bluuebunny/crossref_metadata_2025_split huggingface dataset:
不斷的樂舞，永遠的祝福——試論齊梁樂舞詩
Authors: 大村 和人 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
樂舞詩描寫演奏樂舞的女人。一般認爲宫體詩派專愛制作這種作品，但是值得注意的是反對宫體詩的蕭統也制作了樂舞詩，此事實讓我們重新考慮樂舞詩的性質。齊梁樂舞詩中往往可見表達“樂舞不停”和“挽留上客”的兩種詩句。經過考察這兩種表現類型的源流和内涵，我們發現這些模式繼承發展了古代宴飲詩和祭祀詩中所見的祝禱詞。不但蕭統，而且頗多齊梁詩人競相制作包含這種表現類型的樂舞詩來歌頌王朝的和平、祝賀皇帝或宴會主人的幸福。我們應該注意漢魏晉六朝詩歌，甚至齊梁的所謂“豔詩”也保留著古代詩歌的特性。The “Gongti 宫體" school poets have generally been recognized as tending to compose a kind of poetry called “yuewu-shi 樂舞詩", that depicted women who were playing music or dancing. But it is worthy noting that the crown prince Zhao-ming 昭明, who is well-known for his objections to the writing of “amorous poetry 豔詩” also composed some “yuewu-shi 樂舞詩", though it was a type of “amorous poetry 豔詩". In yuewu-shi Qi and Liang 齊梁樂舞詩, we frequently find characteristic lines expressing the ideas of “everlastingly playing music” and “keeping the guest at the banquet”. After consideration of the origin and the meaning of these two patterns of expression, it becomes clear that these two patterns were inherited from the word of festivity used in the ancient festive poetry and ritual poetry. Not only the Crown prince Zhaoming 昭明, but also numerous poets in the Qi and Liang 齊梁 dynasties composed “yuewu-shi 樂舞詩" to convey wishes for the success of the banquet, peace for the dynasty and long life for the emperor. We further need to note that Qi and Liang “amorous poetry” 齊梁“豔詩" retained the nature of the ancient poetry.
《〈清代學術概論〉導讀》
Authors: 馬 世年 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
梁啓超先生的《清代學術概論》（以下簡稱《概論》）一書是清學史研究當中的“經典性名著”之一，就個人而言，它與《中國近三百年學術史》同爲梁啓超論清學史的代表作品，朱維錚先生便將此二書列爲“梁啓超論清學史二種”而校注之。上海古籍出版社將其作爲清末民初的經典作品，納入到“蓬萊閣叢書”當中，由朱維錚先生予以導讀，僅此即可見其價值之高。關於這部書的具體評價，朱先生《〈清代學術概論〉導讀》（以下簡稱《導讀》）一文已有專門研究，此處再不過多涉及。這裏欲就《導讀》一文略作介紹。作爲“清學史”的專家，朱先生此文寫得非常精彩，趙逵夫師對此文很是讚賞，曾給我作專門推薦。拜讀之後，所獲良多。既深欽朱先生論述的精闢，又歎服趙先生目光的敏鋭。今將個人讀後的一些感受寫出來，以向二位先生彙報，也求教於各位方家。(撮要取自內文首段)
《經學與中國古代文學》
Authors: 唐 景玨 , 黄 文熙 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
儒家經學是中國封建社會的上層建築，隨着封建制度的終結，經學在當代成爲一種很少有人問津的冷門學問。但是，冷門學問不等於没有價值，日前香港大學出版社出版的《經學與中國古代文學》表明，適當關注儒家經學，對於中國古代文學研究是完全必要的。(撮要取自內文首段)
中國近現代文學的研究方法
Authors: 李 歐梵 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
這個講題其實是學生幫我起的。因爲學生最想知道的，就是老師在研究方法上有什麽新的見解。今天我要講的是老生常談，通俗的講法是自我反思一下，因爲我最近在美國的王德威安排下提出兩篇論文，一篇是講夏志清、夏濟安兄弟的；另一篇則是哈佛費正清研究中心成立五十周年，美國學術界研究中國現代文學的反思文章。今天我想把這兩篇文章加上自己的感想來講一下。没有講稿，只能算是閒談。(撮要取自內文首段)
重建“中國現代文學”——在學科建制與民間視野之間
Authors: 陳 平原 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
重建“中國現代文學”——這樣的提法，很容易讓人想起二十年前的“重寫文學史”。不過，這回不是關於具體作家作品的重新評價，而是對這一學科（包括教學方式以及著述體例）的功能、地位以及發展前景的整體思考。(撮要取自內文首段)
給崇高理想與博大精神賦形和着色——毛澤東詩詞藝術形象表現技巧概論
Authors: 楊 景春 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
毛澤東詩詞塑造自然形象和社會形象的方法值得注意，集中反映了詩人高超的技巧。而這些自然形象和社會形象又構成了毛澤東詩詞完整生動感人的内容，使傳統詩詞在新的歷史時期焕發出不尋常的光彩，呈現出前所未有的社會意義和藝術價值。The way Mao Zedong shapes the images of nature and society in his poems and lyrics is remarkable in the sense that it reflects the poet’s outstanding techniques. These images form the comprehensive and touching contents of Mao’s poems and lyrics. Through his works traditional poems and lyrics not only expose their extraordinary glamour in a new historical era, but also reveal unprecedented social meanings and artistic values.
