bluuebunny/crossref_metadata_2025_split huggingface dataset:
嘉祐二年貢舉事件的文學史意義
Authors: 王 水照 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
宋仁宗嘉祐二年（1057），歐陽修權知禮部貢舉。這一為時不長的衡文取士過程，卻蘊含着深遠的多重文學史意義，對於「歐門」的組成、文風的改革乃至宋代文學發展的導向，產生了重要的作用，北宋時期的 第一個文學高潮也隨之同時出現。
一，「歐門」構成基礎的進士集團。歐門是逐漸形成的一個鬆散的文學羣體，但歐陽修此科取士，得人最盛，雋才雲集，歐門遂告正式確立。赴京應試的舉子們所形成的特殊文化圈為歐門的優化組合提供基礎，歐氏與舉子的雙向選擇標準，體現了歐門的文學性質。座師與門生、門生與門生之間的關係構成了歐門縱橫結合的網络結構，保證了從歐門到蘇門發展的連續性。
二，排擯「太學體」，宋代散文羣體風格的成立。「太學體」的性質及其產生的歷史淵源和文化背景。歐 陽修排擯「太學體」的自覺性及其散文理論主張。在平易自然、流暢婉轉的宋文羣體風格的形成過程中，嘉祐貢舉紛爭是重要的一環。
三，「鎖院」詩歌唱和的文學活動。今存八、九十首唱和詩的內容分析。「唱和」對詩歌藝術的積極作用 和負面作用。詩歌酬唱成為宋代普遍的文學現象，影響複雜和巨大。
北宋詠琴詩
Authors: 劉 楚華 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
宋代文化素質之高，見於宋人之重科舉教育、出版繁榮，宋代士風之美，更為後世所稱道，士大夫的氣節情操固然是推動社會文明的主力，他們對於傳統文化的熱忱，是保存雅士文化與傳統藝術的重要支柱，文學方面雖説詩歌已不復盛唐，詞體又迅速發展，然詩壇景況不衰，反而詩家輩出；音樂方面，民間曲調已廣泛流行，文人莫不沉緬在輕歌漫舞、杯酒新詞的時代情調之中，卻又為衰廢已久的古樂、琴道大聲吶喊，使兩宋成為在歷中上少見的古樂整理及琴樂發達的一代。古今共存、雅俗並興，這種耐人尋味的現象正是宋代文化最顯著的特徵，追究原因主要是君主的提倡及士人對詩體、琴道的尊重所致。本文主要工作檢閱北宋諸家詠琴詩作，除了從藝術角度之外也圖立足在詩、樂兩種藝術交滙點上，透視北宋文人生活，尤其是在北宋中期，這個昇平的學術、文化環境之中，詩、樂文化的創作空間與生存狀態。The Northern Sung (960-1126) enjoyed more than one hundred and fifty years of peace and prosperity. A new popular form of poem Ci evoluted energetically in the world of literature, the Shi performed nevertheless its consistent creativity among literati. On the other side of popular songs that developed actively along with Ci, the traditional Qin music was preserved respectfully by literati. Both favoured by scholars and emporers, Qin and Shi symbolized then spirituel stature to most culturists and achieved through-out Chinese history an unique position in the world of refined art.
梁啟超的名號
Authors: 蔣 英豪 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
梁啟超(1873-1929)是晚清改良派的宣傳巨子，他擅於利用報刊宣揚維新立憲政見，辦過逾十種報刊，著述甚豐，其所用的名號也特多。其名號透露了他一生思想與治學途徑的發展與變化、他的流亡生涯、他的報刊事業、他的文學事業、他在政壇上的角色、以至時人對他的觀感。本文歸納他所用過的以及時人給他的名號，以探索這個名號系統所表達的意義。附「梁啟超名號表」，共八十目，是方今較齊全的梁氏名號彙集。As one of the most talented propagandists among the reformists in late imperial China, Liang Qichao (1873-1929) was known to be very good at voicing his political opinion through newspapers and magazines. He himself served as editor for more than ten periodicals, using a great number of pseudonyms in his enormous writings. His names and pseudonyms revealed the development and change of his thought and academic interest, his life in exile, his career as a journalist and as a man of letter, the role he played in the political scene, as well as what his contemporaries thought of him. This article analyses Liang’s pseudonym system and its significance and implications. The appendix, with 80 items in total, is the most comprehensive list of Liang’s names and pseudonyms to date.
