bluuebunny/crossref_metadata_2025_split huggingface dataset:
《王勃集》的編纂時期———以日本傳存《王勃集》卷三十所收《族翁承烈致祭文》爲中心
Authors: 道坂 昭廣 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在流傳於日本的《王勃集》卷三〇中，有一篇王承烈爲祭奠去世的王勃的靈魂而作的《祭文》。作於王勃死後八年的這篇祭文，是爲了安慰未能返回故鄉而被葬於南方的王勃的亡靈。這篇作於684年的祭文，是《王勃集》中最晚創作的作品。《王勃集》的寫本中避諱了“華”字，即“華”字最後一筆缺失（未寫）。另一方面，武則天創作的文字（即則天文字）也未被使用。而在中國仅“華”字闕筆的这一避讳情况持续到６８９年。綜上可知，《王勃集》編纂於684到689年之間。且此僅流傳於日本的《王勃集》，是在其編纂後的五年內被抄寫的文本。
In fascicle 30 of the Collected Works of Wang Bo circulated in Japan, there is a funeral oration (jiwen 祭文) dedicated to the spirit of Wang Bo, written by Wang Chenglie eight years after Bo’s death. This oration was intended to comfort the soul of Wang Bo who could not return to his hometown but was buried in southern China. Composed in the year 684, this funeral oration is the last work in the Collected Works of Wang Bo. In the manuscript of this collection, there is a taboo word, hua 華, the last stroke of which is not written. In addition, the characters created by Empress Wu are not used. It was only until 689 that the character hua was written without the last stroke. Hence, it can be concluded that the Collected Works of Wang Bo was compiled in the period between 684 and 689 and that the edition that is only found in Japan must have been transcribed within 5 years after the compilation.
從《費諾洛薩筆記》看森槐南的李白詩解釋
Authors: 長谷 部剛 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
費諾洛薩（Earnest F. Fenollosa, 1853—1908）1901 年在日本跟從森槐南學中國古典，留下了三冊關於中國古典詩歌的筆記，即《費諾洛薩筆記（Fenollosa’s Notes）》。龐德（Ezra Pound）Cathay（1915）基本上依靠《費諾洛薩筆記》而做成。雖然《費諾洛薩筆記》是研究龐德中國詩英譯的最重要資料，但是由於客觀限制，即使如 Wai-lim Yip Ezra Pound’s Cathay（1969）等先行研究成果也只是看到了《費諾洛薩筆記》中同 Cathay 相關的小部分、未能參看筆記整體。本文則依靠《費諾洛薩筆記》中李白詩部分以及森槐南《李詩講義》等比較全面的資料來探討森槐南的李白詩解釋。
Earnest F. Fenollosa (1853-1908) studied Chinese classical literature under Mori Kainan (1862-1911) in Tokyo in 1901 and left three notebooks about Chinese classical poetry, which have been referred to as “Fenollosa’s Notes.” These notes formed the framework of Ezra Pound’s (1885-1972) Cathay. Despite the importance of “Fenollosa’s Notes” for the study of Pound’s Cathay, for some reason, not enough attention has been given to these notes. For example, in one of the earliest studies of Pound, Wai-lim Yip only referenced a small part of “Fenollosa’s Notes” in his Ezra Pound’s Cathay (1969). The present essay attempts to make use of “Fenollosa’s Notes,” Mori Kainan’s Rishi Kougi (Lecture Notes on the Poetry of Li Bai), and other relevant sources to reconstruct Mori’s interpretation of Li Bai’s poetry.