《汪兆鏞與近代粤澳文化》
Authors: 區 志堅 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
持中原文化中心史觀的學者，往往視處在邊緣的廣東爲“蠻煙蟹雨”，要藉自北方南下的“蘇海韓潮”傳播華夏精義，然而，鴉片戰争前後，廣東爲中國首開門户，學習近代西方文化早於各省，故廣東文化既有隨南下移民所帶的中原文化，也具融通中外文化的特點，省内香港、澳門兩地，尤居中原文化“邊緣”中的“邊緣”，澳門早於明嘉靖年間已爲葡人所佔，香港則於鴉片戰争後淪爲英國的殖民地，二地的文化異於廣東各省，但港澳二地既爲最接近中國大陸，又是外洋管治下建立一套不同於大陸政權管治的“邊緣”地方，每於國内政治動亂，或政權易手，港澳兩地相較爲安定，遂爲不滿中原政權的士子退隱的地方；更因其“邊緣”特色，既深染華夏文化，又受西方文化的薰陶，一群不滿新政權的士子，可以在港澳二地憑弔中國文化，思念已逝去的政權，又可安居退隱，港澳便成爲不滿新政權的前朝“遺民”南下首選的地方。清末民初的書畫家、史學家、著名學者兼遺民汪兆鏞（1861—1939）就是這樣一位人物，他畢業於清代嶺南高等學府學海堂，把華夏正音傳於異族政權，帶動澳門華文文化事業的發展。(撮要取自內文首段)
《思想史研究課堂講録——視野角度與方法》
Authors: 梁 萬如 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
本書作者以碩士及博士生爲寫作對象，目的主要探討文史的學術研究方法。作者既以學生爲書寫對象，於是就索性把書看作爲教科書，於内文插入圖例，於每一章後附上參考書目，教育性質很明顯。再探究ー下，書目名單並不完全列舉中文著作，有些是英文書籍，更有些是日文書本。標舉中、英、日三語的書本，顯示出作者具很强的現代學術研究意識。一般有志於學術研究的大學生，閲讀此書像上了一課現代學術研究方法論。(撮要取自內文首段)
《逸園叢録》
Authors: 林 英德 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
《逸園叢録》最近由齊魯書社出版，這是北師大文藝學研究中心著名古文論研究專家李壯鷹先生奉獻給學界的又一部力作。(撮要取自內文首段)
杜甫府試下策試説
Authors: 鄺 健行 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
自宋至今，各種提到杜甫生平的文字，大抵都認為杜甫在二十三歲到二十六歲，即唐玄宗開元二十二年（734）至二十五年（737）之間曾經獲得解送而參加吏部由考功員外郎主持的進士試，結果落第；唐代進士試分三個階段進行：縣試、州、府試和初由吏部繼由禮部負責的中央級試；杜甫是在第三階段的考試中失敗的。譬如各種前人年譜之中，有的説“赴京兆薦貢，考功下之；”有的説“赴京兆貢舉，不第；”固然明指第三階段。就是有的把“赴鄉舉”和“下第”兩事隔年列出，指的還是第三階段：那是説鄉舉成功以後，再赴京兆考試而失敗。各種年譜、傳記、序文作者的結論應該是根據杜甫的《壯遊》詩自述而來，不過如果抱着上述的結論回轉頭讀《壯遊》詩，其中又不免頗有難解之處。換句話説，重新考慮之下，能不能據《壯遊》詩得出上述的結論，仍可商榷。然而杜甫中央級考試落敗是古今大多數人承認的事實，不宜輕率否定。下文提出的疑慮，只能看成個人讀書之後的反應，作為問題提出來供時賢參考，未敢有即時推翻取代成説之意。(撮要取自內文首段)There were two levels in the T’ang examination system: the local one and the national one. It is believed traditionally that Tu Fu failed the national examination. The author of this paper argued that from evidence gathered, Tu Fu had failed the local test, and never took the national test. (Abstract taken from first paragraph of document.)
