將實物遺存與甲骨文中的祭祀卜辭關聯起來，探討商代“羌祭”祖先的問題以及祭祖過程中部分“殺牲法”的真實含義。

The using of human sacrifice in ritual performance in Shang China is one of the critic questions in the studies of the history of Shang Dynasty. It has been long that the experts of the oracle bone inscriptions usually focus on understanding the worshiping terminologies and the ways of killing in the context of writing information, field archaeologists on the other hand, pay more attention to the descriptions of the skeleton remains unearthed in sacrificial pits. Based on the data of human remains buried in 191 sacrificial pits at the royal cemetery in Yinxu, the capital site of Shang, this paper, aims to explore the using of Qiang (羌) people and the ways of killing recorded in oracle bone inscriptions.
韓愈、孟郊的汴州記憶———《城南聯句》“惟昔集嘉詠”章箋證
Authors: 孫 羽津
Published: November 2022

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

文章通過比訂《城南聯句》舊注章旨，對《城南聯句》“惟昔集嘉詠”一章提出新的闡釋：此章並非“一味排空生造”，而是通過追憶韓愈與孟郊、孟郊與陸長源的交遊唱酬，寄寓了世事無常之慨，飽含著韓愈、孟郊於唐德宗貞元年間在汴州的詩心與别愁。《城南聯句》“惟昔集嘉詠”一章所寄寓的汴州記憶，又與《城南聯句》卒章所鋪叙的陽山之貶相互呼應，充分呈現出作者的處世心態。藉此，不難窺見韓愈、孟郊變革聯句詩體之功。

Through a comparative analysis of traditional commentaries, this essay presents a new view on the main theme of the chapter “Fine Verses Written at a Gathering in the Past” in Linked Verses of South of the City-walls. The content of this chapter is nota product of “mechanical crafts from pure imagination.” Rather, through the remembrances of the association and poetry exchange between Han Yu (768-824) and Meng Jiao (751-815), and those between Meng Jiao and Lu Zhangyuan (d. 799), the verses express sighs on the impermanence of the human world as well as Han and Meng’s poetic discourses on grievances over separation when they were both in Bianzhou during the Zhenyuan reign-period (785-805). The memory of Bianzhou in “Fine Verses Written at a Gathering in the Past” corresponds with the relegation to Yangshan mentioned in the last stanza of the Linked Verses of South of the City-walls. They both reflect the poets’ attitudes towards life. The discussion in this essay outlines Han and Meng’s contribution to the reform of linked verse.
杜甫五絶别論
Authors: 葛 曉音
Published: November 2022

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

杜甫絶句在詩歌批評史上毁譽參半，反映了杜詩學中不同的審美標準以及對絶句表現功能的不同認識。本文將五絶分出别論，根據五絶的表現原理，對照該種體式的創作傳統，分析杜甫在30餘篇五絶中不同的表現方式。認爲杜甫既有合乎傳統審美標準的名作，更有題材、結構和藝術表現等方面的“創調”，尤其是在寫景方面的獨創突破了五絶傳統的表現程式，並開發出更深的審美感覺層次，爲後人探索五絶的表現潛力篳路藍縷，其實驗意義不容低估。

In the history of Chinese poetic criticism, Du Fu’s (712-770) penta- syllabic quatrains have been praised and criticized. This phenomenon reflects the diverse aesthetic standards and views of the representation functions of quatrains in the scholarship of Du Fu. If we focus only on penta-syllabic quatrains and trace the conventions of this poetic form according to its theory of representation, we may find among the 30-plus poems penned by Du some that meet the traditional aesthetic standards of penta-syllabic quatrains and some “innovative tunes” in the respects of theme, structure, and artful representation. This innovation is especially evident in scenic depiction, which saw a breakthrough from the traditional formula of representation in penta-syllabic quatrains. It also explored a deeper level of aesthetic feelings and thereby opened up for later generations new exploration in the genre’s potential of representation. Therefore, the significance of Du’s experiment must not be underestimated.
中國詩歌中的兒童與童年———從陶淵明到陸游、楊萬里
Authors: 淺見 洋二
Published: November 2022

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

在中國古代，兒童這一形象是怎樣被捕捉的呢？兒童在儒家倫理規範下，可謂是“縮小版的大人”。因此，“老成的兒童”形象一直被稱讚，而“純真的兒童”形象則有被否定或排除的傾向。

其中值得注意的是陶淵明的詩。陶淵明在詩歌中傾心表現“純真的兒童”的形象。從他敢於描寫儒家言説所否定的兒童形象這一點説，他的詩可謂具有劃時代的意義。

這樣的作品在陶淵明之後的六朝詩人中並没有出現，而到唐代杜甫那裏卻出現了。和陶淵明描寫的一樣，純真的兒童形象在諸多杜詩中被栩栩如生地表現出來。更值得注意的是，杜甫首次在詩歌中追憶他自己的童年，而且總是帶著鄉愁。這種情況包括陶淵明在内也是没有的，到杜甫纔初次開闢了這一新主題。

至宋代，陶淵明、杜甫所開拓的兒童的主題被廣泛繼承。北宋的蘇軾和黄庭堅詩中都可看出此主題的呈現，與之相較更值得注意的是南宋陸游和楊萬里的詩歌。在中國古代，描寫兒童作品最多的詩人恐怕就是陸游和楊萬里。他們的詩明顯深化了兒童與童年這一主題。

陶淵明與陸游、楊萬里，他們一生都與故鄉緊密聯繫，創作了許多歌詠農村田園生活的詩歌。就杜甫來説，他所描寫的雖然不是故鄉而是異鄉的農村，但是歌頌田園生活的詩歌依然占多數。他們所描寫的兒童形象，基本活躍於農村田園詩中。中國詩歌中關於兒童的主題，是與鄉村社會及其田園空間的主題相關連的。本文就上述的觀點加以論述。

How were the images of children outlined in ancient China? In the course of coming of age in accordance with Confucian ethical norms, children were regarded as “miniature adults.” For this reason, “matured children” were always praised, while “naïve children” were prone to negation or repulsion.