“文如其人”、“風格即人”與李長之的“傳記批評”
Authors: 廖 棟樑 , 錢 瑋東 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“文如其人”是中國古代文論中涉及“人———言／文”關係之一大命題，其假定了“言／文”爲“人”心之外發外現，因而兩者之間理應若合符契。進入二十世紀後，隨著西方文學觀念的東漸，“文如其人”屢被用作轉譯或比附於法國布封的名言Le style, c’est l’homme（風格即人），並與當時流行的西方自然主義理論相結合，在現代文學批評的語境下持續發揮影響力。而這一傳統文論話語在經歷中西對接的意義轉化後，又爲李長之創造性地借用，他汲取了狄爾泰的“體驗”論和洪堡特的語言觀，重新省思中國古代“文如其人”的觀念傳統，並摶成其獨具特色的“傳記批評”之理論基礎。緣此，對“文如其人”此一古今中西對接演繹過程之勾勒梳理，允爲考察古代文論在西學東漸潮流下的傳承和轉化之絕佳案例。
The belief that “writing reflects the author’s personality” (wen ru qiren 文如其人) was a major theory in traditional Chinese literary criticism concerning the relationship between Man and Word/Text. It presumed that Word/Text is a manifestation of the author’s thought; therefore, the two should perfectly correspond with each other. Since the beginning of the 20th century, with the introduction of Western literary theories into China, wen ru qiren has frequently become a rendering or counterpart of the famous saying “le style, c’est l’homme” by Georges-Louis Leclerc, Comte de Buffon (1709-1788). It was also combined with the then-popular Western Naturalism theory and exerted continuous influence within the context of modern literary criticism. This traditional literary discourse underwent conversions of meaning as a result of its interactions with Western theories before Li Changzhi (1910-1978) borrowed it for his own creative use. Li drew upon Wilhelm Dilthey’s (1833-1911) philosophical theory on “Erlebnis” and Wilhelm von Humboldt’s (1767-1835) philosophy of language, reevaluated the traditional Chinese concept of wen ru qiren, and thereby molded these Western and Chinese theories into the theoretical basis of his unique “critique of biographies.” For this reason, the investigation of the process through which wen ru qiren evolved by connecting a traditional Chinese concept with modern Western theories makes a perfect case study for examining the inherence and conversion of traditional literary theory during the era when Western knowledge was introduced to China.
張愛玲的“姘”字練習：《桂花蒸阿小悲秋》的文學實驗
Authors: 張 小虹 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
以張愛玲短篇小說《桂花蒸 阿小悲秋》爲主要文本，分別從“語言姘合”、“男女姘合”、“翻譯姘合”三個面向，可以探討語言文字、性別關係與跨語際翻譯實踐所可能展現的交織力量。首先，小說中上海話的此起彼落，洋涇浜英文的翻來覆去，以及各種古典小說詞語的摻雜，是新與舊、中與西、高與低之間的“姘”字練習與文學實驗。其次，重新歷史化與政治化的“上海女傭”的出現，結合阿小與阿小男人的關係，展現出城市空間中男女社交、婚姻形態、家庭組合、經濟生活所給出的一種新形態可能。再次，聚焦於張愛玲自譯該小說的英文版本“Shame, Amah”，並從此翻譯文本中擇選出幾個字作爲“文本表面”，可以展現帝國殖民主義在不同地理區域的文化流動，如何將“根源”化爲“路徑”。透過此三個部份的分析，能夠有效揭示張愛玲文學書寫中語言姘合、性別姘居與文化翻譯彼此之間互文交織的變化與不確定性。
This essay studies Eileen Chang’s short story “Steaming Osmanthus Blossoms: A Xiao’s Lament for the Autumn” as a central text, in an attempt to explore the potential power of language. It is interwoven with gender relationships and the translingual practice of translation through three aspects of pin (“pairing up”), namely, “linguistic assemblage,” “male-female cohabitation,” and “translative complication.” Part I will focus on the mixture of Shanghai dialect, Chinese Pidgin English, and expressions from classical Chinese novels in this short story as a pin exercise of linguistic assemblage and a literary experiment between old and new, Chinese and Western, high and low. Part II will highlight the context of Shanghai urban modernity to re-historicize and re-politicize the emergence of “Shanghai Housemaid.” It will take the relationship between A Xiao and her man as a new form of cohabitation by which we redefine the social, marital, familial, and economic life between the sexes in urban space. Part III will focus on the English version of this short story, “Shame, Amah,” translated by Chang herself. It will highlight several words in the English version and treat them respectively as “textual surfaces” to map out various complications created by the cultural flow of colonial imperialism among different geographical areas, and thus to explore how the “root” becomes “routes.” Through these analyses, the present paper aims to effectively explore the changing and indeterminate intertextuality of language, gender relationships, and cultural translations disclosed in Chang’s literary writing.
