bluuebunny/crossref_metadata_2025_split huggingface dataset:
氣的含義及其積極意義
Authors: 金 鵬程 , 唐 梓彬 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“氣”作爲一個含義豐富的字，與相當多的概念相互關聯，表現出極爲複雜的内涵。但“氣”是中國哲學中的重要命題，所以歷來的研究者都希望梳理出“氣”的概念史。最近白一平（William H. Baxter）和沙加爾（Laurent Sagart）重構“氣”爲*C. qhəp-s，其中*C-表示不確定的輔音，與“吸”顯示出明顯的聯繫；而*qhəp則表示呼吸。毫無疑問，“氣”的基本含義是“呼吸”（breath），而所有其他感官（senses）都從它派生出來。本文在此基礎上繼續對“氣”及其相關概念如陰陽、五行等進行研究，闡述“氣”之所以在中國上古時期能夠作爲重要概念的三個主要原因及其積極意義：（1）“氣”以“神靈”的形式允許了疾病的概念化；（2）“氣”能賦予“天命”政治承襲理論合法性的地位；（3）傳統認爲可藉學習控制“氣”以獲得非凡力量。最後爲求使研究更完整，本文亦對“氣”的局限性作一討論。
The prolific Chinese word qi 氣 has so many interrelated but distinct senses that any student of Chinese philosophy will want to unravel them so as to understand the history of the concept. William H. Baxter and Laurent Sagart reconstruct qi as *C. qhəp-s (where *C- represents an indeterminate consonant), which shows a manifest connection with xi 吸, *qhəp, “to breathe.” Little doubt can remain that the basic meaning of qi is “breath,” and all its other senses are derived from it. This paper goes on to survey associated concepts, such as yinyang 陰陽and the Five Phases 五行, and discusses the three main reasons why qi was regarded as a useful idea in ancient China: (1) it helped replace the conceptualization of disease as possession by a ghost or spirit; (2) it permitted an alternative theory of dynastic succession to that of Heaven’s Mandate (tianming 天命); and (3) some traditions promised practitioners extraordinary power by learning how to control qi. The paper concludes with a discussion of the limitations.
文學地景中的身份意識———從文學散步到地景書寫
Authors: 唐 睿 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
1987年，盧瑋鑾教授於報刊系統介紹香港文學地景和文學篇章，爲香港文學散步（Literature Tour）奠下了學理的起點。2001年，中文大學香港文學研究中心開始舉辦全港性的大型文學散步，此後不斷續辦，活動内容亦不斷發展，除了文學散步，還包含文學創作分享，以及文學創作教育，逐步演化成一項系統地建構“文學地景”（Literary Landscape）的活動。另一方面，香港其他文藝機構於過去二十年間亦不斷提倡書寫香港社區，發展出許多極具規模的文學地景建構活動，跟研究中心的文學散步，性質相通。2016年，香港文學生活館策劃了“島敘可能：文學×視藝”活動，爲文學地景的建構方式，注入跨媒體元素。過去十年，“文學地景”建構活動在香港蔚爲風氣，數量之多，規模之大，在華文地區，尚屬特殊。然而此現象的發展脈絡，至今尚未獲得系統梳理，而此由文學散步蛻變而來的過程，亦值得從身份意識的角度加以探究。本文將藉文獻史料，分析文學散步轉化成文學地景建構活動的過程；再以法國學者：相伯德羅浮、莫里斯·霍布瓦克和皮埃爾·諾亞有關身份意識和集體回憶的理論，分析文學散步及文學地景建構活動，對建構個人身份意識的意義。
In 1987, Professor Lu Wei-luan introduced the Hong Kong Literary Landscape and literary writings in a series of publications, which laid a theoretical foundation for the Hong Kong Literary Walking Tours. In 2001, the Hong Kong Literature Research Centre of The Chinese University of Hong Kong took the lead in organizing territory-wide Literary Walking Tours, and thereafter developed and enhanced the activities with diversified content. As well as Literary Walking Tours, a platform for the sharing of experience in literary creation and creative writing education, the programme also evolved and became a movement for the “Construction of Literary Landscape.”