王夫之的婚姻倫理觀
Authors: 葉 敬德 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
王夫之（1619-1692）字而農，號薑齋，晚年隱居於湖南衡陽縣的石船山。故學者均稱其為船山先生。夫之雖未從名師求學，卻自幼從兄父輩苦讀，十四歲考中秀才，二十三歲考中舉人。曾積極抗清，南明亡後，則更名隱居，潛心講學著書。遺著一百多種，四百餘卷。(撮要取自內文首段)Wang Fu-chih [1619-1692] was one of the three prominent scholars in the early Ch’ing period [1644-1722]. He was a philosopher of voluminous literary output. For him, the sequence of human relations is ordered by Heaven. The relationships between ruler and subject, father and son, and husband and wife are the most important of the five human relationships that Mencius mentioned, other relationships are extensions of these. He held that it is the function of propriety to determine the due that each individual should receive—the means by which human relations are regulated. The iaws that govern the primary human relationships are the three cardinal guides and the five constant virtues. These are the original basis of propiety, referred to as the unchangeable proprieties. However, the ways in which these laws are to be applied are changeable proprieties. This paper is an attempt to elucidate Wang Fu-chih’s ethics of marriage. In doing so, a systematic study of his understandings of the objectives of marriage, the command of the parents and the good offices of the matchmakers, the procedures for contracting a marriage, divorce and remarriage, widowhood and chastity, and concubinage are provided. Wang Fu-chih had tried his best to follow the unchangeable proprieties in order to regulate the institution of marriage. However, he also launched his greatest effort to work out what changeable proprieties could be applied to a situation; the proprieites were very different from the time when the three cardinal guides and the five constant virtues were established. (Abstract taken from first paragraph of document.)
胡曉明：《中國詩學之精神》
Authors: 吳 淑鈿 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
劉若愚在論中國傳統的詩歌觀時，先就詩歌本身提出兩個問題：詩歌是甚麼？及詩歌應該如何寫：此實二而為一的有機命題。探討這些問題除了從文學觀點去作解釋外，其實也不可昧於傳統的文化。或者説，將創作行為或文學作品放到文化的層次裏去考察是有必要的，因為詩歌除了是一種藝術實踐，它還應該是説明了一個民族的文化特質，表徵一個民族的智慧；所以詩學精神與人文精神是息息相關的。也因此上面的兩個問題便不單純是緣情言志，押韻製作，或體裁格律等答案可以解釋得完滿。胡曉明的《中國詩學之精神》提供給我們一個較廣闊的視角，從文化精神的脈絡探尋詩學的發展，以期找出一包涵豐富的詩心。(撮要取自內文首段)
李陀岳恒：《中國前衞藝術》
Authors: 黃 子平 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
本書以九十年代初在德國的一個展覽為基礎，介紹了六十位中國前衞畫家近三百幅精選的作品，其中一百六十頁用彩色印刷。書中同時收入了由中國和西方學者撰寫的十九篇專論，論述了七、八十年代以來中國美術、詩歌、電影、戲劇、小説、音樂、建築、攝影等藝術領域的演變過程和歷史趨向。此書由牛津大學出版社同時以中文和英文兩種版本出版，據我的了解，以如此規模推介中國前衞藝術的書，迄今為止在海內外仍屬絕無僅有。(撮要取自內文首段)
經君健：《清代社會的賤民等級》
Authors: 黃 毓楝 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