錢志熙：《陶淵明傳》
Authors: 劉 淑麗 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
陶淵明是中古著名詩人，硏究他的著作可謂汗牛充棟，但是，錢先生在代序《田園中的生命沉思——以一種新的期待閱讀陶淵明》中，揭明了本書的新創所在：政治當然也是陶淵明人生中的重要主題，尤其是他與他所處的政治背景中的複雜關係，其真相還有許多我們現在沒法究明的。但淵明思想與感情的全部主題，遠非政治這一個主題所能局限。政治雖然那樣密切地聯繫著陶淵明的人生，但畢竟是短暫的，稍縱即逝；並且政治上的是非，決非淵明思考的終極，他情感的最後歸宿也是超越在政治之上的。陶淵明的那份情緒與思考，則更帶有永恒性的內容，只有用生命這個主題去闡發它，才可能真正進入他的內心世界。也只有我們把握住詩人生命中的這份沉抑與激揚之後，才能真正欣賞他的超越與平淡，真正領略他詩中的田園之美與隱逸生涯的情趣，並且真正了解它們的價値。”而在本書的《尾聲：啟示與感想》中，錢先生認爲“淵明是高度實現了自我的人，淵明的詩歌是人生與藝術的高度統一”，本書即是圍繞陶淵明的人生、自我、藝術展開，試圖告訴我們陶淵明是如何直面現實人生，即如何面對仕與隱之矛盾，如何解決心靈問題，如何成就爲己之學與進行詩意化表達情感的。現僅從以下三方面認知。(撮要取自內文首段)
《天問》“徹彼岐社”與文王事殷史述考
Authors: 曹 勝高 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《天問》述商周之際的史事，言及“何令徹彼岐社”，一般釋爲“通岐社而爲太社”，認爲事在武王之時。此與所述史事順序不合，歷來未能定詁。若將此事置於季歷被囚殺、姬昌事殷、西伯受命諸事中考察，可知文王繼位之初曾率伐殷而大敗，不得不徹除岐社而奉殷祀，與殷王室通婚，再次服事商王。被任命爲西伯後，重啓岐社並受命於此，上告天帝，公开伐殷。武王即位於商太社，周公營周太社於雒，文王、武王時並無通岐社爲太社之事。從社祀制度的視角來看，《天問》中所言的廼立冢土、徹彼岐社、遷藏就岐、受命岐社，是周人遷岐、服商、自立、反商的標誌性事件。
The poem “Heavenly Questions” (“Tianwen”) tells of the history of the Shang and Zhou dynasties and mentions “why the order to remove the Qi shrine was given.” The line is usually interpreted as “changing the Qi shrine to the highest shrine [of the Zhou],”and is believed to refer to what happened in the time of King Wu of the Zhou (d. 1043 BCE). However, this reading is not in accordance with the chronology of history and has yet to be resolved. The content of this line may make more sense if it is dated to the time when Jili was imprisoned and put to death, and Ji Chang (posth., King Wen of the Zhou, ca. 1152-ca. 1056 BCE) submitted himself to the Shang regime to later accept the heavenly mandate and become ruler of a new dynasty. This dating shall lead to a new interpretation: at the beginning of his succession, King Wen revolted against the Shang but was defeated. As a result, he was forced to remove their Qi shrine, resume their sacrificial service to Shang’s ancestors, and marry his clan members to the Shang’s to show subordination. After Ji Chang was appointed Earl of the West, he reopened the Qi shrine, where he accepted heaven’s mandate, appealed to the thearch of heaven, and began his expeditions against the Shang. As King Wu ascended to his throne in the Shang’s highest shrine, the Duke of Zhou built the Zhou’s highest shrine in Luoyi. Therefore, in the time of Kings Wen and Wu, they would not have used the Qi shrine as the highest shrine. From the perspective of the shrine sacrifice system, we find that the “Heavenly Questions” relates a series of historical events: the establishment of the shrine, its replacement and recommencement, and acceptance of heaven’s mandate. These events are hallmarks of the history of the Zhou people’s settlement, their submission to the Shang, independence, and revolt against the Shang.