Tao Yuanming’s (ca. 365-427) poems deserve our attention. Tao wholeheartedly represents the image of “naïve children.” Bravely going against the Confucian denigration of such children, Tao wrote about them and thereby achieved epoch-making significance.

No other poems on this topic were written after Tao’s during the Six Dynasties period until Du Fu (712-770) in the Tang. Like what Tao did in his poetry, Du vividly depicted the images of naïve children in numerous poems. Most noteworthy is that Du Fu for the first time wrote about his own childhood in reminiscence and nostalgia. This unique representation mode is not found in Tao Yuanming’s works; it was Du Fu who initiated this new poetic theme.

In the Song, the theme of children established and developed respectively by Tao and Du was widely adopted. It is evident in Su Shi’s (1037-110) and Huang Tingjian’s (1045-1105) poetry, but the poems by Lu You (1125-1210) and Yang Wanli (1127-1206) draw our special attention. Lu and Yang are probably most productive in writing poems about children in pre-modern China. Their poems patently deepened the themes of children and childhood.

Like Tao Yuanming, Lu You and Yang Wanli were closely tied to their respective homelands and wrote numerous poems praising their idyllic life. While Dufu’s writing is not about his own homeland but villages on strange soils, idyllic poems still constitute the majority of his compositions. The images of children are basically set in the context of their idyllic poems. The themes about children in Chinese poetry are related to the themes of rural society and farmland space. The present essay is an elaboration on these observations.
“不粘不脱”與“不即不離”———乾隆間性靈詩學對詠物詩美學特徵之反思
Authors: 蔣 寅
Published: November 2022

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

“不即不離”與“不粘（黏）不脱”夙被作爲中國詩學乃至古典美學的一般命題來討論，但實際上它們主要與詠物詩的理論反思相聯繫，且集中於清代乾隆年間，是由性靈詩學引發的焦點話題之一。它們與性靈詩學的重要概念“切”相表裏，在特定的詩學語境中獲得很大程度的理論充實和深化。

The two prosodic doctrines, “not attaching but not detaching” and “not approaching but not departing,” have long been treated as a general poetic theory in Chinese poetics as well as classical Chinese aesthetics. However, they are actually related to the reflection on the theory on the genre of poetry on objects (yongwu shi), a trend prevalent mainly in the Qianlong reign-period (1736-1796) of the Qing Dynasty. These two doctrines were inspired by the poetics on “inner nature and soul” and have a close relationship with the concept of “strikingly relevant” (qie). They were largely enriched and deepened in the specific poetic context of the time.
文法、修辭與意義———1920至1940年代關於漢字“多義性”的討論
Authors: 鄭 毓瑜
Published: November 2022

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

本文以1920至1940年代相關論著爲研究範圍，由“文法”與“修辭”的語義分合出發，討論背後一個根本的焦慮：漢字或漢語究竟該如何對應以英語爲主的文法。其中，一方面思考西方以詞類、句法爲主的文法，如何可能規範漢語語境下的讀書作文；另一方面思考，修辭如果並不全等於標準文法，那麽不同於拼音符號的漢語或漢字，如何在認知、指涉之外，透過本義的引申、假借、類比來引發同情共感。更重要的是，討論漢字或漢語會如何表述那些牽引在説寫／閲聽雙方的經驗、心理狀態之間紛繁如“詩”的意義線索。而這股關於漢字“多義性”的論述潮流，明顯不同於當時漢字拼音化、符號化的“現代”工程，反倒可能是20世紀上半葉，一種翻轉“現代視線”的重要現象。

This essay is focused on discourses and writings on the semantic divergence and confluence of “grammar” and “rhetoric” between 1920 and 1940 to explore a fundamental anxiety behind: how can Chinese characters interact with an English-based grammar. On the one hand, I explore the way English grammar, which relies mainly on morphology and syntax, regulates the reading and writing in Chinese context. On the other hand, I ponder on the issue that, if rhetoric cannot be completely confined within standard grammar, then how Chinese characters, which do not have a syllabic structure, go beyond the writer’s referential point or perceptions and induce empathetic feelings through semantic derivation, phonetic loaning, and analogy. More importantly, this essay probes into the way Chinese characters express the “poetically-rich” implications which are entangled with the psychological states of the writer/reader. This discursive trend dealing with the polysemicity of Chinese characters is apparently different from another trend of trying to modernize Chinese language through syllabilization and linguistic signification then. The discourse of polysemicity in Chinese can be justified as a crucial overturn of the modern gaze.
《易》象新議
Authors: 鄭 吉雄
Published: November 2022

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

本文考論《左傳》所記韓宣子聘魯所見之“易象”，應指禮制中的陰陽之義，非如杜預所指“上下經之象辭”。這種禮制中的陰陽之義，其實普遍存在周代禮制中，溯其源則可上溯殷周之際，殷代尚陰，周代尚陽。今《周禮》、《禮記》諸篇所見“禮”中陰陽之義，即其遺迹。《歸藏》、《坤乾》爲殷商王朝典册，《周易》則昭示周民族尚陽主變的立國精神。自東周以降，王者之迹熄，《易》象的施用，雖仍本於前代，用於政治，但終於因禮教大義衰微，竟流而爲筮人問卦以附會人事的工具。《左傳》記筮例凡十九則，筮人多用“象”解説，《易》象學説一時看似鼎盛，從歷史角度考察則爲衰微。後人用《左傳》筮例，反證《周易》爲占筮之書，並不合宜。

This paper re-examines the term “yi-xiang” (易象, metaphors of the Changes) mentioned by Han Xuanzi in the Zuozhuan (左傳, Zuo’s Commentary on the Chunqiu), arguing that Han was actually referring to the illustration of yin and yang reflected in the national rituals of Zhou dynasty conducted in the Lu. Actually the national rituals of the Zhou dynasty contains two different features: the “yin” part which mainly relates to feminine, plural numbers, nighttime and negative, while the “yang” part which mainly relates to masculine, odd numbers, daytime and positive. We can further trace back to the major difference between the ideologies of the Zhou dynasty which admires “yang” and the Yin dynasty which admires “yin”, justified by the philosophies of the Zhouyi and Guicang/Kunqian. Later on in the Chunqiu period following the decline of the Zhou regime and its ritual system, the political connotation of yin and yang diminished, the Zhouyi was then broadly used as a text for divination and fortune telling.
香港有關《春秋》“五情”之研究
Authors: 單 周堯
Published: November 2022