老莊新論
Authors: 張 錦青 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
《老莊新論》收錄了陳鼓應先生所著二十四篇討論道家哲學的文章。在該些文章裏，陳先生對老學和莊學的某些主要內容作了解釋和評論，並且嘗識了闡述和論證他所持守的“道家主幹説”。(撮要取自內文首段)
商代的秋冬祀典
Authors: 連 劭名 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
根據殷墟出土的甲骨刻辭的記戴，商代已經有了祈請農業豐收的祀典，稱為“帝秋”、“告秋”、“告秋稱”等等。秋季農作物收穫之後，有“登黍”、“登米”、“登新鬯”的儀式。向袓先貢獻新收穫的穀物和新釀制的香酒。一年中最隆重的祭祀在冬季，全體宗族成員、親戚故舊齊集於宗廟之中，共祭祖先，然後舉行盛大的宴會，就是文獻中所説的“鄉飲酒禮”。According to the Oracle bones inscriptions unearthed from Yin Xu, there was, in the Shang Dynasty, the ceremonies, asking Heaven for good harvests. This type of ceremony was called Di Qiu 帝秋,Gao Qiu 吿秋, and Gao Qiu Cheng 吿秋稱.After the harvest in autumn, there would be ceremonies called Deng Shu 登黍, Deng Mi 登米, and Deng Xin Chang 登新鬯.These was to contribute to the ancestors the new grains and new wine. The most elaborate ceremony was in winter, when all members of the tribe and their relatives would get together in their family; temple. They would worship their ancestors and would hold a very big banquet. This banquet is the so called Xiang Yijiu Li 鄉飲酒禮 in ancient documents.
論黃山谷詩的襲變
Authors: 梁 巨鴻 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
江西詩派論山谷作詩之法，謂有奪胎法及換骨法。但都無法指出如何謂之奪胎、如何謂之換骨；所舉例子，有渾淆的、有附會的，都無從驗證其所以為作詩之法。此外，山谷本人點石成金之説，亦只在答洪駒父之書牘中偶一提及，實在也沒有提出個甚麼方法，徒增崇拜者的虛美而已。今論黃山谷詩的襲變，意欲指出山谷詩襲取前人詩句之法。簡言之，是用前人的概念為基礎，而更作出新的境界，使讀者在舊有的概念上，有深一層的思考。這種作法，名之為「襲變」。本論文意欲探討山谷作詩之法，及欣賞山谷詩之法，至於山谷詩襲變之類型、意義、價值、影響等俱無涉。According to the Jiangxi school of poets, Huang Shan-gu composed his poetry by ‘casting’ and ‘remoulding’. The precise meaning of these two terms were however not clearly explained. Illustrations quoted were either confusing or strained, and anyhow incapable of demonstrating how they could be defined as composition methods for poetry.
In his letter to Hong Jufu, the poet had once talked about the vitalization of an ordinary piece of work. However, he had not sought to formulate any methodology for poetry composition, making therefore the adoration of his admirers somewhat unfounded.
Contemporary discussions on the “adaptive creation” found in the works of the poet only intend to highlight his way of adapting compositions by predecessors. Simply put, this “method” consists in deriving new, refreshed horizon from concepts depicted in the predecessors’ poetry, so as to induce further thoughts by the readers.
This paper aims at identifying the way Huang Shan-gu composed his poetry, and how his works should be appreciated. It however makes no attempt to discuss the types, meaning, value and effect of his adaptive creation method.