趙惠俊：《朝野與雅俗：宋真宗至高宗朝詞壇生態與詞體雅化研究》
Authors: 胡 秋妍 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
雅與俗是中國傳統詩學的重要範疇，起源于先秦儒家樂論。宋代之前，雅俗觀念已經流行于音樂、文學領域，配合詞體文學演唱的隋唐燕樂與中原清商樂構成了一組音樂層面的雅俗對立。而詞體最初是作爲流行音樂最先在世俗社會傳播開來，後於宫廷與士大夫間產生影響，於是又出現社會階層領域的雅俗對立。一部詞史就是雅化尊體、雅俗的對立與交融貫穿，由此詞體雅化便成爲詞學研究的核心問題，受到國内外學者的關注，如謝桃坊《南宋雅詞辨原》、吴蓓《南宋雅詞的特質與時代因素》、黄雅莉《宋詞雅化的發展與嬗變：以柳、周、姜、吴爲核心》、劉少雄《南宋姜吴典雅詞派相關詞學論題之探討》等論著相繼問世。(撮要取自內文首段)
江巨榮：《詩人視野中的明清戲曲》
Authors: 李 碧 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
明清兩代作爲古典戲曲發展的黄金時期，一直是戲曲研究的重中之重，以往的戲曲研究在文本生成、舞臺演出、文化背景及社會影響等諸多視角予以密切關注。就文學層面來説，往往是重視文本、忽視演出，導致考證某些劇目的演出狀況時常常缺乏可靠的文獻佐證。一直以來，明清的筆記、日記等史料被用作戲曲演出紀録的主要文獻支撑。而近年來，江巨榮教授從《四庫全書》系列以及《清代詩文集彙編》等大型叢書中爬梳出大量詩文史料，這些作品直接涉及劇目的生成年代、演出場景、文人的參與及觀感等方面，有的是演出當場即興之作，也有觀後不久所寫成的觀感之作，既可以作爲戲曲演出史研究的第一手資料，又爲文學層面的戲曲演出研究提供了大量的新見史料。從《明清戲曲：劇目、文本與演出研究》（上海古籍出版社，2014年）到《詩人視野中的明清戲曲》（復旦大學出版社，2018年，下簡稱“江著”），江教授的兩部著作均圍繞明清的詩文閲讀與曲學研究的開拓逐步展開，後者分爲“詩與劇目”“演劇詩話”“詩外談劇”三編，鉤稽三十餘種稀見明清傳奇、雜劇劇目，並深人剖析，鞭辟人裏。(撮要取自內文首段)
作家•導演•出版：多重主體“合謀”下的九十年代中國電影小說
Authors: 黄 勇军 , 柳 謙 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
發軔于二十世紀初葉的中國電影小說在 1940 年代中後期出現發展的第一次高潮，但在此後長達近半個世紀囿於多重因素發展相對緩慢。進入1990年代以來，在影像文本的電影和紙質文本的文學二者共同誘導與塑造下，電影投資方、製作方等製作主體，導演編劇、作家等創作主體以及圖書出版方等媒介主體這些與電影小說相關的各方對電影小說的本質屬性、生成機制、價值作用等有了充分而深入的認識，以“作家主動參與”、“導演自覺利用”、“出版争相涉足”爲三大表徵，電影小說的創作與行銷成爲電影界、作家界、出版界等多方聯袂協作、互利共贏的一種“合謀”與“狂歡”，由此促使電影小說逐步勃興，並爲在新世紀出現第二次發展高潮奠定了堅實基礎。
Chinese film novels debuted in the early twentieth century and saw their first climax in the mid-to late 1940s, but for various reasons had been relatively slow to develop for nearly half a century. Since the beginning of the 1990s, as the production of film and film texts underwent some reciprocal developments, there was much more interaction among film investors, producers, filmmakers, directors, screenwriters, writers, and other media subjects, such as book publishers. Stakeholders from all walks of life started to have a full and in-depth understanding of the essential attributes, generation mechanisms, and value of film novels. This new development is reflected in three major phenomena, namely, “writers’ active participation,” “directors’ conscious use of these novels,” and “publishers’ contests for publication.” Characteristically, the creation and marketing of film novels have become a kind of “collusion” and “carnival” of the reciprocally beneficial collaboration of the filmmaking industry, writers, and publishing circles, which have led to the gradual rise of film novels and laid a solid foundation for its second peak of development.