清史雖是近十多年來國內學者關注的研究範圍，但是有關社會史方面的成績顯然不夠理想。例如，雖有論者認為天津人 民出版社在九零年出版的馮爾康、常建華所著的《清人社會生活》，在清代社會史研究中具有開拓性的指導作用（參張實：〈清史及社會史研究的開拓性成果——《清人社會生活》評介〉，《清史研究》，第1期〔總第2期〕（1991年6月），頁54、56），而該書也確實對清代的社會史進行了比較全面的考察和介紹；不過，該書大部分內容乃是繼承和綜合前人的研究而已。例如，該書的第一章〈清人的等級社會生活〉，就是參照經君健的〈試論清代等級制度〉（載於明清史國際學術討論會秘書處論文組〔編〕：《明清史國際學術討論會論文集》〔天津：天津人民出版社，1982〕，頁286-319）而來，沒有很多新的內容。筆者認為，清代社會史的研究，綜合前人的成果固然重要，但是有創見和深度的研究更加必要，而經君建的《清代社會的賤民等級》，可説是對清代社會的賤民等級比較深入研究的著作。(撮要取自內文首段)
Stephen Owen: Readings in Chinese Literary Thought
Authors: 朱 耀偉 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
—直以來，研究中國文學的西方專著為數尚不算少，但在相比之下，以西方語言處理中國文學理論批評的作品卻並不多見。直至一九七五年，美籍華裔學者劉若愚才推出他那本被稱作「第ー本以當代西方方法分析中國文學理論的作品」：《中國 文學理論》（Chinese Theories of Literature）。此後當然也曾有過有關中國文論的西方專著，但最具規模地全面探討傳統中國文論的還要算宇文所安(Stephen Owen)的《中國文學思想選讀》(Readings in Chinese Literary Thought)。(撮要取自內文首段)
《有志竟成——孫中山、辛亥革命與近代中國》上、下册
Authors: 文 兆堅 , 黄 耀忠 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
辛亥革命推翻清廷，創立中華民國，結束中國二千多年君主專制政體，更使中國成爲亞洲首個推行民主共和政體的國家。由此可見，辛亥革命作爲中國以至世界歷史上之重要大事，實足以吸引中外史家進行深入的研究與探討。過去多年以來，關於辛亥革命史研究的學術研討會，多在中國大陸與臺灣兩地舉行，相關的研究成果，亦多結集成書出版。而本書《有志竟成——孫中山、辛亥革命與近代中國》（簡稱《有志竟成》）則以2001年於香港舉行的“辛亥革命、孫中山與廿一世紀中國”國際學術研討會論文爲基礎選編而成，共有46篇。所有人選論文均經過嚴格的評審程序，修訂完善才予出版。在香港地區的史學界中，以這樣的方式出版同類性質研討會的論文集，應屬首次。這些論文共分爲五個部分，分别是“歷史評價與研究述評”、“辛亥革命與近代中國政治社會變遷”、“華僑與對外關係研究”、“孫中山研究”與“其他”，而各部分均附有“導論”。(撮要取自內文首段)
《古史異觀》
Authors: 朱 淵清 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
夏含夷教授是芝加哥大學的顧立雅講座教授，曾經擔任芝加哥大學東亞系主任、《早期中國》主編，著有《劍橋中國先秦史》、《西周史料：銅器銘文》、《周易的編纂》、《孔子之前：中國經典的創造研究》、《温故知新録：商周文化史管見》、《重寫中國古代文獻》等書，是國際著名的漢學家，在商周史研究、青銅器研究、年代學研究、古文獻研究等方面成績卓著。他培養的學生也職掌哈佛、哥倫比亞等美國多所著名高校的中國古代史教席。(撮要取自內文首段)
方東美與懷特海哲學
Authors: 宛 小平 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
該文認爲方東美和懷特海在哲學的入徑上非常相仿，都是從“形而上”出發，這和現當代掀起的反形而上主流相逆。同時，指出方東美始终認爲中國哲學“通性”（儒釋道）也必須從“形而上”來探求；另一方面，無論是方東美還是懷特海所理解的“形而上”又帶有明顯的現代哲學特徵，他們都反對舊有的實體論，反對二元對立的思維，主張有機體的思想。因爲，雖然他們也都不否認神的存在，但這個“神”不是實體化的存在，而是與宇宙的生命一體俱化的“泛神”存在。This essay thinks that there are many similarities between Fang Dongmei’s and Whitehead’s philosophy about the approach which they had studied. They had constructed their own philosophy basing on “the metaphysics”, which was opposite to the mainstream of modern and contemporary counter-metaphysics. Meanwhile, the essay points out that Fang Dongmei was always convinced that “the metaphysics” must be considered as the basic method of studying “the general attribute” of Chinese Philosophy (Confucianism, Taoism and Buddhism). But at the same time, whether Fang dongmei or Whitehead, what they comprehended about “the metaphysics“ had the distinct characteristics of modern Philosophy, therefore, they are both opposed to the old theory noumenon, reacted against the thinking of antithetical duality, and advocated the thought of organic unity. And the reason was that, although they did not deny the existence of the god, however, they thought of “the god” as not the existence of substance but “pantheism” existence with Vernalized life of universe.