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

中國大陸研究《春秋》“五情”者，主要有錢鍾書先生（1910—1998）；臺灣研究《春秋》“五情”者，則有張高評先生；香港研究《春秋》“五情”者，似僅筆者一人。本文所述者，爲筆者有關《春秋》“五情”之研究，其中包括：（一）讀杜預《春秋經傳集解序》五情説小識，（二）錢鍾書《管錐編》杜預《春秋序》札記管窺，（三）杜預《春秋經傳集解序》五情説補識，（四）論《春秋》“五情”———兼論“五情”與詩學之關係，（五）竹添光鴻《左氏會箋》論五情説管窺，（六）“五情”之相關問題。

Among the numerous researchers working on the five sentiments of the Spring and Autumn Annals, there are, for instance, Qian Zhongshu (錢鍾書) in the mainland, and Zhang Gaoping (張高評) in Taiwan, but I remain the only one in Hong Kong. The present article describes the essence of six of my research articles on the five sentiments.
朱萬曙：《徽商與明清文學》
Authors: 沙 先一
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

近年來，商人與中國文學的研究漸爲學界所重視，取得了令人矚目的成就。朱萬曙先生的《徽商與明清文學》當爲其中之翹楚，是一部頗多發明和創獲的力作，填補了徽商與明清文學研究領域的學術空白。該書分爲上下兩編，上編“徽商與明清文學生態”側重於探究徽商與文人交往、徽商與文學傳播、徽商家族與文學傳統、徽商與明清戲曲、明清文學中的徽商題材創作等；下編“明清徽商的文學創作”在研究明清徽商文學總體風貌與文學特徵的基礎上，選取徽商文學家進行個案分析，探討徽商文人具體的創作面貌與獨特的文學史意義。(撮要取自內文首段)
清代女性自題畫像意義探析
Authors: 卓 清芬
Published: November 2022

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

清代盛行描繪個人的小照、小像，女性也不例外。不同類型的畫像，顯示了清代女性自我觀看、自我認知、自我定位的心理投射；而透過題詠自己的畫像，更突顯出清代女性自我書寫、自我形塑、自我呈現的主觀意志。從自己的畫像題詠中可以見到清代女性對於親族關係中的自我定位、自我形象的重塑建構、理想志趣的追尋等隱藏的心理層面。不同的形象顯示女性不一樣的自我定位，以及期望被他人理解的内在心性，也爲較少人留意的清代女性自我書寫提供了更豐富的面向。

Portraits became very popular in the Qing Dynasty, and many male scholars and female authors made “small pictures” or “small portraits”. Made by either oneself or others, the portrait and its included poem became part of the major “self-reinterpretation” channels for women in the Qing Dynasty. As the portrait recorded the female subject’s appearance and image and the poem demonstrated her spiritual contents, a full self-image was formed by combining these elements. Hence, the self-image, self-ideal, self-interest, and self-value of life of women in the Qing Dynasty are manifested in the portrait’s poem.
亂世哀音———程兆熊及其《春秋講義》
Authors: 蔡 長林
Published: November 2022

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

本文略述程兆熊其人其學，及其《春秋講義》之主旨。以爲程氏深悉中國歷代土地政策對型塑中國文化具關鍵影響力，故其討論中國文化，頗能從土地開發與心靈開發相對應的關係上進行論述，以爲歷代農政之實施，同時包含了王道教化之精神在内。而此一王道教化之精神，即是儒家的性情之教。程先生《春秋講義》講述的内容，亦不外是對此儒家性情之教的贊揚與維護。是書所揭護持人道大防、讚揚禮義之行、堅守民族（文化）大義諸論，振聾發聵，令人耳目一新。而後知不論就學術史的角度，或者就當代新儒家的研究視野而言，程兆熊都不應該是被忽視埋没的學者。尤其當風雨飄零之際，若研究傳統學問之人，其視野仍僅在考訂字句之是非、版本之訛錯，而無視於天下家國之危，則經學之運晦而難明，亦自身之失誤有以招之。觀20世紀下葉，新儒家於海外之聲勢，對照經學傳統之落寞，得無慨乎！

This paper outlines the life of Cheng Zhaoxiong, his studies and the main idea of his work Chun Qiu Jiang Yi. It argues that under the awareness of the key influences of land policies to shaping Chinese ancient culture, Cheng’s discussion of Chinese culture noticed the corresponding relations between land developments and mind developments, thus, he hold that the implementation of agricultural policies contains a kind of kingcraft spirit for enlightening the public. This spirit was the so-called temperament educating of Confucianism, which was also the main content and fully praised in his book of Chun Qiu Jiang Yi. In this book, Cheng showed his proposition of supporting humanistic principles, praising proper and justice behaviors and adhering to national (cultural)spirits. So, whether from the angle of academic history or the Neo-Confucianism research, Cheng Zhaoxiong should not be overlooked. In troubled times, if scholars’ researches still focused on textual researches such as correcting wrong words and editions, instead of concerning the crisis of his own country, the decline of Confucian classics studies can only put its blame to the scholars themselves. Compared with the influential development of the Neo-Confucianism in the twentieth century overseas, the loneliness of traditional Confucianism really makes people sign with emotion.
20世紀初中國文學現代性的曖昧面貌
Authors: HUTERS Theodore , 吉 靈娟
Published: November 2022

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

中國現代性在更加激進意義上的不完整，歸咎於它所處的複雜的歷史大背景，尤其是現代性在文學中的運用，由此衍生的多聲複義造成其繁複多義、含混使用的狀況。我這篇文章將要探討學界之於現代性、現代主義等概念的論述所存在的偏頗與局限。中國現代性的發生，應當區分以晚清、民初、“五四”三種模式，現代性與現代主義的融匯根本上源於現代性概念中所藴含的基本矛盾。現代性應當突出獨創性，所表現出的最爲突出的特徵體現在無需借鑒任何其他的標準和既成的範式，而是從自身出發創造一套新的標準和系統。