蔣寅：《清代詩學史》（第二卷）
Authors: 李 小雨 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
繼2012年蔣寅教授《清代詩學史》（第一卷）出版七年之後，學界期待已久的《清代詩學史》（第二卷）“學問與性情”（1736—1795）而今又以同樣的巨帙長篇呈現在我們面前。作爲通史性詩學論著的第二段分期，該卷主要論述對象是乾隆朝詩學，這在第一卷導論解釋清代詩學分期時就已劃定：清代詩學史的分期也就是順、康、维三朝爲一期，乾隆朝爲一期，嘉、道兩朝爲一期，咸、同、光三朝爲一期。”？如此分期與對詩學史的理解有關，作者認爲，詩學史“是融觀念史、批評史和學術史爲一體的工作”，“和清代詩歌史、批評史及學術史是緊密地交織在一起的，也可以說正是在三者的互動中展開的”。*2正因爲秉持這樣的詩學史觀念，作者在撰寫過程中致力於展示出詩學史發展過程中的多樣與豐厚，這也是作者自研究王漁洋詩學時便提出的“進人過程的文學史研究”這一學術理念的延伸與持续踐行。(撮要取自內文首段)
緑萼承趺玉蘂輕：姜夔《疏影》詞旨新論
Authors: 蕭 振豪 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《疏影》的詞旨向無定解，較爲主流的政治説仍有缺陷。本文指出《疏影》所詠的梅花品種，並非前人研究所舉引的古梅而是緑萼梅，故詞中著重渲染和緑色相關的事物。修建於宣和四年（1122）的艮嶽是北宋最大型的皇家園林，其萼緑華堂種植了數以萬計的緑萼梅，象徵了北宋的記憶和命脈，以姜夔《疏影》爲首的詠緑萼梅之作，無不以緑萼梅塑造宋室偏安的孤寂情態。本文從緑萼梅出發，重新討論《疏影》與徽欽二帝的關係，並指出緑袖佳人與王昭君的典故，又見於姜夔和范成大圈子的詩人；姜夔藉緑萼梅象徵宋室命脈，並呼籲時人努力維護南宋。《疏影》所用的典故成爲了後人詠緑萼梅的固定意象，然而緑萼梅與宋皇朝的關係卻逐漸被人遺忘。
The theme of “Dappled Shadows” (“Shuying”), a ci-poem by Jiang Kui (1155-1221), has long been the subject of dispute in relevant scholarship. This paper contends that the relatively mainstream political readings have not satisfactorily addressed the complexity of the theme. By pinpointing the specific species of green calyx plum mentioned in the poem, rather than any unspecified “ancient plum” as accepted by previous scholarship, one can feel the lyrics’ emphasis on green imagery and motifs. Constructed in 1122 CE, the largest Northern Song imperial garden, the Northeast Marchmount, had a plantation named Hall of Green Calyx Plums (Yuelühua Hall) where ten thousand trees of green calyx plums were planted. These trees may be seen as symbols of the memory and lineage of the Northern Song dynasty. Poetic works on the green calyx plums, such as Jiang Kui’s pioneering poem “Dappled Shadows,” all convey a sense of solitude of a court-in-exile through the imagery of the plum trees. In this regard, this paper presents a renewed assessment of the relationship between “Dappled Shadows” and Emperors Huizong and Qinzong by taking the image of the green calyx plum as a point of departure. It also discusses the allusions the “green-sleeved beauty” and Wang Zhaojun (b. ca. 50 BCE) in “Dappled Shadows,” which are found in the works by Jiang Kui, Fan Chengda (1126-1193) and their circle of poets. In this light, Jiang Kui’s adoption of the image of the green calyx plum as a lingering motif of the memory and lineage of the Northern Song may be read as a rally call to his contemporaries for the protection of the Southern Song court-in-exile. The references alluded to in “Dappled Shadows” became fixed allusions for later generations who wrote on the green calyx plum, although its connection with the Song imperial court was no longer addressed until this present study.