錢穆《春秋》學論述及其所涉秦漢經學史
Authors: 宋 惠如 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
晚清民國時期僞經説蔚爲風潮，其中重大影響之一，在於康有爲、皮錫瑞今文經學史觀成爲後人省察秦漢學術之基線，當中存在著對經學、孔子學術、漢代學術的各項判定。然而他們的主張不僅爲古文學者如章太炎、劉師培所質疑，錢賓四先生亦就其經學史主張，提出切實的學術史觀與論述架構。五經中，《春秋》出於孔子之手，既史且經，性質特殊，尤其《春秋》在漢代被推崇，復爲今古文經學之爭的爭議核心，是以秦漢之際《春秋》學流變如何，實爲架構秦漢經學史的關鍵論題。錢先生《春秋》學論述有其特點，尤值得關注的是，其中含括錢先生對秦漢經學發展的特殊見解，是以本文先説明錢先生《春秋》學觀的基本立場，其次論述錢先生講論，作爲先秦王官學與諸子學交界的孔子《春秋》學，以及講論作爲古學、今學之論的漢代《春秋》學等三部分，説明錢先生《春秋》學説及其所涉經學史論述中，不同於今、古文經學者的辨真之見。
The studies of Confucian classics of Pre-Qin and Han times respectively by Kang Youwei (1858-1927) and Pi Xi-Rui (1850-1908) made significant impacts in the field. However, their views were questioned not only by scholars such as Zhang Taiyan (1869-1936) and Liu Shipei (1884 1919), but Qian Mu also proposed alternative interpretations and insightful discourses of his own. In particular, Qian raised a question: What special aspects of the Chunqiu (Spring and Autumn Annals) make this book a key to constructing the studies of Confucian Classics of pre-Qin and Han times? This article is a discussion of Qian Mu’s perspectives on this subject based on his discourses on Chunqiu studies. The discussion is divided into three parts: first, Qian’s perspectives on Chunqiu studies; second, his comments on Chunqiu studies of pre-Qin times; and third, his comments on Chunqiu studies of Han times. It then concludes with Qian’s comprehensive view on Chunqiu studies as well as his keen insight on relevant scholarship.
踵金宋餘習：蘇天爵《元文類》中的詩歌史開端探論
Authors: 凌 頌榮 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
蘇天爵（1294—1352），字伯修，爲元代中葉館閣文臣的代表人物。其精通史學之餘，亦善於詩文，有總集《元文類》七十卷傳世。《元文類》具備豐富的材料與龐大的規模，以賦體爲始，傳體爲迄，合計收録34類文體，文學史價值不可忽視。本文擬聚焦於《元文類》的詩歌部分，特别是各個類别的開端部分。蘇天爵固然希望建立元詩的主體性，卻必須處理元詩成形以前，與金、宋兩代詩學交雜的時期。這涉及元代對前朝詩歌與文化的認可與接受。是以本文希望從總集的編選手法入手，探討《元文類》對這問題的態度，以及處理手法。本文將分成三部分。首先是整理有關元詩開端之議題的理路，以及其與《元文類》之性質的關係；其次，本文會由元好問於總集中的位置入手，分析金人詩歌進入《元文類》的情況與意義；最後，本文會關注其他金、宋遺民，嘗試梳理隱於總集中的前朝記憶與遺民情感，並考察蘇天爵如何接受它們。
Su Tianjue (1294-1352) was a famous leader of the central government literati in the middle era of Mongol Yuan. Besides his proficiency in historiography, he also compiled a literary anthology titled Yuan wen lei (Yuan Literature Arranged by Genre), which has been an important source for the study of Yuan literature. This paper focuses on the poetic history shown in this book, especially the early part. Obviously, Su aimed to make Yuan poetry the main component of this poetic history, but it would be unrealistic to deny the continuous cultural influence of the Jin and Song dynasties, which were both conquered by the Mongolians. This contradiction is highly related to how Yuan adopted the previous culture. This paper contains three parts. First, it introduces existing scholarship concerning the starting point of the Yuan and thereby studies its relationship with the Yuan wen lei. Secondly, it explores the position of Yuan Haowen (1190-1257) in the anthology and how Su selected the Jin poetry and included it in his anthology. Finally, it examines the poetry written by the loyalists of Jin and Yuan as a means to explore Su’s attitudes towards these works.