The obscure face of modernity in China begins with the fact that the project in that discourse is incomplete in a much more radical sense, in that its historical siting, key definitions, and ultimate implications, which all remain in many important ways quite up in the air. This paper outlines various limitations inhering in notions of modernity and modernism in China. For early 20th century Chinese literature, there would thus seem to be a late Qing modern, an early Republican modern and a “May Fourth” modern, each with its distinctive features. For a variety of reasons, the early Republican version, as I hope to show, seems to offer the most interesting innovations, perhaps the most important single feature of modernity, and something that fits comfortably with either interpretation of its essential nature. Modernity in essence, needs no longer borrow the criteria by which it takes its orientation from the models supplied by another epoch; it has to create its normativity out of itself.
生育母神、美化的道教女神與人神戀———論唐《黑叟》與明《玉圭神女》中的九子魔母
Authors: 劉 燕萍
Published: November 2022

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

九子魔母故事，始載於南朝劉宋劉敬叔《異苑》卷五陳虞故事。古典小説中，九子魔母的奉祀，始自東晉。唐《張應》載，東晉咸和八年（333），張應奉祀九子魔母，令患病妻子病癒。（《太平廣記》卷一百一十三／卷一百六十一）九子魔母故事，至唐而盛。至明代，則有《獪園》知不足齋本卷十《玉圭神女》。九子魔母（或鬼子母Hariti：訶利帝母），是由印度傳入中國的生育神；在生殖崇拜中影響甚大。唯没有專論，探討這批有關九子魔母的小説。本文集中探討唐《黑叟》（《太平廣記》卷四十一）和明《獪園·玉圭神女》兩篇九子魔母小説的代表作品，以探討九子魔母由生育母神至成爲人神戀女神的轉變。本文擬從民俗與文學方向作出探討，首先：從生育母神———賜人子嗣方面，探討九子魔母的本來神格（唐《黑叟》）。其二：討論唐《黑叟》和《獪園·玉圭神女》中夜叉女與美化女神的關係，因爲九子魔母本來就是吃人的夜叉。（三藏、淨義譯《根本説一切有部毘奈耶雜事》卷三十一）。其三：以人神戀，以及反抗巫術（antipathy magic）角度，探討《獪園•玉圭神女》中巫術逐神情節，並歸納九子魔母由生殖崇拜神祇，至人神戀女神的變化。

The fiction record of Jiuzi Momu first appears in Liu Jiangshu, Yi Yuan. The worship of this fertility goddess starts from the Jin dynasty as stated in the story of Zhang Ying (Taiping GuangJi Vol: 113/161). The worship of Jiuzi Momu flourishes in the Tang dynasty. In the Ming dynasty there is one piece of work recorded in Hui Yuan: Yuhui Shennü. Jiuzi Momu is a Buddhist goddess, her original name is Hariti. Jiuzi Momu is an influential fertility goddess yet very little attention has been paid to the fiction related to this goddess. This article is to study the fiction of Jiuzi Momu especially “Hei Sou” (Taiping Guangji Vol: 41) and “Yugui Shennü” (Hui Yuan) with the perspective of folk customs. Firstly is to study Jiuzi Momu as a goddess of fertility. Secondly is to study the beautified process of this goddess in relation to her original “status” as a yaksha: a malevolent spirit. Thirdly is to study the antipathy magic in the human-spirit love affairs. With the study of this article, the changes of images from a fertility goddess to a beautified goddess in love affairs of Jiuzi Momu can be also be traced.
從蘇軾《東坡書傳》析論其詩文中的天文問題———以《前赤壁賦》爲主題
Authors: 蔡 根祥
Published: November 2022

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

宋代蘇軾的文章最爲人所稱道，其中《前赤壁賦》被選入國語文教材。清朝凌廷堪、張爾岐等人認爲《前赤壁賦》裏“月出於東山之上，徘徊於斗牛之間”兩句，以天文知識來講，是有錯誤的。本論文試圖從蘇軾的經學著作《東坡書傳》中有關天文方面的解説内容，再補充蘇軾其他詩文裏相關天文的描述文句，與《前赤壁賦》中天文陳述作比較，得以瞭解蘇軾的天文學知識的程度，並以判斷蘇軾的文章是否真的産生天文知識的錯誤，抑或蘇東坡如此寫作是有其他的因素存在。

從蘇東坡《東坡書傳》對《尚書》中所記載天文曆象的註解，可以確定蘇軾大部分都依循傳統《孔傳》的論述，也有超出《孔傳》，提出自己看法的。可以得知他對天文的瞭解程度，並不限定於《尚書》，更參考其他天文論述，具有深厚的天文知識基礎。

蘇軾既然具有註解《尚書》天文的認知能力，也表現在他所創作的其他詩文裏。蘇東坡詩文作品裏提到天上星宿不少。經筆者查考分析，在在都顯示蘇軾對天文縣象的精確理解。而對“斗、牛”二星宿更有切身深刻的認識。而“斗、牛”二星在天文星宿上，是極具代表性的，可以借代爲指天上繁星。

據此可知，蘇東坡《前赤壁賦》“月出於東山之上，徘徊於斗、牛之間”，應是用“斗、牛”來“借代”衆星的修辭格用法，説“月亮從東山升起，在夜空中，與滿天繁星優遊共舞”，並不牽涉到星、月之間位置、距離的是非對錯問題。

As one of the most famous scholar and poet in Song Dynasty, Su Shi’s “The Former Ode for the Red Cliff” is a popular literary work and has often been chosen in the nowadays textbooks as a masterpiece of traditional Chinese literature. However, Ling Ting-Kan and Zhang Er-Qi of Qing Dynasty doubted that the astronomical knowledge of the two sentences ——— ‘the moon rose from behind the eastern mountain and lingered between the Dipper Mansion and the Ox Mansion’———in “The Former Ode” was erroneous. In this paper, Su Shi’s Dong Po Shu-Zhuan will be examined with respect to his ability in astronomy, and then his other poems with relevant astronomical description will also be checked. After being compared with that of “The Former Ode,” we can determine whether Su Shi’s astronomical knowledge was in error, or there were other reasons that he wrote so.