從“感物”到“體物”——晉宋詩學的重要發展
Authors: 蔡 彦峰 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
體物寫景是詩歌藝術一個重要的功能，就整個傳統詩歌史來看，“體物”詩學在元嘉時期才真正地確立起來。從漢魏晉詩歌以自然景物爲引發情感的媒介的“感物”詩學，到元嘉山水詩以自然景物爲審美客體的“體物”詩學，這是傳統詩學的一個重要發展，體現了詩歌寫作藝術的新變及詩歌表現範疇的拓展。“感物”到“體物”這一詩學發展過程是相當複雜的，與魏晉南北朝自然觀的變化密切相關。在玄學和佛學的影響下，東晉人擺脱了天人感應的束縛，確立了具有現代意義的新自然觀，這一點爲“體物”詩學的確立奠定了思想基礎。慧遠由佛教“形神論”發展出的“形象本體”之學，則成爲“體物”詩學的美學思想淵源，促進了傳統詩學的重要發展。From analysis of the entire history of traditional poetry, the art of scenery description develops maturely until Yuanjia period. The art develop from the emotional caused by scenery to scenery description, is an important development of poetics. This development of poetics is very complex. The development is closely related to the changes in the concept of natural of Wei and Jin dynasty. Under the influence of Buddhism and metaphysics, new natural concept has been established in the Eastern Jin Dynasty. This is the ideological basis of scenery description. And the Buddhist ontology learning of Huiyuan, also had a significant impact on the arts.
杜甫詩史與《春秋》書法——以宋代詩話筆記之詮釋爲核心
Authors: 張 高評 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
稱美杜甫詩爲“詩史”，始於晚唐孟綮《本事詩》。推崇安史之亂前後杜甫所作敘事詩，以爲富於“推見至隱”之《春秋》書法，識見超拔，可謂杜詩知音。杜甫《祭遠祖當陽君文》，贊揚遠祖杜預：“《春秋》主解，稿隸躬親”，感慨“鳴呼筆跡，流宕何人”？文中杜甫既以“不敢忘本，不敢違仁”自惕自勉，發爲詩歌，遂多“推見至隱”之《春秋》書法。諸如微婉顯晦、據事直書、褒貶勸懲、諱言諱書等，宋代詩學討論之“詩史”論述，杜甫敘事歌行，多有具體而微之體現。本論文考察杜甫詩史，專取《春秋》書法爲視角，援引20餘首杜甫敘事歌行爲例，結合65則宋代詩話筆記，8則明清詩話之論述，借鏡兩宋《公羊》學、《左傳》學之理論，聨結經學、史學，與文學作一學科整合之探討。同時類比白居易、元稹、韓愈、李商隱等有關楊貴妃、馬嵬坡諸詩篇，以見宋人以《春秋》書法論詩之一斑。從此可見《春秋》與詩，皆杜甫“吾家事”，於是詩與《春秋》相表裏，而蔚爲詩史之特筆書寫。
Meng Qi’s Ben Shi Shi (本事詩) began to praise Du Fu’s poetry as “Shishi” (詩史) in late Tang. Meng praised highly for Du Fu’s narrative poems during An Shi Rebellion (安史之亂), and affirmed it’s “represent the obvious to the concealed” and Chun Qiu Shufa (《春秋》書法). He was indeed a transcendent insight and the expert of Du’s poetry. Du Fu “Ji Yuan Jie Dangyang text” (《祭遠祖當陽君文》) commend his ancestor Du Yu: “Chun Qiu is mainly for explanation, Personally writing draft”, sighed “Wuhu handwriting, who owns it?" In the text, Du Fu encouraged and alerted himself as "Not forgetting his roots, not disobeying illegally” for poetries. Chun Qiu Shufa of “Represent the obvious to the concealed” like the Song Dynasty poetics called “Shishi”, Du Fu's XuShiGexing (敍事歌行) almost showed Specifically such as implicit declare obscurely, traightforwarded recording according to events, praised good belittled evil, Said and written indirectly etc. This paper inspects Du Fu’s ‘‘Shishi”, detailed others neglected, varied different from the same. Chun Qiu Shufa of Du Fu's XuShiGexing inspected 60 of Song Dynasty Shihua (詩話) and Biji (筆記), expositions of 6 of the Ming and Qing Dynasties Shihua. To learn northern and southern Song the theory of Gong Yang study (《公羊》學) and ZuoZhuan study (《左傳》學), linking the morality, historiography and literature, discussed the integration of subjects for a study. To analog Bai Juyi (白居易), Yuan Zhen (元稹), Han Yu (韓愈), Li Shangyin (李商隱) s’ various poems about Yang Guifei (楊貴妃), Ma WeiPo (馬嵬坡), understood Chun Qiu Shufa reflected poems.