《左傳》“凡去其國”例楊伯峻注訂補
Authors: 許 子濱 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文旨在探討《左傳》“凡去其國”一例，既嘗試釋讀凡例文字，結合出土簡 帛異文説明此例關涉的語言現象，也通過考察楊伯峻《春秋左傳注》的應用情 況，尤其是對杜預《注》、孔穎達《疏》的取捨，窺探《傳》例的來源及其解《經》的 效能。全文主體共分四個章節，包括：《左傳》“凡去其國”例釋義———兼從出 土文獻異文現象看《傳》例文字；楊伯峻“凡去其國”例總注辨證———兼駁安井 衡《傳》例文字訛誤説；從楊《注》對杜《注》孔《疏》引《傳》例解《經》的取捨看 其注釋策略；“史之書策，必有舊法”———據《傳》“凡去其國”例證“五十凡”實 有自來。杜預從《傳》例解《經》事，有根有據。於若干例外《經》文，杜説亦甚 通達，但有時過於執著，委曲牽合，難免招人詬病。楊伯峻注以舊注疏爲鑒，於 其説有取有捨，其注釋策略及説解《經》、《傳》之用心，無疑值得審視與借鏡。 楊注未爲“凡去其國”例文字釋義，以“凡去其國，復歸其位曰復歸”解《經》，實 有未安。凡杜《注》於例外説義，楊注均避而不談，有意擺脱前人束縛。安井衡 認爲，“凡去其國”例中“入”與“歸”二字爲誤换，論證粗疏，並不可取。純從文 字訓詁論，《傳》所見“入”“復入”“歸”“復歸”與“納”“復”“反”“還”，取義相 通，故每每互用。這種現象也出現在傳世與出土的各種《老子》版本中。古策 書法式應有如《傳》例的規條，後史或依或違。借鑒楊伯峻的實踐經驗，引《傳》例説《經》，須審慎行事，於兩者之相合處，固可據《傳》例並書法解讀《經》文義 理，於其不合處，不能一概而論，以免委曲牽合、膠柱鼓瑟。
Of the so-called “Fifty Outlines” (fan 凡)found in the Zuozhuan, one states that:: In all cases concerning princes or ministers who left their domains, if the leaders of their domains escorted them and established them, it is called ru ('enter ' . If their positions were restored after returning from abroad, it is called fu gui (' restoration return.' ) If princes of other domains installed them in power, it is called gui (' return '. If the princes or ministers returned by force and violence, it is called fu ru ( ' restoration enter. ' ” Based on a thorough and in-depth examination of Yang Bojun's commentary on this rule and its applications throughout the Chunqiu Zuozhuan zhu, this paper finds that Yang misused the short form of the fan, and that his equivocal gesture on Yasiu Sokken's suggestion of the misplacement of the keywords in the fan is completely unacceptable. A comparison of the keywords in this fan with different manuscripts of the Laozi shows that the terms ru, fu gui, gui, fu ru are synonymous and simply mean “return.” This paper also attempts to prove the authenticity of this fan by applying the norms to relevant historical events recorded in the Zuozhuan and hence explore some issues concerning its sources.
張錯《連枝草》現代題畫詩對中國古典水墨畫的文本關涉
Authors: 解 昆樺 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
題畫詩是中國古典詩傳統之一，然則在現代詩的創作場域中卻尚待開展。現代詩人觀中國古典水墨畫而爲現代詩，本身即涉及詩和畫之間媒體形式的互文關係轉换，特别是中國古典水墨畫自成一再現體系，現代詩人如何出入圖像進行辯證，實爲重要課題。學者張錯既有《風格定器物》之論著，詩人張錯亦有《連枝草》之詩畫創作，兩者交相輻湊，實深化出“在現代情境中古典水墨畫之美與美感經驗如何發生？並且透過現代詩話語予以體現？”此一問題意識。本文即透過“觀中遊：動態觀視”“天工與畫工：生成意識”論述進程，研究張錯現代詩與中國古典水墨畫間的互文現象。從中可見張錯在題畫過程中，一方面爲畫作投置主體，透過畫中山水空間的層次組合，建構主體感官與山水自然的互動關係，突破繪畫本身形式上的静態限制，以詩話語釋放繪畫潛存之動能；另一方面則運用畫法入詩，整合中國古典水墨繪畫傳統進行繪畫山水與人物的再現，使文本産生藝術品評的功能，並揉入自身審美品味，進而使繪畫與詩美學得以共進。
Inscribing poetry on paintings is a tradition in classical Chinese poetic history, but it has been under-developed in the field of modern poetry. Classical Chinese painting, which involves a process of translation of language into the symbolic system, is viewed by modern poets as modern poetry. Notably, Chinese painting itself is a representation system；this therefore has given rise to an important issue concerning how modern poets enter and exit the images as a dialectic discourse. As a scholar, Dominic Cheung authored a monograph, Authenticating Art by Styles; as a poet, he created the poems and the painting in Clovers-Selected Poems. These two works are deeply intertwined and arouse the awareness of two questions: 1) how does the “experience” of the beauty and aesthetics of classical landscape painting take place in modern contexts? 2) how can it be embodied through modern poetic language？
Through the two discourses on “Viewing in Tours: Dynamic Viewing” and “Work of Nature and Work of Painting: Generating Consciousness,” this paper examines the phenomenon of the intertextuality between modern poetry and classical Chinese painting. It can be seen that in the process of inscribing a poem on the painting, the layout and the composition of the landscape in the painting establish an interaction between the subject and nature, which breaks the limits of the static state of painting itself and releases the potential agency within the painting through poetic language. On the other hand, the integration of traditional Chinese ink painting techniques in representing the landscape and character shall enable the text to feature a function of aesthetic valuation and to further enhance the aesthetic appeal of the painting and the poem.