The conclusion of this paper is that Su Shi’s astronomical knowledge was of high level and he just used “the Dipper Mansion and the Ox Mansion” as a metonymy for all the stars in heaven.
明代通俗文學與社會宗教生活中道教神系的構建———以《西遊記》和《封神演義》爲中心
Authors: 趙 益
Published: November 2022

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

明代中期以後發展興盛的通俗文學，真正具備了世俗性、商業性、普化性的通俗文學本質内涵，起到了溝通大小傳統、摶合集體記憶、傳播教化一般價值觀念、加强社會認同的顯著作用。明代通俗文學的這種反向作用主要是通過對社會一般宗教生活的影響體現出來的，其中重要的一端是神祇系統的構建。衆多的通俗文學作品不僅豐富和發展了民間“萬神殿”、塑造出重要俗神，而且在此過程中，對原有所謂“制度化宗教”特别是本土信仰和創生宗教的包容體———道教的神祇系統也進行了整理乃至新創。以《西遊記》、《封神演義》爲代表的傑出通俗小説都是中下層文人的作品，作者依據民間社會的接受、創造和自己的理解，在文學性的虛構中對道教神系達成了一種近乎義理化的建設。這種建設與道教包容體的“普化”過程相同步，奠定了近世中國社會一般宗教生活的基本格局。

Popular literature shows up greater development and prosperity after the middle period in Ming Dynasty. Meanwhile, it truly comes to possess the essential connotations such as secularity, commercial and epidemicity. In these point, the popular literature has made remarkable effect in linking up the great tradition and small tradition, gathering collective memory, spreading and educating general concepts, along as strengthening social identity. This reaction of popular literature in Ming Dynasty shows it’s influence mainly by impact on the general social religion life, especially the establishment of the Gods System. Numerous popular literature works have not only developed and enriched the folk Pantheon, which means shaped significant folk Gods, but also made collation and innovation in the Taoist Gods system, which is regarded as the original so called institutional religion. Masterpieces of popular literature, such as the Journey to the West, the Investiture of the Gods, are all written by the underclass litterateurs. In the background of literary imaginary, these authors have developed the Taoist Gods system in the way of argumentation by their own comprehension as well as the folk social reception and creation. This development has settled the basic pattern of the Chinese social common religious life in modern times along with the social lifelization of Taoism.
陳水雲：《中國詞學的現代轉型》
Authors: 王 衛星
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
時代轉换與詞體演進能引領詞風與詞學轉向，是推進詞與詞學史發展的兩大要素。元代後詞體渡過了萌芽期、鼎盛期與衰變期，進入漫長的平穩發展期，從而使時代轉换在推進詞學史發展上所占分量更重。晚清民國，發生了前所未有的劃時代變革，給詞學注入新風，催生出現代詞學，堪稱詞學史上最具衝擊力及主導力的時代變革，從中可槪見古今文化演進的軌迹。對時代特色及價値的客觀定位是需要距離和機緣的，對於近現代詞學，近代學者因“身在此山中”而難見全貌、難得客觀，建國之初又因意識形態關係而缺乏關注、有欠公允，直到近二十年來，硏究價値才逐漸得到應有的重視與恰當的硏究，施議對《今詞達變》、謝桃坊《中國詞學史》、朱惠國《中國近世詞學思想硏究》、曹辛華《20世紀中國古代文學硏究史》（詞學卷）、曾大興《20世紀詞學名家硏究》等論著相繼問世。隨著硏究的深入，學者們越發認識到斷代硏究傳統的缺陷：往往聚焦於時代轉變完成時的階段性結果，而忽視轉變進行時的動向及動因。然而，在詞學發展過程中，傳薪與傳新一一善因與善創總是相輔相成的。時代轉换能成爲影響詞學史發展的要素，正因其是一個新舊交替的動態過程，發揮著承前啓後、别開生面的樞紐作用，不瞭解新舊學術間的傳承與轉變，便難以界定結果是否創新，創新程度與價値如何；更重要的是，相對於莫衷一是、瞬息萬變的結果，原因更具普適性與啓發性。因此，用動態眼光把握詞學由傳統向現代轉變的動因，已成爲大勢所趨。(撮要取自內文首段)
圖中物色：明清“三好”／“郎與麗”類型畫像文本之隱喻觀看與抒情演繹
Authors: 毛 文芳
Published: November 2022

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

明清文人留有許多畫像文本，像主旁襯雅物或麗色的類型畫像，十分引人矚目。取源於南朝蕭琛典故以書、酒、樂三樣雅物擺置畫面、藴含人生快意的“三好”圖式畫像，或像主旁侍一或多名艷姝而敷演風流情境的“郎與麗”圖式畫像，二者相互取資，異曲同工，率爲文人勾勒了功業或倫理等主流價值外逸樂生活的側影。一幅明清“三好”或“郎與麗”圖式的類型畫像，總以像主作爲核心，據而構築一個以物、色襯景元素演繹的情境畫面，引導題詠者定向思維與對話：具像的物品依其形狀、顔色、質地、功能等特性各自延伸出視覺觀看的符號性意義，而像主旁侍的麗姝美色更爲文人寫照凝塑艷情氣氛。畫家採取隱性手段以佈設畫面，俾書、酒、樂、麗姝等視覺符碼經常性出現於圖式中，藉以熏染畫面現場的快意氛圍：“書册”擺於雅會桌几，隱含聚會吟誦的文學特質；“酒罈”立於一旁，喻指畫中人鬆解陶醉的精神狀態；“弦歌作樂”，以彈奏樂器的畫面轉譯現場愉悅的聽覺經驗；“麗姝”陪侍，則爲畫像沾染艷情享樂的色調。這些物／色是作爲創造隱喻的媒介符碼，“三好”或“郎與麗”之圖式則爲文本創建者互文間性及套語結構之修辭産物，筆者將連結諸多題詠用以譯解文本，探索畫家／觀者形塑像主的隱秘意向，逆溯重建繪像當時的意義系統。本文擬對焦於明清“三好”／“郎與麗”圖式之類型畫像文本，考察文本的集體創建者如何透過符號關係與隱喻思維，游移於物／色兩端之層層交織與演繹，爲形塑一位文人形象而展開雅物觀看與麗色抒情兩相交融的近世性意涵。