明中後期對白居易詩接受向度的承接和轉變
Authors: 尚 永亮 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
明中後期150餘年間對白詩接受的發展歷程，大致表現出先抑後揚、抑揚遞變的否定之否定的特點。承接高棅的唐詩觀，前後七子等詩人群體崇盛唐而抑中晚，對白居易詩採取鄙夷的態度，影響所及，蔚然成風。與此同時，唐寅等吳中詩人則以其對白詩的熱情讚賞和創作效法，與七子派抗衡。稍後何良俊、胡應麟等人之稱道白詩，顯示出由否定到認肯的顯著轉變。而至萬曆以後，袁宗道等公安派詩人力崇白詩，展示出對七子派等主流思潮的强力反撥和接受向度的大的轉變。明末許學夷、陸時雍等人承前再轉，或從詩史角度評白詩之“大變”、“啓宋人門戶”，或以神韻爲宗，直斥元白“以潦倒成家”、“練皆降格爲之”，從而既爲明代白詩之詮評畫了一個句號，又給予清人葉燮、王士禛等人的唐詩觀以直接的啓迪和影響。
Over 150 years, the Mid to Late Ming period (early 16th to mid 17th century) witnessed a change from criticism to high praise in the appraisal of Bai Juyi’s (772-846) poetry. The early attitude was the result of a trend initiated by the Former Seven Masters and Later Seven Masters of the Ming, who in turns continued Gao Bing's (1350-1423) accolade of High Tang poetry and his contempt for Mid and Late Tang poetry. In this fashion, Bai Juyi’s poetry was widely demeaned. In the same period there was some opposition from intellectuals such as Tang Yin (1470-1523) and others from the region of Wu (modern Jiangsu and Zhejiang provinces). They gave considerable credit to Bai's poetry and emulated Bai's style in their own compositions. Later, He Liangjun (1506-1573) and Hu Yinglin (1551-1602)'s praise of Bai Juyi’s poetry marked a turning point from criticism to admiration. After the Wanli reign period (1573-1620), some poets of the Gong'an school, such as Yuan Zongdao (1560-1600), wholeheartedly promoted Bai’s poetry. This was in stark opposition to the mainstream thought and poetic taste advocated by the school of the Seven Masters. At the end of the Ming Dynasty, critics such as Xu Xueyi and Lu Shiyong carried on the polemics by expressing different views on Bai's poetry. Some of them defined Bai as a “poet-historian” who initiated a “big change” that “opened up a new gateway for Song Dynasty poets.” In their doctrinal pursuit for “divine aesthetic effect” (shenyun), some harshly criticized Yuan Zhen (119-831) and Bai Juyi's poetry for its simple, coarse style, which represented poor treatment of poetry composition. On the one hand, these opinions marked the end of Ming dynasty critique of vernacular poetry; on the other hand, they had a direct influence on and gave rise to a new view of Tang poetry advocated by Qing critics such as Ye Xie (1627-1702) and Wang Shizhen (1637-1711).
胡應麟“格調”選擇的思想史意義
Authors: 李 思涯 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文通過比較胡應麟爲代表的復古派與公安派文學思想核心的不同，認爲他們的本質區別在於是否“師心”，即是否受到了哲學思想的影響。胡應麟對思想性的東西並不感興趣，把學詩的重心放在對“作品”之“格調”、“風神”的學習上，而公安三袁則深受王學影簪，把學詩重心放在“作者”之“性靈”上。由此導致他們對學問的看法完全不同，胡應麟主張學問與文學交相作用，而三袁則認為學問對作者之“心”的修養並無直接關係。這種差別暗合了思想界中“尊德性”與“道問學”之爭。胡應麟提倡博學，但對“尊德性”並無興趣，代表著明代思想史中的一個動向：學術、知識研究正式從觀念化、印象化向系統化、實證化轉變。
By comparing the core thoughts of Hu Yinglin and Gong’an School, this paper pointed out that the difference between them is whether they were influenced by philosophic thinking. Hu was not interested in philosophy, so he put emphasis on the “Gediao” and “Fengshen” of text in learning poetry. While Gong'an School was deeply affected by it, so put emphasis on the “Xingling” of writer. Therefore, they hold different views on knowledge. Hu persisted in the interacting of poetry and knowledge. However, Gong’an School thought that knowledge had not direct relation with the writer’s hearts. These distinctions coincide the argument of “Esteeming the Virtuous Nature” (zun de xing) and “Following the Path of Inquiry” (dao wen xue) in intellectual history. That Hu advocated erudition and knowledge inheritance but had no interests in Virtuous Nature, indicated one direction of intellectual transition of Ming Dynasty, that is, academic research on knowledge began more and more systematic and positive.