論明末清初女性詞評出現“林下風”傾向的内涵與社會文化意義
Authors: 莫 岸洪 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
明末清初（約明代崇禎年間到清代康熙年間），女性詞評出現一股“林下風”傾向的潮流：即用“林下風”作爲正面批評女性詞的標準，頻繁出現於明末清初涉及女性詞評的文獻中，而其中詞評部分佔最大比例的是對晚明和清初女詞人的評論。明末清初對女性詞評的“林下風”傾向與當時詞壇的風氣轉變密切相關。明代中期以來在尊崇婉約及易安體爲正宗的詞壇背景下，女性詞受到了空前的重視和揄揚。評論女詞人著意强化“林下風”，其實標舉的是女性詞人其詞具有男性詞人的“閒雅”、“淡遠”、“混茫”的風格内涵，與“儂婉”、“纖佻”、具有“脂粉之態”的閨秀詞是相異的，這具有言過其實的成分，其實是有意將女詞人抬舉到名士的地位，這是顛倒性别的批評名士化的傾向，其名士内涵是風雅儒生、有才文士。這根源於明末清初出現才女“名士化”傾向的社會文化背景：包括推崇“才情”的女性觀；“女務外學”的社會背景；才女品藻的名士化傾向。從中可看出，女性的詞體創作地位在當時文壇得到較大提升，女性的社會文化地位也在一定程度上得到提升。但也是女性詞評無法突破以男性爲中心批評標準的體現，女性仍然是在男權的社會框架下處於弱勢的社會文化地位。
The “Style of Under-the-Grove” became a standard, positive appraisal of ci- poems by woman writers, which is frequently found in documents of the late Ming to early Qing times (mid to late 17th century) that involve criticism of ci-poems by woman writers. This trend of identifying the “Style of Under-the-Grove” in the remarks on ci-poems by woman writers of the time is closely related to the changes in the poetic arena. Since the middle of the Ming when the feminine ci style of the past enjoyed high esteem, the works by woman writers were given unprecedented attention and praise. The emphasis on the “Style of Under-the-Grove” in the remarks on ci poetesses is a purposeful act of highlighting the “elegant,” “remote,” and “unrestrained” styles, which are usually found in works by male poets. These styles differ drastically from the typical boudoir ci-poems marked by “subtlety,” “delicateness,” and “bearings of rouge and makeup.” These kinds of remarks are exaggerating; their real intent was to raise the status of these poetesses to the same level as the renowned scholars of the time. This is a trend of reversing gender priority and a criticism of making renowned scholars, an appellation for elegant intellectuals and talented scholars. This trend originated in the socio-cultural context of late Ming and early Qing times, when talented women were compared with and even “made” scholars of great renown. This context included the promotion of talents of ladies, pursuing “external studies,” and evaluating talented women by adopting the standard of a male scholar of renown. It can be seen that the status of ci writing by female poets saw a significant rise, and the socio-cultural status of women was also raised to a certain extent. However, it also reflects that remarks of ci-poetry by women cannot break through the standard of male-centered criticism. Women were still in a weak socio-cultural position under the patriarchal social framework.
江湖詩派研究
Authors: 吳 淑鈿 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
研究江湖詩派不是容易的事。舉凡提到宋詩的研究，人們往往將焦點放在大家大派上，大家如蘇黃陸，大派如江西詩派。研究宋詩大多離不開作為宋詩典型的江西詩派，一般會沿着江西詩形成及後期的演變作相關的探討。例如研究梅堯臣會牽涉到他對後來江西典型建立的影響，研究南宋四家又不免觸 及對前期江西派的反動力量等。江湖在這個範圍內被視為末派。其次，比起江西詩的鮮明性格，講學習理論講創作技巧，江湖派雖反江西，但欠獨立意識的旗幟，面目比較模糊。最後，作為江西派的對立面，江湖派即使人多勢眾，但結構鬆散，缺能作為詩派代表的大家。甚且不似四靈的集中力量，於四家之後標舉晚唐，專攻五律。作為宋詩一個結構性的環節，江湖詩人所受的注意向來較少。如元方回論宋詩之發展，四靈之後，不及江湖之派。而全祖望〈宋詩紀事序〉以宋詩有四變，最後一變則説：「嘉定以後，江湖小集盛行，多四靈之徒也」。現代學者如張白山、陳植鍔、胡念貽在對宋詩的分期分 派上，更明白將江湖與四靈併作一個單元。在文學史的意義上，這固然是還江湖派一個詩壇上的位置，但另一方面又明顯將江湖放在四靈的附屬位置，以江湖為四靈的發展部分。無論如何，對江湖派正視之不足除了易造成對此派作品藝術審美之偏差外，亦始終對此詩人群體之創作底蘊欠缺客觀的認識與判 斷。兼就這兩點言之，張宏生的《江湖詩派研究》實具至大價值。(撮要取自內文首段)