Among the extant portrait texts by artists of Ming-Qing China, the most eye-catching are those in which the main character has one or more beauties in attendance. Two modes of this type of work were particularly popular: “three good things” and “the gentleman and the beauties.” The former is a representation of the happiness of life. The idea was derived from the anecdotes of Xiao Chen of the Southern dynasties: the painter would place three elegant objects, namely a book, a bottle of wine, and a beautiful singing girl beside the main character in the portrait. The second mode, “the gentleman and the beauty,” is a romantic scene in which the main character is situated in the center of the picture, with one or more beauties beside him. These two modes have a reciprocal relationship with the common effect of outlining a picture of the intellectuals’ life of leisure rather than their general values, such as deeds and ethics.

In a Ming-Qing Dynasty portrait of “the three good things” or “the gentleman and the beauty,” the main character is customarily placed at the center point, and on that basis the painter constructs a scene that is enhanced by the elements of objects and beauty. The poet (who would inscribe some verse beside the portrait) is guided to express direct thoughts and conduct conversations: those substantial objects would lead one to extended symbolic meanings according to their shapes, textures, colors and functions. The effect of the beauties beside the main character is an erotic atmosphere and visual experience, which depicts the leisurely life of the literati.

Focusing on the portrait texts of these two modes, the present essay examines how the artists collaborated in using the “objects” and the “beauty” in a metaphorical sense, and, through a comprehensive survey of a variety of inscriptions, argues that these portrait templates are rhetoric products of the creators’ intertextuality and language structures. It discusses how the collaborating creators of the artwork play with the interrelation and deduction of the two ends of “object” and “beauty” via the symbolic relations and metaphorical thoughts in their creation of an image of an intellectual who is deemed to have an elegant appreciation of objects and beauties, which represents the vogue of the time.
重探張愛玲小說裏的病態身體———以《花凋》、《紅玫瑰與白玫瑰》、《小團圓》爲主
Authors: 楊 佳嫻
Published: November 2022

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

蘇珊•桑塔格（Susan Sontag）認爲，疾病是内在精神狀態通過身體說出的語言，是一種自我表達。張愛玲（1920—1995）小說的文本分析車載斗量，疾病書寫在“張學”裏不是新話題。曹七巧“閣樓上的瘋女人”（The Madwoman in the Attic）形象，肺病隱喻，歇斯底里症候，或厭食症狀、子宫病變，均是學者關注焦點。總的來說，肺結核、歇斯底里、瘋狂，應該是張愛玲小說内的疾病書寫最常被論及的面向，當然，這些也是中國現代文學裏慣見的幾種病態。而本文則希望能擴及張愛玲小說内其他尚未被論說圓滿的病體書寫。

因此，本文主要透過《花凋》裏的肺癆、《紅玫瑰與白玫瑰》裏的霍亂與便秘、《小團圓》裏的厭食症與性愛疼痛，探討張愛玲小說裏的病態身體（morbidbody）的三種樣貌：消耗與醜怪的身體、堵塞與自囚的身體、内傷與自棄的身體，以及其所彰顯的意義、在小說美學上的功能。談疾病書寫而格外側重身體，是因爲疾病必須在身體顯現摧枯拉朽之力，才能暗示、側寫出人物的身心變化與生命困局；進一步也能探究，小說人物什麽樣的遭遇與什麽樣的疾病會被聯繫起來。借助歷史材料，並深化小說文本解讀，得以見出張愛玲小說裏所生産出的病態身體，並非孤立存在，而是鑲嵌於歷史、社會與性别的圖景内。

Susan Sontag argues that illness is the internal spiritual status that becomes a language spoken through the body, and is therefore a form of self-expression. There have been plenty of studies of Eileen Chang’s (1920-1995) novels, and the discussion of narratives on illnesses in her works is not new. Cao Qiqiao, the Madwoman in the Attic depicted as a patient of tuberculosis with symptoms of hysteria, anorexia and uterine diseases, has long been a focus of recent scholarship. These are certainly common illnesses found in modern Chinese literature. The present essay, however, is an attempt to discuss Chang’s writing on illnesses that have not yet been studied.

Hence, the present research focuses on illnesses such as tuberculosis in The Withering Flower, cholera and constipation in The Red Rose and the White Rose, and anorexia and dyspareunia in Little Union. It explores three types of morbid bodies in Chang’s novels: exhausted and ugly bodies; confined and self-imprisoned bodies; and internally injured and self-abandoned bodies; and discusses their significance as well as their aesthetic functions. The description of the body is essential in the discussion of narratives of illnesses because by means of its formidable power illness functions in implying or indirectly depicting the protagonist’s changes in physical and psychological condition as well as her life dilemmas. Furthermore, the research explores the connection between certain encounters and certain diseases. Making use of historical sources, the analysis of texts may become more in-depth; we see that the morbid bodies in Chang’s novels by no means exist in isolation but are imbedded in a contextual picture of history, society, and gender.
韓少功對“文學尋根”的重探———以2006年新版《爸爸爸》爲論述中心
Authors: 鄺 文峯
Published: November 2022

