bluuebunny/crossref_metadata_2025_split huggingface dataset:
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.
尋常詩家難相例——宗法杜韓的近代詩學意義
Authors: 吳 淑鈿 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
自宋代以來，杜韓常被同時標舉為詩學的典範，這除了意味他們有相同的藝術風格外，也反映了一個時代的詩學趣味。考察近代詩壇，杜韓更是廣大詩家學習的對象，儼然成為中國古典詩壇最後的一個大典型。本文擬從三方面探討近代詩學宗法杜韓的意義。首先是從近代宋詩派的詩觀出發，指出宗法杜韓是學人詩與詩人詩合的理念具現，也是近代以學問性情為詩的詩論精神的總體呈現。其次是近代詩學既重視創作主體的道德修養，反映在學古的對象上，杜韓符合詩與人合一的主導精神。最後是從藝術特質及詩史地位著眼討論杜韓詩並稱的意義。通過三方面的論述，期能找出近代詩學上杜韓被認取作為學習典範的本質，及在道咸以後的學宋潮流中，杜韓以唐人仍被標為大家的價值意義。DU Fu and HAN Yu were respected as the canonical in the learning of poetry since SUNG Dynasty. This does not only imply that they have the same artistic styles but also reflects that they contain the poetic taste of the same era. When studying the poetic circles of the modem times, DU Fu and HAN Yu were also the models of learning of numerous poets. They were just like the last great prototype of the ancient Chinese poetry circles. This article intends to explore the meaning of respecing and modeling DU Fu and HAN Yu as the outstanding figures by the learning of poetry of modern times from three arenas. Firstly, the article will commence from the poetic point of view of the poetic schools of SUNG Dynasty of modem times, point out that respecting and modeling DU Fu and HAN Yu as the outstanding figures on the learning of poetry is the concrete revelation of the concept of the learning poetry from person and the integration of poet and poems, and is also the overall revelation of essence of the study of poems in which the learning and character were appraised as their value of their poems in modern times. Secondly, the poetry learning in modem times on the one hand attaches great importance to the moral accomplishment of the author and reflects in the ancient person targeted to be exemplified. DU Fu and HAN Yu conform to the main trend of integration of poems and poets. The last aspect is to discuss mainly on the equal important status of poems of DU Fu and HAN Yu from the artistic features and their status in the history of poems, It is expected to identify the original nature of DU Fu and HAN Yu being recognized as the learning models in the learning of poems in modern times, and the reason why DU Fu and HAN Yu as people in TANG Dynasty are still respected as the great master after the trend of modeling SUNG poets after the Dao Guang and Xian Feng eras.
一九四九年以後香港對杜甫研究概況
Authors: 陳 少芳 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文嘗試以出版地來界定「香港」一詞之所指，並把一九四九年以後，曾在香港出版或發表過有關杜甫的論文、著作和選集等資料，加以搜等和整理，進而從選本之述評、李杜之比較、有關郭沫若《李白與杜甫》而展開的討論等不同範疇作综述，希望能藉此勾勒出自一九四九年以後香港在杜甫研究方面的概況。
資料整理後發現，综觀近五十年來香港出版過有關杜甫的論文已超過一百篇，著作和選集亦不下三十多本，以香港這樣一個彈丸之地而言，成績實在令人鼓舞。而香港對杜甫的研究除了涵蓋範圍廣泛之外，研究方法每以多層次、多度角展開，其中尤值得注意的是西方文學理論的運用，這在提供討論問題的視野方 面而言，是有其積極作用的。 The article attempts to cllect and arrange the articles, books and anthologies that studied about Tu Fu and were published in Hong Kong after 1949. The definition of "Hong Kong"is base on the principle that those works had been published in Hong Kong. The articles was divided into different sections, such as the comparison of Tu Fu and Lee Bai, so as to mark a draft for the study of Tu Fu in Hong Kong after 1949 and its contribution.
After the collection, we find that there are over a hundred articles and not less than thirty books that studied Tu Fu were published in Hong Kong in the past fifty years. Moreover, we can see that they studied Tu Fu in different aspects, especially they always apply some theories of literature criticism from the West. It is undeniable that it expands the studying of Tu Fu.