革命•歷史•小說
Authors: 陳 順馨 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
「解讀」二十世紀中國文學的「革命歷史小説」、「歷史小説」以至與「革命」和「歷史」有關的「小説」或「大眾文藝」，可以説是一批海內外中國文學研究者近年的「衝動」。就牛津大學出版社（香港）而言，繼收集了多位中國中青年學者精辟的「解讀」的《再解讀——大眾文藝與意識形態》（1993）的出版，已從北京、紐約、芝加哥、伊州香檳輾轉到香港「落戶」的黃子平的個人專著《革命•歷史•小説》（1996）最近又問世。黃子平説，過去七年他「身心二境」而「無法沉潛」，是這書「粗糙不成體系/系統/體統」的原因之一。對於我這個在過去七年也曾經就一些當代的「革命歷史小説」和黃子平的批評意識進行「解讀」的讀者來説，從書中卻能讀出一點包括批評對象和批評主體的「體」、「系」和「統」來。(撮要取自內文首段)
認知角度下的漢字表意特性
Authors: 周 國正 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文嘗試從“直接途徑”與“間接途徑”的對比去探討漢字（以形聲為主）的認知特性。文中首先擬設一個“內部詞庫”的結構模型，在此後型中漢字形、音、義三項要素處於半獨立的連繫狀態。以此模型去説明由“目睹字形”到提取詞義的直接提取和間接提取兩種途徑。其中間接提取又再根據字形——語音轉換過程的不同而再細分為分析性、综合性及半分析半綜合三種方式。
由於國人偏重於字形訊息，所以在解讀漢字中字形訊息有較大的提示效度，國人亦因此更多採用直接途徑。
本文亦對解讀漢字時出現語音中介這種説法提出質疑，指出所謂語音中介其實只不過是語音激發而已。The article attempts to clarify the cognitive features of Chinese graphs (mainly xingsheng 形聲) form the perspective of direct access vs indirect access. A paradigm of internal lexicon is set up. In the paradigm, “graphic”, phonetic” and “semantic” components of a Chinese graph are connected to each other in an semi-independent fashion. The paradigm is used to account for the direct access and indirect access form perceptual stimulus to lexical meaning. The indirect access is further classified into three according to the graphemic — phonemic process, i.e., analytic, synthetic and semi- analytic & semi-synthetic.
As Chinese readers tend to rely more on graphic information, graphic information enjoys greater cue validity; which explains why direct access plays a greater role in decoding of Chinese graphs.
The article also queries the thesis that there is phonological mediation in decoding of Chinese graphs. It demonstrates that the so-called phonological mediation is no more than phonological activation.
林則徐年譜新編
Authors: 黃 毓棟 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
林則徐（1785 - 1850）在中國近代史上是個具舉足輕重人物，其出生之時，已是清朝走向衰落之世。他的一生事跡，最為一般人熟悉的相信是一八三九年在虎門銷煙一事。事實上，林則徐的一生和其著作，正如中國近代史一樣，既複雜又吸引。而自他逝世後一百四十多年來，不斷有人為他編寫年譜，其中有題其子林聰彝的《林文忠公年譜草稿》、左舜生的《林文忠公年譜》、上海「六、三」紀念籌備會的《林則徐年譜》、魏應麒的《林文忠公年譜》、薩士武的《林文忠公年譜》、林祟墉的《林文忠公大事索引》、來新夏的《林則徐年譜》（以下簡稱《年譜》）、《林則徐年譜》（增訂本）（以下簡稱《增訂本》）等。上述年譜，來氏的《增訂本》，堪稱當時最為完備的著作。不過，正如來氏為了精益求精，故在《年譜》的基礎上，又有《增訂本》的出現一樣，經過十幾年的努力，在《增訂本》的基礎上，終於一九九六年編成這本《林則徐年譜新編》（以下簡稱《新編》），並於一九九七年六月，香港回歸祖國前夕，由天津南開大學出版了。正如來氏在扉頁上的題字所言，此書是「紀念ー代偉人林則徐，慶祝香港回歸祖國」，由此可見其特別意義。此書八百六十七頁，六十七萬九千字。以字數計算，比《增訂本》多出二十二萬三千字，和其最早的《年譜》，更多出接近一半。毫無疑問，這是迄今為止規模最大，內容最為豐富的林則徐年譜。(撮要取自內文首段)
風騷餘韻論（朱文華）/讀《風騷餘韻論》——看現代舊體詩魂歸何處
Authors: 朱 少璋 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
自五四新文學運動以來，新詩取代了舊詩的位置，在大量的現代文學史、白話文學史或詩歌通史中，大多以五四為新詩、舊詩的分水嶺；鮮有對五四以來的舊體詩作詳細而全面的分析。作為一個文學現象，自五四以來，舊體詩創作活動仍然延續著，在研究現代文學時，似乎不應「有意」地忽視對舊體詩的評論及探討。(撮要取自內文首段)
明代文學復古運動研究（廖可斌）
Authors: 陳 少芳 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
舉凡研究明代文學者，多重視小説戲曲而忽視詩文。對於明代詩文復古運動，每每避而不談，儘管有所論及，亦多從個別的問題上著眼，以批判態度作簡單的論述，鮮能全面而中肯地為讀者重現那個左右文壇達百多年的文學運動，而《明代文學復古運動研究》卻是一本以此為任的專題研究著作。(撮要取自內文首段)
郘鐘器主再探
Authors: 潘 慧如 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