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

中國大陸上世紀八十年代“文學尋根”理念的倡導者韓少功於2006年重寫其“尋根”經典小說《爸爸爸》，同期發表一系列重探“尋根”的文章，爲有關“尋根”的討論帶來新的衝擊。本文首先整理韓少功修訂《爸爸爸》的背景，指出作家通過是次修訂，具體回應評論者二十年來側重於《爸爸爸》的批判性的解讀方向。本文亦指出是次修訂的準則並非純如作者解釋，旨在恢復原貌、解釋用語和修補缺失，更有重新創作之意。本文其後通過對讀《爸爸爸》的新舊版本，指出作家通過強化小說内部各種思維的角力，強調“尋根”問題的複雜性，肯定《爸爸爸》於批判以外的意義。本文亦配合韓少功2000年以後重探“文學尋根”理念的文章，說明韓少功在其重探“尋根”的過程中，其焦點漸漸由強調以中國“先鋒派”作家作參照，轉移至強調知青下鄉與“尋根”的關係。韓少功通過重探“尋根”肯定其“進步的回退”文學理念，爲“尋根”賦予新的意義。本文由此說明韓氏先後標榜“先鋒”和“回退”兩種看似截然不同的姿態，事實上呈現了作家在現代主義文學與左翼文藝之間的協商。

In 2006, Han Shaogong, one of the most vital writers in contemporary Chinese literature, rewrote his renowned novel Pa Pa Pa, a classic of the “Root- seeking” movement in the 1980s. At the same time, Han published a series of articles on “seeking the root” and put his theory into practice in Pa Pa Pa. The ambiguity of the novel immediately raised great concern. Critics generally viewed it as a tale showing the dark side of the Chinese national character.

In the new version of Pa Pa Pa, Han added more than 10,000 words and made significant amendments. With a detailed comparison of the two versions, this paper argues that Han re-examined the Chinese “root-seeking” literature and responded to criticism that had been made over the previous 20 years through rewriting his classic work. It also shows that in the new version, Han deliberately toned down the level of criticism and focused on the dilemma the characters encountered in the novel. Taking the novel as an example, this paper shows the complexity of Chinese “root-seeking” literature.

Moreover, with the support of Han’s articles published in the 2000s, this paper argues that Han’s concern shifted from the influence of Chinese avant-garde literature to why the young intellectuals sent to rural regions during the Great Cultural Revolution were so eager to “seek their roots.” As such, Han’s re-interpretation of “root-seeking” is an attempt to advocate his idea of “A Retreat of Progress.”
《i-城志•我城05》的城市及身體空間書寫———兼論“後九七香港青年作家”的情感結構
Authors: 鄒 文律
Published: November 2022

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

西西《我城》面世30年後，潘國靈和謝曉虹以《我城05》寫出了一部新世紀的“i城”故事。小說通過再現發達資本主義香港的城市生活，寄寓了兩位作家對城市和身體空間的思考。本文分爲三部分：第一部分，通過細析《我城05》，探討潘國靈和謝曉虹在書寫“i城”時，如何呈現香港那深受資本形塑的城市空間，揭示香港在21世紀初成爲發達資本主義都市後的諸種空間特質。資本主義不僅按其邏輯塑造城市空間，身體空間亦在其支配之下，故第二部分聚焦於考察《我城05》中的“勞動身體”和“疾病身體”。潘、謝二人一方面批判資本主義通過教育把“勞動身體”物化，另一方面亦指出“疾病身體”藴含對資本主義的強大反思性／批判性力量。最後，本文把《我城05》與韓麗珠、李維怡、可洛等“後九七香港青年作家”的作品並讀，勾勒出他們的“情感結構”———抗拒資本在城市空間的無止境擴張。

Thirty years after Xi Xi published her novel My City, Lawrence Pun Kwok-ling and Dorothy Tse Hiu-hung collaboratively wrote a story about the “i-city” and published it as a book entitled My City 05. Through their representation of the highly capitalistic city life of Hong Kong, the “i-city” reveals the authors’ thoughts on the city-space and body-space in Hong Kong. This article is divided into three parts. The first part explores and analyzes how their depiction of “i-city” shows the city-space of Hong Kong as highly capitalized, so as to reveal the spatial characteristics of Hong Kong in the early 21st century. The second part discusses the fact that it is not only the city-space that changes according to the system of capitalism, but the body-space is also under its control. This part thus focuses on the “working body” and “disabled body” in My City 05. On the one hand, Pun and Tse criticize capitalism by illustrating how it objectifies the “working body” through the education system, but on the other hand they demonstrate how the “disabled body” engages in reflection/criticism on capitalism. The third part of this article is a comprehensive reading of “post-1997 young Hong Kong writers” through the lens of the “structure of feelings,” that is, their resistance to the expanded influence of capitalism towards the city-space. This reading takes My City 05 as a central text and compares it with works by other writers such as Hon Lai-chu, Lee Wai-yi, and Ho Lok.
郭店《老子》甲組21號簡有關異文的解釋
Authors: 鄔 可晶
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
郭店楚墓所出《老子》甲組21號簡之文，既見於今本《道經》第二十五章，又見於西漢早期的馬王堆帛書本、北京大學藏西漢中期竹簡本《老子》。各本之間存在不少異文，學者們對此已有許多論述。爲了弄清楚《老子》此章的原意，有必要在吸收各家合理說法的基礎上，對郭店《老子》這支簡的有關異文重新進行解釋。我們的討論主要涉及：“■有蟲成”的“■”和“蟲”、“■敓”的釋讀；“周行而不殆”一句的有無及其含義；是“可以爲天下母”還是“可以爲天地母”。
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A sentence in slip number 21, group A of the Guodian Laozi manuscript is found not only in chapter 25 of the received editions of the Daojing but also in two manuscripts: the Mawangdui silk manuscripts dated from the early Western Han Dynasty and the bamboo slips dated from the middle of the Western Han preserved at Peking University. However, in these editions there are a number of textual variants, which have been discussed by scholars on numerous occasions. In order to discover the original intended meaning of this chapter in the Laozi, it is necessary to revisit the issue based on existing scholarship and provide new explanations.
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屈原與經術———從詞語、文法及思想看屈賦對儒經的接受和融合
Authors: 許 子濱
Published: November 2022