胡應麟論齊梁陳隋詩與唐律之關係辨
Authors: 鄧 仕樑 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
胡應麟(1551—1602)生當明代中葉前後七子主領文壇之世，論詩不脱明人習尚，推尊盛唐，講求興象風神。但他能夠同時客觀地上溯唐律形成的脈絡，舉出眾多例證，切實從詩歌語言的聲調、句法、風格、結構諸端，探討齊梁陳隋與唐律的關係，這在明代是突出的。
本文試就論流變、論格律、論結構三方面，對胡氏的論述加以辨析，期以補充批評史上對其詩論的認識，更進一步思考在清世聲調論大盛之前，明人在這方面的探索有什麼意義。Hu Ying-lin (1551-1602) was bom into a literary era dominated by the so-called Qian qi-zi and Hon qi-zi (Earlier Seven Masters and Later Seven Masters). His views on poetry, not surprisingly, reflected the prevailing trend which promoted High Tang poetry as the highest standard for writing poems. What set him apart from other Ming critics, however, was his interest in the origins of Tang regulated verse, and his objective attempts to explore the similarities between regulated verse and Qi, Liang, Chen and Sui poems in tonal pattern, syntax, style, and structure.
This paper examines Hu Ying-lin's views on this subject, focusing on three areas: the development, versification and structure of regulated verse. It is hoped that this would give us a better insight of Hu's poetry criticism. Furthermore, it should shed some light on the views of Ming critics on the issue of tonal patterns before it was vigorously pursued by scholars of Ching dynasty.
蘇軾與《愣伽經》
Authors: 張 宏生 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《楞伽經》是中期大乘佛典之一，對中國佛敎尤其是禪宗影響很大，但至唐代禪宗六祖惠能以後，此經的地位卻漸有下降。一直到北宋的蘇軾，才重新強調《楞伽經》的重要作用。蘇軾之所以推重《楞伽經》，在禪學上，是對當時流行的看話禪和文字禪進行批判；在詩學上，是對江西詩派過於強調學古表示不滿；在人生觀上，與他本人的隨緣任運的思想相契合；在創作上，加強了其作品的深度並豐富了其表現手法。Lankãvatãra-sutra is one of the Mahãyãna sutra in the period of mid-term Buddhism development which gave more influnce to the Buddhism especially to Zen in China. But it did not keep high position after Hui Neng, the sixth generation leader of Zen in Tang Dynasty, until Su Shi pointed out its important role in Northern Song Dynasty. Su Shi paid attention to the book because of following reasons: first, he criticized the Word Read Zen at that time; second, he was not satisfied with Jiangxi Poetry School for its unduely stressing on past in poetic; third, he was able to adapt himself to different circumstances in all his life especially when he came up against big difficulties; fourth, he strengthened his works in depth and enriched his works in technique of expression by the book of classics.
魯迅小説的敍述技巧
Authors: 曾 錦漳 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
魯迅(1881-1936)是我國現代小説重要的開拓者。他的小説，無論內容、形式、技巧，都突破傳統小説的規範，尤其敍述技巧方面，勇於作種種新的嘗試。他借鑑了西方的敍事觀點理論，靈活變化運用：每一種敍事觀點都加以試驗，相同的敍事觀點又加以變化運用，做成每一篇作品都有不同的形式。
《吶喊》和《彷徨》是魯迅創作小説的結集。本文就兩部小説集中二十五篇小説，逐一分析其敍述技巧；而所謂敍述技巧，主要是敍事觀點的選擇、運用，有時旁及敍述時間的操縱、調度。Lu Xun (1881-1936) is an important pioneer of Chinese modem fiction. The content, format, techniques of his novels are also breakthroughs to the canonical of traditional Chinese novels. He also made new attempts in his narrative techniques. He used the experience of the narrative viewpoint theory from the western novels and handled them with great flexibility. He experimented on each of the narrative viewpoint and applied them quick-wittedly on the same narrative viewpoint so that each piece of the novels has a different modality.
"Cry Out” ('Na Han') and "Wandering" (‘Pang Wang') are the two collections of short novels of Lu Xun. This passage focuses on the analysis of the narrative viewpoints of the twenty five masterpieces one by one. The so-called narrative techniques are mainly the choice of narrative viewpoint. He might sometimes takes interest in the control and management of narrative time as well.