Over the past twenty years, some literary and art organizations have been promoting community writing and setting out to expand the “Construction of Literary Landscape” activities on a large scale, aiming to share the same objectives of Literary Walking Tours organized by the Hong Kong Literature Research Centre. In 2016, The House of Hong Kong Literature hosted an exhibition titled “Islands’ Narrative: Literature X Visual Art,” which infused the pattern of Literary Landscape Construction with transmedia elements. “Construction of Literary Landscape” activities have become a vogue in Hong Kong over the past decade. This unique phenomenon in Chinese writing has drawn scholars’ attention from overseas because of the massive scale and overwhelming number of participants in the activities. Nonetheless, the lack of systematic analysis of the development of this phenomenon makes it a worthwhile project to examine the evolutionary process of “Literary Walking Tours” from the perspective of the consciousness of identity. This paper is an attempt to deal with the task in two steps. First, with reference to literary and documentary sources, it aims to analyze the process of Literary Walking Tours’ evolution into the “Construction of Literary Landscape.” Second, making use of the theories of identity consciousness and collective memory proposed by French scholars Chombart de Lauwe, Maurice Halbwachs, and Pierre Nora, it analyzes the Literary Walking Tours and “Literary Landscape Construction” movements, which may yield significant findings about the construction of self-consciousness of one’s identity.
發爐與治籙———正一發爐與靈寶發爐的比較
Authors: 廣瀨 直記 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
陸修静《太上洞玄靈寶授度儀》、張萬福《醮三洞真文五法正一盟威籙立成儀》和杜光庭《太上黃籙齋儀》等道教科儀之中，道士無論在“發爐”還是“出官”的儀式，都要召出自己的體内神，而在與“發爐”對應的“復爐”儀式裏，却没有召回體内神的過程。本文要闡明的，即是這種“重複”與“不對應”現象之所以産生的歷史原因；並以此說明，其背後存在的是，六朝時代有治籙的道士與没有治籙的道士之間的張力。
According to Daoist rituals recorded in scriptures such as Lu Xiujing’s Taishang dongxuan Lingbao shouduyi 太上洞玄靈寶授度儀, Zhang Wanfu’s Jiao sanding zhenwen wufa Zhengyi mengweilu lichengyi 醮三洞真文五法正一盟威籙立成儀, and Du Guangting’s Taishang huanglu zhaiyi 太上黃籙齋儀, Daoist adepts need to summon their physical deities back from outside when performing the rituals of Lighting the Incense Burner (falu) and Exteriorization of Officials (chuguan). However,when performing the ritual of Recovering the Incense Burner (fulu), a parallel ritual to falu, the adept does not summon the deities back to the body. This essay aims to clarify the historical factors for the “repetitive” and “unresponsive” phenomena between falu and chuguan, and demonstrate that there was indeed an interaction between the adepts with the Parish Registers (zhilu) and the adepts without them during the Six Dynasties period.
論王安石《唐百家詩選》對“唐詩”的建構與詩學詮釋
Authors: 唐 梓彬 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
王安石《唐百家詩選》的選録標準一直是詩學史上頗具争議的問題。本文先客觀分析《唐百家詩選》的編撰目的；然後從北宋初年的大背景入手，比較《文苑英華》和《唐文粹》對“唐詩”的建構，嘗試解釋《唐百家詩選》不選著名詩人的原因；接著從文本出發，考察王安石《唐百家詩選》對“唐詩”的建構與詩學詮釋。
This paper deals with a controversial issue concerning the selection criteria of Wang Anshi’s (1021-86) Anthology of Works by One Hundred Tang Poets. The first focus is the motive behind the compilation of this anthology. The next focus is a historical survey and study of the concept of “Tang Poetry.” This second goal will be achieved by a comparison between the selections from anthologies dated from the early Northern Song period, such as the Wenyuan yinghua and Tangwen cui, with those in Wang’s Anthology. The final focus is a textual analysis of the construction of Wang Anshi’s poetics and his interpretation of “Tang poetry” as revealed in his Anthology.