龔鼎孳人格論
Authors: 白 一瑾 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文對清初著名的“貳臣”文人龔鼎孳的複雜人格進行分析。其人格可分爲四個側面：其一是參與政治、建功立業的強烈欲望，這是由他兼濟天下的儒家政治理想、對個人自我實現的追求，以及身爲貳臣的贖罪心理所決定的；其二是對文人化的林泉隱居生活的仰慕，以及由此產生的立足于台閣文人身份、將“仕”與“隱”合二爲一的人生理想；其三是對肉體生存與物質享受的極度貪戀；其四是中庸理智且自有人生原則的生存方略。他的特殊人格，與歷史上著名的貳臣馮道，具有相似性。
This essay is an analysis of the complex character of Gong Dingzi (1615-1673), a famous intellectual who has been regarded as a turncoat official. Gong's character may be observed from four aspects. The first one is his keen desire for a political career and to make a strong contribution. This was determined by three factors: (1) his confucian ideal of bringing order to the world; (2) his pursuit of personal goals; (3) his redemptive philosophy derived from his role as a “traitor”. The second aspect of Gong’s character is an ideal lifestyle that combines the two apparently contradictory choices of “service” and “reclusion.” This was formed on the basis of his admiration for the reclusive lifestyle of traditional intellectuals, as well as his craving for the name of an official-intellectual. The third aspect is his lust for a carnal life and material pleasures. The last is his life strategy, which is comprised of a moderate course and certain principles in life. His special character shares similarities with Feng Dao (882-954), another famous turncoat official in Chinese history.
杜甫、白居易近體詩韻字考——依靠《刊謬補缺切韻》考察韻字
Authors: 水谷 誠 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文利用唐代韻書《刊謬補缺切韻》，以杜甫詩和白居易詩爲例證，分析唐詩的用韻，認爲杜詩和白詩的韻字大體上出自《刊謬補缺切韻》，其用韻範圍基本上是《切韻》所收的範圍。而《刊謬補缺切韻》中未收的杜詩和白詩的韻字，比例僅佔不到百分之二。由此推論像北宋《廣韻》這樣大規模的韻書是用韻書的規範化，增補的主要是字典的未收字，使韻書字典化了。而像北宋《韻略》這樣小規模的韻書是專供詩文用的。
This study makes use of the Kanmiu buque Qieyun (Corrections of Errors and Supplements to the Qieyun), a Tang-dynasty rhyme book, in examining the rhyming system in Tang poetry. The author argues that most of the rhyming words in Du Fu’s (712-770) and Bai Juyi’s (772-846) poetry are found in this book and that they are basically within the coverage of Qieyun. Less than two percent of the rhyming words in the poetry of Du and Bai are not found in Kanmiu buque Qieyun. These findings allow a hypothesis that most tome rhyme books such as the Guangyun, which were compiled in the Northern Song, were standardized editions of rhyme books. All retrospective supplements to rhyme books were mainly words that were not collected from dictionaries, so rhyme books were then lexicalized. Small rhyme books such as the Yunlue (A Concise Rhyme Book) were, however, specifically for the use of poetry composition.
漢語時間表達中的運動隱喻
Authors: 周 國正 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
漢語中，“前”既可指未來（如“前途”）又可指過去（如“前世”）是令人困感的現象；而與“前”相反的“後”卻與“前”不對稱，“後”（如“後世、後人”）只能指未來，不能指過去，又引起更多困惑。前者學者多以“個體移動——時間移動”隱喻去解釋“前”的矛盾義，後者則傾向以“前、後”在空間認知上的不對稱去解釋在時間表達的不對稱。但“個體移動——時間移動”隱喻其實缺乏主動的解釋力，而“前、後”認知上不對稱如何限制“後”對時間的表達亦欠缺具體準確的説解。本文指出“個體移動——時間移動”隱喻的缺失，顯示時間表達所採用的其實是運動隱喻。在運動中認知主體有兩種著眼取向：一、本身作爲運動體的途程。二、其他事物相對於自身所在位置的運動。從這個視角切入可以妥當解釋何以“前”（及類似字詞）能表達矛盾的時間意涵及“前、後”的不對稱如何限制“後”的時間表達。
In Chinese, the word “front” paradoxically conveys the meanings of both future and past; whereas its antonym “back” asymmetrically only conveys “future”. Scholars tend to account for the paradoxical phenomenon with the metaphors “moving ego vs moving time”, and the asymmetry in human cognition. This article first reveals that the metaphors “moving ego vs moving time” are deficient in explanatory power and a concrete and precise explanation on the constraint of asymmetry is still wanting; and then moves on to construct a Movement Metaphor. It is discovered that the cognitive subject has two concerns in movement: 1. itself being a moving thing, the path of its movement; 2. how other things move in relation to its position (absolute point, reference). Studying from this approach can neatly answer the intriguing questions.