對整體性危機的文化回應——現代「文學」的確立與王國維的「審美現代性」規劃
Authors: 羅 崗 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在西方，一般認為「現代性」的展開過程就是一個「合理性」分化的過程，即歐洲的「現代性」是宗敎與形而上學所表達的「實質理性」一分為三個自主的領域——科學、道德與藝術——的結果。而所謂「現代文學」也是在這個過程中創製出來的。本文在晚清歷史和思想的語境下，討論王國維「審美現代性」規劃與「現代文學」在中國確立之間的關係，指出中國現代性雖然也面臨着「合理性」分化的問題，但是作為對整體性文化危機的一種回應方式，它的內在特質和表現形態並不能純粹按照歐洲經典現代性的方式予以規劃，相反，正是在某些有悖於甚至是抵抗「經典現代性」的層面上，更能顯示出中國現代性的活力。具體到王國維，文章並不局限在「審美」或「美學」領域，而是希望通過把王國維的「分化」思想置放在中國現代性「創製」的背景下，繼續追問一系列知識學問題，進而考察知識分化、學科建立與敎育體制之間的複雜關係，由此描繪出「現代文學」在晚清發生時的複雜圖景。It is commonly shared by the western world that the development of "modernity" is a process of the differentiation of "rationality", i.e. European "modernity" is the result of Substantial Logos' dividing into three-science, moral and art - independent domains with "Substantial Logos" expressed by religions and metaphysics. The so-called "modern literature" is created right in this process. Using the context of the history and thoughts of late Qing, the paper studies the relationship between the establishment of "modern literature" in China and Wang Guowei's project on "aesthetic modernity". As a fashion in response to macrocosm cultural crisis, China's modernity, facing though the differentiation problem of "rationality", differs with classical European modernity in inner character and expression. Rather, China’s modernity is more richly unfolded when it differs with or even resists the "classical modernity". When studying Wang Guowei, the paper is not localized in the field of "aesthetics" or "esthetics", instead, it traces a series of knowledge problems by exploring Wang's thoughts on "differentiation" in the background of the "creation" of China’s modernity. Hence, by probing into the complicated relationships between episteme differentiation, the constitution of disciplines and the education system, the paper pictures an intricate image of "modern literature" in late Qing.
《宋明理學與中國文學》
Authors: 劉 士林 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