郘鐘是春秋時代晉國有銘青銅器，於晚清年間在山西省出土。王國維根據銘文內容所見之姓氏，論定郘鐘器主為晉國魏錡之後人。然而，近人有不同的意見，或以郘鐘器主為魏錡之子魏绛，或以為魏錡之子魏相。本文試從史籍中所見魏氏世系，剖析後出之説並不能成立，因此，郘鐘器主的身份仍以王國維的説法為恰當。“Lu Zhong”（郘鐘）, an inscribed bronze of Jin State in the Spring & Autumn Periods, was excavated during the late Ching Dynasty in Shanxi Province. According to the clan’s name shown in the inscription of this bronze, Wang guo wei （王國維）identified that the master of this bronze was an offspring of Wei qi （魏錡）.However, | there are recently different opinions arguing who was the master of “Lu Zhong” （郘鐘）.Some believe Wei jiang （魏絳）,son of Wei qi（魏錡） ,was the master of this bronze while others believe Wei xiang （魏相）, another son of Wei qi （魏錡）, was the master. This paper attempts to analyze the above arguments on the basis of the genealogy of the Wei clan discussed in ancient archives. The result of the analysis rejects the later proposition and suggests that the argument of Wang guo wei （王國維）is more appropriate.
阮元思想研究（李成良）
Authors: 詹 杭倫 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
阮元(1764-1849)，是清代歷史上一位重要的人物。他身兼官僚與學者雙重身份，可以説是一位學者型的官僚，也可以説是一位官僚型的學者。作為官僚，他歷仕乾隆、嘉慶、道光三朝，持節十三省，宦海五十年，興利除弊，政績煌煌，被譽為「極三朝之寵遇，為一代之完人」；作為學者，他享有乾嘉學派殿軍的崇高聲譽，調和漢、宋之爭，兼容吳派、皖派，開啟揚州學派，「扮演了總結十八世紀漢學思潮的角色」。阮元作為學界泰斗，主持學術風會數十年，他的學問很大，治學範圍很廣，龔自珍曾將其學問歸納為十個方面：訓詁之學、校勘之學、目錄之學、典章制度之學、史學、金石之學、九數之學、文章之學、性道之學、典故之學等等。這樣一位政界巨子加上學術泰斗，可能令人高山仰止，敬而遠之。所以儘管學術界聽到阮元的名字不啻如雷貫耳，但是研究阮元的專人專書卻寥若晨星。(撮要取自內文首段)
粤音正讀字彙（何文匯朱國藩）
Authors: 謝 淑香 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
眾所周知，香港人的母語是粵語而非普通話，除了生陌的字詞外，對一般漢字的粵讀應該不會出岔子。但是，近數十年來，香港人在常用字的粵語讀音卻引起不少的爭議，原因在於社會流通的粵音讀法與字典所注的讀音往往各有所是，例如「鄺」字按黃錫凌《粵音韻彙》應讀為〔kwↄŋ〕（音曠），但現今大多數人都讀為〔kↄŋ〕（音抗），這是唇化聲母因後隨的圓唇元音ↄ而引起異化作用（dissimilation）的結果，即使是以「鄺」為姓氏的人也多半説自己姓〔kwↄŋ〕，很少人説〔kwↄŋ〕了。以粵語為主要溝通語言的敎育界和傳播界，也常常為這種情況困擾，有無所適從之嘆。社會不少人士認為這種「粵音誤讀」的情況已經很嚴重，亟需定出規範讀音。在這種情況下，自然產生對具指導性的粵音字典的需要；而何文匯與朱國藩所聯合編寫的《粵音正讀字彙》就是因應這種需要而出現的。(撮要取自內文首段)
市河寬齋與《全唐詩逸》
Authors: 蔡 毅 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
日人市河寬齋編纂的《全唐詩逸》，是《全唐詩》問世後的第一部補遺之作，故歷來頗受重視。但關於該書的成書及流傳經過，卻向無詳盡論述。有鑑於此，本文從三個方面予以考察。首先是關於該書的編纂，稽考寬齋如何從各種日本典籍中輯纂成書，及其在印製過程中遇到的種種困難。其次是檢討該書的西傳過程。寬齋之子三亥歷盡周折，攜書親赴長崎，希望通過中國商人之手，使該書得以刊入《知不足齋叢書》，但直到寬齋死後，這一願望才得到實現。最後則是評述該書傳入中國後所獲得的種種反響，並指出其在中國文獻學史以及中日文化交流史上所據有的特殊地位。"Tang Poems Addenda" ("Quan Tang Shi Yi") edited by the Japanese writer, Mr. Kansai Ichikawa, is the first book that made addenda to "All Tang's Poems" ("Quan Tang Shi") and has always drawn wide attentions. However, little was known about the history of the book of "Tang Poems Addenda". This paper makes an attempt to reveal the history surrounding the book. Firstly, this paper finds out how Mr. Kansai wrote the book based on Japanese literatures and what difficulties he had to face to publish the book. Secondly, this paper details the journey this book made to the west. Mr. Kansai’s son, Mr. Mitsui, took a painful voyage to bring the book to Nagasaki, hoping to get it published in "Zhi Bu Zu Zhai Cong Shu” through the hands of Chinese merchants. Unfortunately, his dream did not come true until after Mr. Kansai passed away. Lastly, this paper describes the responses that this book had received after its entrance into China, and reveals the particular roles that this book had played in the Chinese literature history as well as in the history of Sino-Japanese cultural exchanges.