Praktis shamanism dalam kalangan etnik beragama Islam di Pitas, Sabah: penilaian menurut perspektif Islam
Authors: Nasir Khairulnazrin , Kamarul Zaman Rahim , Abd. Azid Muhammad Adam , Hussain Abdul Azib 
Published: November 2022

Shamanism	merupakan	istilah	dalam	bidang	antropologi	yang	merujuk	kepada	aktiviti	berkaitan	dengan	pawang,	dukun	dan	perbomohan.	Shamanism	ialah	satu	bentuk	daripada	kepercayaan	dan	amalan	yang	dilakukan	oleh	individu	yang	dianggap	memiliki	kuasa	dan	pengaruh	terhadap	anasir	ghaib	dan	makhluk	supernatural.	Etnik	dan	bangsa	di	negara	ini	turut	memiliki	pelbagai	kepercayaan	dan	amalan	shamanism,	termasuk	etnik-etnik	peribumi	yang	beragama	Islam	di	daerah	Pitas,	Sabah.	Justeru,	tujuan	kajian	ini	dijalankan	ialah	suatu	usaha	untuk	mengenal	pasti	bentuk	kepercayaan	dan	amalan	berhubung	shamanism	yang	terdapat	dalam	kalangan	mereka.	Data-data	dikumpulkan	berdasarkan	metode	temu	bual.	Seramai	tujuh	orang	informan	terlibat	dalam	beberapa	siri	wawancara.	Para	informan	terdiri	daripada	warga	emas	dan	tokoh-tokoh	masyarakat	tempatan.	Hasil	penelitian	mendapati	bahawa	kepercayaan	dan	amalan	shamanism	masih	wujud	dan	dipraktikkan	dalam	kalangan	warga	Muslim	di	Pitas,	Sabah.	Segelintir	anggota	masyarakat	terlibat	dengan	perkara	syirik,	khurafat	dan	tahayul,	seperti	ritual	pemujaan,	black	magic	dan	lain-lain.	Oleh	yang	demikian,	isu	ini	perlu	diambil	perhatian	oleh	pelbagai	pihak,	khususnya	agensi	agama,	termasuk	JAHEINS,	pemimpin	masyarakat	dan	pendakwah	demi	menjaga	kelestarian	akidah	yang	sahih.
Space and Scale in Medieval Painting Reflects Imagination and Perception
Authors: Ruta Nicole , Burleigh Alistair , Pepperell Robert 
Published: November 2022

Abstract
Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective.
There are noticeable differences in the way objects are depicted in paintings of the different periods. For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation.
In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space.
Teaching Legal Reasoning to Law Students in Pakistan: Need for Reforms in LLB Curriculum
Authors: Ali Muhammad Imran 
Published: November 2022

Abstract
Legal education is the method for preserving the rule of law, which is the fundamental premise upon which contemporary nations political and legal underpinnings are built. Legal thinking skills are one of the primary characteristics required of legal practitioners. It is also emphasized in legal education as a primary goal. In Pakistani law schools, the notion of legal reasoning is frequently addressed but rarely articulated. However, in Pakistani law schools, the actual teaching of a skills method approach to legal reasoning as a process and a concept has rarely been properly described. Legal reasoning is not included in the LLB curriculum, which is a fundamental flaw in the legal education system. Legal reasoning will provide law students with a skill that will help them to secure their careers and may be used in a variety of disciplines. This paper will argue that the existing LLB curriculum in Pakistan needs to be reformed and legal reasoning should be included as a subject.