關於宋明理學的基本精神及其天地境界，馮友蘭先生曾以「極高明而道中庸」來概括之。話雖簡練，但其底蘊卻是那種「脱有形似、握手已違」的東西，因為這個話語結構本身在邏輯上就是自相纏繞的。所謂「高明」，就其作為一種崇高的倫理主體性之本質表現，它必然要比日常世界中的所有存在多出了一個「高」字；而且也正是借助這一「高」出來的層面，理學家才能把自身與現實世界再生產為一種超越於其固有形式之上的「天地境界」。而所謂「中庸」，就其本義是「無過無不及」，是宇宙自身「元來如此」的顯現而言，它本身就是一種不可能發生任何變化的東西，因為一旦發生任何變化，就必然要隨之發生物我、主客、天人、理欲等二元對立，也就是説，必須像莊子那樣時刻警惕「我必為莫邪」這種對於「高明」的倫理衝動，才能實現與天地為一的、「無過無不及」的中庸境界。因此這兩者之間可以説充滿了深刻的不可調和的邏輯矛盾。這種邏輯矛盾也典型地表現在宋儒特別喜歡討論的「心勿忘，勿助長」（《河南程氏遺書》卷二），所謂「勿忘」就是不能失其本心，而所謂「勿助長」則是同時又不能有意為之。這是一個深刻的矛盾，因為「勿忘」之中本就已包含着一種自我意志的努力，即它已經是「助長」的結果了。另一方面「助長」的問題也很多，如果宇宙本體之理是仁，它原無欠缺，亙古不變，不能在上添加什麼，這時理學家需要做的就是要講「敬」、「靜」、「定」、「勿忘」、「未嘗致力」、「用力不得」，否則就會因為人的主體努力而破壞了世界本身的「理」本體；但另一方面，這實際上又等於取消了倫理主體存在的任何意義，因為假如世界本身就是最高的「善」，那麼理學家講的倫理主體性，對於個體也就不可能再有任何價值可言。這種邏輯矛盾其實理學家們在倫理踐履中也一定深刻意識到了，所以他們説「理」、「天地境界」是非常難以言説的：向上講得高了，就會否定倫理主體存在的意義而淪入釋家的「空」相；另一方面向下講得低了，則會遮蔽天理的「高明」本質從而導致它與人的自然欲望相混淆。(撮要取自內文首段)
《悖立與整合：東方儒道詩學與西方詩學的本體論、語言論比較》
Authors: 魏 家川 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
「向日式隱喻」與「白色神話」是楊乃喬博士後研究報吿的理論興奮點，也是我解讀他的《悖立與整合——東方儒道詩學與西方詩學的本體論、語言論比較》這一文本的重要切入點。(撮要取自內文首段)
《中國現代詩歌史》
Authors: 朱 少璋 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
若從時間的角度去定義「現代」一詞，則現代詩歌史並不等同於「新詩」史。「現代」是時限問題，「新詩」則是文學體裁與性質。在理想中能稱得上名副其實的「現代詩歌史」，其內容應不分詩體之新舊，只要是在「現代」這期限內的一切詩歌創作活動，均應在論述之列；易言之，一部完整而客觀的現代詩歌史，應該是全面、有系統地論列發生在現代的詩歌創作活動，朱光燦的《中國現代詩歌史》就能做到這點，遂使這部詩歌史能有個性地、有理據地展示編著者對「現代詩歌」定義的反思和具體看法。(撮要取自內文首段)
《書於竹帛——中國古代的文字記錄》
Authors: 潘 銘燊 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
影響人類歷史的中國四大發明，有明確記載發明經過的只有造紙術。《後漢書•蔡倫傳》一則「倫乃造意用樹膚、麻頭及敝布、魚網以為紙……」的記載，使蔡倫成為二千年來造紙作坊供奉的祖師。然而，蔡倫的發明權不是沒有爭議的，而且形成了兩個極端的看法。持否定看法的，譬如潘吉星，認為「如把『造意』改為『監作』或許還近於實際情況」（《文物》1973年第9期）。持肯定看法的，如楊巨中，則明詔大號宣稱「蔡倫發明了造紙術」（《中國古代造紙史淵源》，西安，2001年）。錢存訓在《書於竹帛》中則表達了一種持平的態度，他指出蔡倫對於造紙的貢獻至少有二：即新生原料的採用和製造方法的改進。「這雖然是從舊經驗中所獲得的新成功，但從生產原料和技術方法上加以評估，這確實是一種很重要的改進和貢獻。」（頁112。本評介提到的頁碼，都指上海版。）(撮要取自內文首段)
《中國古代音樂史》
Authors: 鄭 祖襄 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
整個二十世紀，公開出版的《中國古代音樂史》著作有十餘種，惟獨黃翔鵬的這一部，可稱最為新穎、獨特。它沒有其他著作那樣方方面面的豐富內容，但卻有取自廣泛、概括而精闢論述；他沒有羅列各項研究成果，卻常常站在學術前沿提出問題與方法；它不重複他人的論述，而是站在前人和大師的肩上把學科的發展引向深入。(撮要取自內文首段)
《宋人別集敍錄》
Authors: 徐 希平 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
「華夏民族之文化，歷數千年之演變，造極於趙宋之世。」陳寅恪先生的這一著名論斷，精闢地指出了宋代文化在整個中華文化發展史上的特殊地位，也説明了宋代文化研究的重要意義和價值。除了宋人本身對文化遺產的特別重視和努力之外，文化傳播手段的革命性進步也是宋代文化繁榮的一個重要原因，雕版印刷術的普遍應用，使經籍文書得以廣為刊行，為文化的普及流傳與總結研究創造了良好的條件。而相容文學、史學、哲學、學術思想等觀念文化重要成分的宋人文集，亦因之而得大量編印刊刻，此正為宋代文化繁榮興盛的重要標誌之ー，則宋集研究對於宋代文化研究不可或缺之意義由此即已顯見。(撮要取自內文首段)