《文選》的成書與流傳
Authors: 興 膳宏 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
《文選》是選擇從先秦至六朝梁的詩文精華而構成的一部總合性的總集。這部由梁昭明太子蕭統（501—531）主持編纂的選集，在唐代以後的中國文學史上持續有巨大的影響。科舉取士特別重視美文創作，所以更加促進並奠定了《文選》的權威，以致到了南宋也還有「《文選》爛，秀才半」之諺語（陸游《老學庵筆記》卷八）。該書在日本也自古代以來一直得到讀書人的愛好，甚至《文選集注》等在中國大陸早已散佚的寶貴資料也都流傳到今天。(撮要取自內文首段)
中國文學觀念的演變和文學的自覺
Authors: 張 少康 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文從中國古代文學觀念演變的角度，進一步申述了「文學的獨立和自覺非自魏晉始」的觀點，認為文學的獨立和自覺是從戰國中期開始初露端倪，而到西漢後期劉向校書時基本完成，並對近年來有關文學的自覺自魏晉開始經過三百年才完成的説法，提出了不同意見。Concerning the changes of ancient Chinese literary thoughts, this essay gives further accounts on the point of view that "the self-awareness and independence of Chinese literature was not appeared from the Wei-Jin era.” With a theory that the independent literary conscious in China should be germinated in the mid-Zhan Guo era, and fundamentally done by Liu Xiang's textual criticism in the late Xi Han dynasty, this essay provides for the subject a different perspective.
賈母：中國文學史上之第一母儀
Authors: 季 學源 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
賈母形象集中凝聚了我國古代老祖母的一切思想、情懷：同時，又顯現了中國社會歷史大轉型時期母親的主要時代特徵。本文從三個方面對此展開論證：一、賈母性格中的新文化思想因素：（一）世界觀、人生觀：她不信鬼神宗敎，不求來世美好，而追求現實的人間幸福，她的死也是美的；（二）倫理道德觀：母愛是其倫理道德的出發點、過程和歸宿。她借母愛之偉力，盡力填平「代溝」、「性溝」；（三）婚姻觀和女性價值觀：她反覆強調的是婚姻當事人本身的條件，而不是門第、貧富。與男尊女卑觀念相反，她對女孩兒始終關愛有加，遠勝於男子；（四）審美觀：她是生命之花、人生之美的培育者、讚賞者和呵護者。二、賈母與鳳姐的關係，反映了新型婆媳關係之萌始，揭示了女性的新文化心態。三、後四十回有不少關於賈母之精彩章回，也有若干拙筆、敗筆，這是造成對賈母形象誤讀的主要原因。Mother Jia is the miniature of her age. Her thought, behavior and main characteristics represent all that of a mother at the great time of historic transition. This article discusses these from three aspects: 1. The thoughts and cultural factors in Mother Jia: a. Outlook on the entire world and life: she is neither superstitious nor religious; She pursuits human happiness in reality rather than that after death. Even her death is a kind of beauty, b. Ethical and moral standards: Maternal love is the starting point, procedure and home of ethical and moral standards. She tries to bridge the gaps among generations and sexes with the power of maternal love. c. View of marriage and female value: She emphasizes repeatedly the natural conditions of the two persons of a marriage not the family background or property. She takes great care of her daughters but not her sons, which is contrary to the social customs-man were revered while women were looked down upon. d. Aesthetics of beauty: She seems to be the flower of life, the gardener, praise and guardian of human beauty. 2. The relationship between Mother Jia and Sister Feng (daughter-in-low) signals the beginning of a new era of that between mothers and daughters-in- low, reveals the new cultural ideas of the female. 3. In the latter forty chapters of the story, a great deal of compliments were given to Mother Jia, but some degradations of her also appears too, which I think are the main factors that result in the misunderstanding of Mother Jia by the readers.