民間學人劉沅“和會三教”觀念建構———以“生死議題”爲中心的討論
Authors: 范 旭艷 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在清代辟佛老的文化氛圍之中，知識精英對於佛、老思想，儘管承認其益於教化的社會功能，在理論上，卻保持儒學概念之純浄性。然而，民間學人致力於“和會三教”觀念的建構。知識精英與民間學人就此命題呈現出不同的價值取向，使儒學在清代呈現出回歸原典與和會佛老的兩種文化走向。兩種文化走向間互相拉扯、對話，使得儒學在清代，展現出觀念重構的思想史意義。
本文以劉沅（1768—1855）爲主綫，通過對生死議題的探討，觀察他的生命體驗以及對“和會三教”議題的理論建構。作爲民間學人，他處於官方與民間、知識精英與大衆之間的雙重邊緣。獨特的地位，促成了他的“和會三教”思想。通過對劉沅的個案研究，可見三教交涉思想在清代呈現出觀念建構的走向。
文章前言部分簡述清代官方與知識界對於佛、老思想的態度，此爲劉沅“和會三教”思想的“他者”與對話對象。其次，界定劉沅和會三教時的儒學立場。“吾儒”的立場，是三教和會之基點，佛、道思想在儒學的範疇内和會。復次，分别以生死議題中“壽”、“孝”（側重於葬禮中之孝心、孝行）兩個概念爲核心，探析劉沅如何和會儒道、儒佛。“壽”，是儒、道共享的概念，劉沅通過儒道兩方面的雙向論述，分别强化儒學的宗教性、道教的道德性，使得二者得以接榫。“孝”，是儒佛間的矛盾點，對於儒佛的和會，劉沅更加突出儒家的立場，以儒家之孝義來詮釋佛教，選擇性地接受佛教喪葬禮儀。本研究展現了在官方與知識界以外，儒學在清代的豐富面相與闡釋空間以及和會三教觀念的思想活力。
One aspect of the cultural atmosphere of the Qing dynasty is the expulsion of Buddhism and Daoism. Within this environment, the intellectual elites preserved the purity of Confucianism although they recognized the didactic functions of the two religions. Nonetheless, scholars from among the populates made efforts to create the concept of “synthesizing the three schools.” Therefore, the intellectual elites and the commoner-scholars had different values, which gave rise to two trends, namely returning to the classics and the synthesis of Confucianism, Buddhism, and Daoism. The interactions and dialogues between them resulted in the reconstruction of ideologies in the Confucianism of the Qing dynasty, which was significant in Chinese intellectual history.
如何尋找傳統的現代性
Authors: 梁 鴻 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在今天，古典文學、文化傳統及相應的知識譜系和當代文學之間有一種很難彌合的斷層。它們所造成的直接後果是，在思維方式上，當代作家更多接受西方文學的精神，譬如孤獨、懷疑、單獨的個人（這些當然很好，但卻缺乏一種根本性的背景），語言上缺失了中國古典話語的現代白話，很難有幽深、雜糅的語言。這也使得我們對世界的想象是單面的。偉大的作家既繼承傳統，又創造傳統。他能使很多詞語、知識重新焕發生機，他能夠啓動、洗刷塵土，並且賦予它現代意義。美籍阿拉伯學者薩義德在《人本主義與民主批評》中提倡“重回語文學”。重回語文學，就是重回人文主義，通過對語言的溯源重新回到歷史生成之初，去尋找言詞背後的“歷史生成”，也即尋找傳統，在批判中繼承。我以爲，對於寫作者和文學批評者而言，重回語文學，首先意味著重新把目光投向語言、詞語本身，從對語言的持續關注和追索中發現文學内部所透露出的幽深的時間和空間，從而尋找“傳統”的現代含義。
Nowadays, contemporary literature has been distanced from classical literature, cultural traditions, and relevant knowledge, giving rise to a rupture that has become difficult to mend. This rupture has direct consequences. In their way of thinking, contemporary writers are more receptive to the spirit of Western literature, resulting in the roles of lone, skeptical, and helpless individuals (which, of course, are fine, but lack a fundamental background). There is a feebleness in the modern vernacular language within the classical Chinese discourse; therefore one can rarely see a profound, mixed language. This leads us to have a single-sided view of the world. A great writer should be able to not only inherit traditions but also create traditions. S/he should be able to rejuvenate terminology and knowledge, raise dust and then wash it out, and endow it with modern significance. The American-Arab scholar Edward Said calls for “the return to philology” in his Humanism and Democratic Criticism. This advocacy in fact refers to a return to humanism. The process is to return to the beginning of history by tracing the origin of language in order to look for the “formation of history” behind certain diction. This is the same as tracing tradition by critically inheriting it. For writers and literary critics, I believe, the first significant task is to refocus on language and diction per se. Through the constant attention to and pursuit of language, they shall discover the profound dimensions of time and space within literature so as to find the modern meaning of “tradition.”