陳漢章《〈周禮〉行於春秋時證》析論
Authors: 許 子濱 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
以《左傳》禮制印證《周禮》的古今論著中，最爲閎博的是陳漢章（1864—1938）的《〈周禮〉行於春秋時證》。此文前後三次刊載於不同刊物，兩次誤題黄侃所作。陳氏堅信《周禮》爲周公撰作，文中詳列《左傳》所載春秋遍行《周禮》的例證，共計七十三例，從而得出《周禮》於春秋之時廣泛頒行列國的結論。這些例證，主要爲彙集增補漢人（以鄭衆、鄭玄爲主）、唐人以至清人的注疏或論著而成。除少數例證值得懷疑外，绝大部分都能成立。經過通盤的驗證，《周禮》可與《左傳》互證共九十餘例，足以證明《周禮》部分禮文的制定確有事實依據。陳氏把這種現象解釋爲“《周禮》行於春秋時”的反映。但事實上，《周禮》與《左傳》有合有不合。陳説的可議之處在於，只見《周禮》與《左傳》的相通之處而忽視其間的差異，以致立論出現偏差。
Chan Hanzhang (陳漢章) (1864-1938) instead of Huang Kan (黄侃) (1886-1935) was the author of the captioned article. There has been much controversy on the book Zhouli (《周禮》) with its dating and authenticity in particular. Many scholars attempted to resolve the dating and authenticity of Zhouli based on the comparison of Zhouli and Zuozhuan (《左傅》), among them Chan Hanzhang’s article is the most noteworthy, yet little has been studied on his findings. This present article examines thoroughly Chan Hanzhang’s views on Zhouli from a perspective of intertextual cross-referencing. Indeed, Chan Hanzhang had made a careful comparison of the rituals contained in the Zuozhuan with those recorded in Zhouli. He concluded that Zhouli was written by Zhougong (周公) and was still prevailing during the Spring and Autumn period (770-453 BC). Although Zhouli and Zuozhuan agreed with each other in respect of various rituals, there are considerable discrepancies between these two classics.
《湖湘詩派研究》
Authors: 李 金坤 
Published: February 2023

LANGUAGE NOTE | Document text in Chinese only.
湖湘詩派，又稱漢魏六朝詩派，是活躍於中國近代詩壇百年之久的一大詩歌流派，名冠近代衆多詩派之首。作爲此派領袖人物的王闓運，學界似乎—邊倒地評價其詩是以“雜湊摹仿”爲能事，脫離現實，沒有實際意義。陳衍堪稱此類言論之代表，其云：“湘綺五言古沉酣于漢魏六朝者至深，雜之古人集中直莫能辨。……蓋其墨守古法，不隨時代風氣爲轉移，雖明之前後七子無以過之也。”（《近代詩鈔》）對於此派，歷來研究成果寥若晨星，且大多集中于對王闓運其人其詩的探討。至於對“湖湘詩派”進行全面研究者，自是一片空白。“蕭曉陽有志爲湘綺去蔽，並爲近代湘中詩壇和湖湘派聲氣相通的異域靈鬼們立傅”。（羅時進“序”）蕭曉陽君在其博士論文基礎上修訂而成的洋洋30余萬言的大著《湖湘詩派研究》（人民文學出版社，2008年4月版。下文簡稱“蕭著”），以其翔實的史料，求實的態度，辯證的思想，科學的方法，宏通的視野，深微的闡析，創新的理念，還湖湘詩派以本來面貌，從而使珠玉重光，價值再現，地位復顯，名聲又響。蕭著鄭重指出：“湖湘詩派人在近百年的詩歌創作歷程中，推崇《楚辭》，鎔鑄八代，張揚了詩人慷慨任氣的個性精神，表現了憂傷哀怨的悲劇情感，透露出特有的時代氣息，形成了典雅綺麗的詩歌風格。”（p388）“在古典與現代、文言與白話、中學與西學相交匯的晚清社會，湖湘派詩歌以其狂放的氣勢，傲睨一切的姿態，批判現實，不時衝破格律詩歌的樊籬，在一定程度上使詩歌回到了自然之途，成爲中國詩歌史上古典詩歌向現代詩歌轉變過程中重要的一環。”（p389）“湖湘派詩歌作爲近代詩歌史上感傷詩歌的開拓者，開創之功實不可没。”（p390）但蕭著也認爲：“（湖湘詩派）由於在形式上存在著擬古傾向，其末流以擬古爲高，刻意求似，嚴重削弱甚至掩蓋了詩歌本身的精神，成爲這個詩歌流派的致命的弱點。”（p389）如此實事求是的評價，可謂甚中肯綮，空谷足音。在湖湘詩派系統、全面而深入的研究方面，蕭著委實是一部填補學術空白的力作。簡要論之，蕭著具有視界宏通、論析深微與觀點創新的三大特色。（撮要取自內文首段）