《中論校注》
Authors: 詹 杭倫 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
徐幹為「建安七子」之一，其著《中論》，顯譽當時。魏文帝曹丕《典論•論文》評云：「唯幹著《論》，成一家言。」又《與吳質書》評云：「觀古今文人，類不護細行，鮮能以名節自立。而偉長獨懷文抱質，恬淡寡欲，有箕山之志，可謂彬彬之君子者矣。著《中論》二十餘篇，成一家之言，辭義典雅，足傳於後，此子為不朽矣。」曹丕對徐幹《中論》「足傳於後」的預測是非常準確的，《中論》一書的確披星戴月、歷塊過都，一直流傳到今天。古書的傳與不傳，有幸與不幸之別。《中論》能夠流傳，自然是一件幸事；但是，不幸的是，《中論》一書長期未能得到今人很好的整理研究，導致不少學者只聞其名，未見其書。這不能不説是一件憾事。不過，這一遺憾現在已經得到彌補，四川學者徐湘霖的《中論校注》一書，最近由巴蜀書社出版發行。從此，學者欲閲讀《中論》，就有了一個容易尋找且比較可信的校注本。我欣喜地閲讀了《中論校注》，感受到它有幾個鮮明的學術特點，值得向讀者作一番介紹推薦：(撮要取自內文首段)
《文字訓詁叢稿》
Authors: 郝 茂 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
古往今來，漢字在漫長的歷史發展過程中為承載我國的傳統文化立下了汗馬功勞。與它的使用相伴隨，漢字的研究同樣源遠流長，文字學是傳統國學研究中頗為興旺發達的一門學科。時至今日，語文研究者仍致力於斯，撰述夥頤。香港大學中文系單周堯敎授的新著《文字訓詁叢稿》（台北文史哲出版社《文史哲學集成》第426冊，2000年3月版）正是一部立足傳統而鋭意創新的文字學著作。(撮要取自內文首段)
《散文研究》
Authors: 陳 德錦 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
作者來自中國各地，寫作年資參差不齊，理論背景各不相同，適逢其會地走在一起，寫散文、談散文。五百多頁的篇幅，過百篇文字，既不是一本有關散文家的研究專著，也不是一本有關散文文體的理性思辯集，甚至也不是對散文寫作的前景進行認真分析的意見書，然而對於近十年中國散文界吹起的一場「大散文」熱浪，《散文研究》很可能是最好的一次全面展覽。(撮要取自內文首段)
《唐代集會總集與詩人羣研究》
Authors: 陳 漢文 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
舉凡研究唐詩的，均從大家大派入手，對於「詩人羣」的論述可謂不足。傅璇琮在《唐代詩人叢考•李嘉佑考》中曾整體考察中唐大曆的作家羣。其後，學者從作家羣的角度展開討論的著作相繼出版。賈晉華的《唐代集會總集與詩人羣研究》是首本以「集會總集」及「詩人羣」為名的學術著作。「集會總集」乃「著者曾經在一定時間裏聚集於一定地點從事詩歌唱和或其他文學活動，往往有較多人參與，形成一定規模的詩人羣體」。「詩人羣」乃「在一定時間段裏，曾經聚集於一定地點從事詩歌唱和或其他文學活動，彼此聯繋密切而又互相影響的一定數量的詩人所形成的羣體」。集會總集與詩人羣的討論難點有三：首先，在於時、地、人的考證。詩人羣的活動範圍廣泛，要考察他們的唱遊活動、聯唱並不容易；其次，集會總集的散佚。詩文為主要的考據資料，集會總集的散失諒必阻礙考證的準確。再者，集會總集向來以宮廷作品為重心，而宮廷詩ー直備受譏議，怎樣恰當地評價又是一個難題。(撮要取自內文首段)