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

王逸標舉屈賦“依託五經以立義”，其《楚辭章句》中屢屢舉屈賦與經語互 證。這種論證方法，一直爲後世學者所沿用。洪興祖對王注多所補充。明、清 兩代《楚辭》學家如汪瑗和蔣驥等，對前人的論證方法，既有繼承，又有所擴充、 深化和完善，觸及屈賦與經術的更深層次的關聯。在近現代學者中，饒宗頤教 授是提出“屈原與經術”命題的第一人。饒公曾列舉十四條《離騷》與《論語》、 《易》、《書》、《詩》、《左傳》互證的文例。本文踵武饒公的論證方法，除條舉五十 餘例，印證屈賦中語多源於經書外，還從文法及思想兩方面，提出新證，著力證明 屈原與經術密切相關。從“内美”、“中正”、“折中”，以及“道”、“路”意象，足見屈 原的思想植根於經術，不獨文章爲然。不可不知的是，屈原的“中正”思想，亦與 《管子》相通，具備多元融合、恢廓宏遠的特質，也因此成就了屈原思想的獨特性。

It has been a traditional belief that Qu Yuan’s works were partly derived from the Confucian canons, and some exegeses even regarded him as a Confucian scholar from the Chu state in the south. The late Professor Jao Tsung-i delivered a speech entitled “Qu Yuan and Confucian Canon Studies” in the 1970s, in which he selected more than a dozen phrases from the Li Sao for comparison with their counterparts in the Confucian canons. Professor Jao’s interpretation accords completely with views put forth by some Eastern Han and Ming-Qing scholars. The present article is a thorough examination of the relationship between the Li Sao and the Confucian canons as well as thoughts of different schools. It comes to a conclusion that Qu Yuan not only absorbed Confucian views but also integrated them with those from different schools of the Warring States Period and thereby created his own ideology. This observation finds support in the evidence of a large register of phrases, especially those with philosophical meanings, such as: “internal beauty” (neimei 内美), “essential breath” (jingqi 精氣), “impartial and upright” (zhongzheng 中正), and the symbolic “the way and the path” (daolu 道路), as well as several other specific syntaxes. All these examples attest to the relationship between Qu Yuan’s works and the Confucian canons.
陳廣宏：《中國文學史之成立》
Authors: 龔 宗傑
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.

自上世紀初清廷先後頒布“壬寅學制”和“癸卯學制”，將近代意義上的“中國文學”學科納入本國教育體系以來，“文學史”作爲文學教育與學術硏究的主要形式，逐漸成爲一種爲人們所熟知的用來了解和認識文學的知識形態。回望一個多世紀以來中國文學史的建構之路，文學史寫作日臻系統、成熟的同時，也逐漸暴露出諸如思維模式僵化、敘述框架固定等積重難返的問題，已引起當今學界的廣泛關注。“重寫文學史”的命題正是在這種反思與重構的訴求之下被不斷地提出。當然，要實現中國文學史書寫及其教學、硏究體系的翻新，還有相當長遠的路要走。評估和檢討已有的文學史書寫經驗，仍是當前很有必要開展的一項工作。上海古籍出版社於2016年底推出陳廣宏教授《中國文學史之成立》一書，是近年大陸學界在此領域頗具分量的硏究成果。該書將作爲詞語與槪念的“文學”以及作爲知識體系的“文學史”，置於晚清民國時期中西及日本不同知識背景、文化立場的時空坐標之中，又通過對中國傳統學術和西方理論新知的梳理加强其闡釋的縱深，細緻地描繪了這一知識與學術體系形成的歷史脈絡。(撮要取自內文首段)
漢晉時代《左傳》的附益與編修
Authors: 李 明陽
Published: November 2022

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

《左傳》原爲魯史官左氏所撰，今本《左傳》是後世重新編纂、附益後的結果。左氏原作非注經文獻，後人將《春秋》中一些簡短記載抄入《左傳》並撰寫了解經語，“五十凡”與解經語性質近似，同爲後人附益成分。“徵兆—應驗—議論—結盟”是左氏原作的基本叙事邏輯，以“君子曰”爲標誌的時人議論體現了左氏解釋歷史和建構道德的書寫衝動。《左傳》的原初撰寫完成于戰國中期，是帶有原史精神的個人著述。漢晉之際原史文化主導的文獻書寫早已停滯，附益和編纂行爲源於對政治話語權的爭奪，因此，編纂者增益了左氏原作的事件，還對原作的結構和叙事策略做了旨在與《春秋》經“比其類義”的調整，至此完成了《左傳》從私人著述向公共話語資源的轉化。對《左傳》原本的附益與編修，不僅體現了漢晉經學博士對左氏史職的規訓，也凸顯出脱離宗教傳統、旨在知識建構的歷史書寫對原史職事的隔膜。

The Zuozhuan (Zuo Commentaries [on Annals of The Spring and Autumn Period]) was first compiled by a certain historian of the State of Lu named Zuo, but the edition we now have was a product of augmentation and re-compilation done by some other hands after Zuo. The Zuozhuan was not meant to serve as a “commentary” on the classics when it was first written. Later, some scholars incorporated some brief accounts from the Chunqiu (Annals of the Spring and Autumn Period) and wrote some exegetic notes on this classic. The “Fifty Rubrics,” which were quite similar to these notes on the classics, were likewise new components augmented by a later hand. The basic structure of Zuo’s narratives may be summed up as a flow, which starts with “an omen” to its “fulfilment” and “comments” by people and, finally, to “alliance” of states. The rubric of “the gentleman said” is a means by which the author brought in the comments made by people of the time; it serves to reflect Zuo’s views of history, moral values, and the motive behind writing. The Zuozhuan was first finished in the middle of the Warring States Period. It was meant to be a primary history by an individual. However, during the period of Han to Jin, the writing of culture powered by this kind of spirit ceased. Instead, the struggle for political discourse triggered the acts of augmentation and re-compilation of historical writings. As such, these later compilers added some events to the original Zuozhuan. In addition, they made changes to the structure and narrative strategy of the original book, in an attempt to match up the relevant parts in the Chunqiu. Then, the Zuozhuan completed its transformation from being a private historiographic work to becoming a public discourse resource. The augmentation and re-compilation of the Zuozhuan not only reflect the attitude of the scholars of Confucian classics of Han to Jin times towards Zuo’s historiographic principles, but also highlight the extent of how the historiography of the time, which had been divorced from religious tradition and committed to knowledge structure, became alienated from the mission of a historian of basic primary history.