重探朱熹《楚辭集注》中的賦比興詮釋體系
Authors: 張 萬民 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
王逸用“興”解釋《楚辭》，朱熹則系統地用“賦、比、興”解釋《楚辭》。後世的《楚辭》研究，深受王逸的影響，多注重研究《楚辭》的比興象徵體系。朱熹《楚辭集注》賦比興論的系統性，未得到足夠的重視。朱熹試圖建立一個詮解意脈的賦比興體系，其詮釋原則是一個完整章節之內的不同語脈形式，而不僅僅是三種具體的修辭手法。朱熹論“脈絡次第”、“綱領”、“文詞指意”，論章節之內的“上下相承，首尾相應之大指”，都是在論述賦比興體系的根本原則。朱熹仿照《詩經》按章標示“賦、比、興”的方法，來處理《楚辭》，然而因爲《詩經》、《楚辭》體制的不同，也爲《楚辭集注》帶來了難以避免的缺陷。
Wang Yi (fl. 120s) was the first critic to adopt the concept xing (“stimulus”) in his reading of the Chuci, while Zhu Xi (1130-1200) was the first to systematically apply the hermeneutic schema of fu-bi-xing (“enumeration, analogue, and stimulus”) to the Chuci. Under the influence of Wang Yi, the Chuci scholarship of later generations tended to concentrate on the bi-xing allegorical system. However, Zhu Xi’s fu-bi-xing theory did not draw enough attention. The present essay examines the comprehensive hermeneutics of Zhu. In practice, Zhu treats fu-bi-xing not merely as three specific rhetorical devices, but, rather, three different threads of expression and thought within every stanza of the poem. Following the practice of his exegesis of the Shijing, Zhu identifies and analyzes the respective fu, bi, and xing elements in the Chuci. Unfortunately, given the distinct structure of the Chuci poems, Zhu’s application of the fu-bi-xing schema observed in the Shijing inevitably encounters difficulties in his exegetic work of the Chuci.
李長庚海戰詩發微
Authors: 陳 家煌 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
李長庚（1752—1807），爲乾隆、嘉慶年間水師名將，擅長寫詩，身後留有《李忠毅公遺詩》一部詩集，共收詩百餘首。寫作期間約在乾隆末到嘉慶十二年殉國爲止，期間記録了李長庚海上軍旅生涯及追剿蔡牽的心路歷程。武將擅詩，極爲難得。從李長庚的詩作中，我們得以窺見身爲水師的軍旅生活景況。本文即以李長庚所作的詩，結合當時寫作的時代背景，探討李長庚帶軍追剿海賊蔡牽的甘苦，亦探討他身爲水師統帥的志氣與追剿海賊過程的無奈。李長庚以詩明志，本文則盡量還原當時李長庚的處境，佐以史實記載，以闡述其詩意嘆傷詠嗟之所由，期望以其詩作，見水師大將李長庚海上軍旅生活的個人感慨。
Li Changgeng (1752-1807) was an eminent navy general and poet par excellence who lived through the reigns of Emperors Qianlong and Jiaqing of the Qing (mid 18th-early 19th centuries). He left behind an oeuvre of poetry comprised of more than 100 pieces. These poems are dated from the late Qianlong reign-period to the twelfth year of the Jiaqing reign-period, when Li died as a patriotic martyr. They outline the history and thought of the poet who then served in the navy and on a besiege attack on Cai Qian. It is extremely rare for a navy commander to excel in poetry composition — Li Changgeng wrote about his life in the navy in verse. This present essay examines Li’s poetry by looking into relevant historical backgrounds in an attempt to explore the hardship of his life in his military assault on Cai Qian, as well as his aspiration and helplessness as a naval marshal officer against the pirates. Li wrote poetry as a means by which he expresses his ambitions. This essay is an attempt to restore the veritable historical settings of Li’s time and find the reasons for his sentiments.
論時風嬗變下的日本近現代漢詩作法書
Authors: 張 奕琳 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
受日本明治漢詩興盛及受衆庶民化的影響，明治十年以後，有大量漢詩作法書行世。這類書籍標舉便覽性質，在編撰體例上側重學詩法則與熟語相結合，尚簡明適切。日人或是出於治學志趣，或是出於政治需求，主張復興漢詩，體現在導人學詩上，有強調作新語新題的維新説，亦有排斥奇巧詩風的尚古格嚴正派。但二者均堅持初學者應辨别聲律平仄，遠無其時流行的平仄廢止論極端。這類漢詩作法書，體現了日本近現代漢詩通俗化、本土化的傾向，有些還被中國人所翻譯，是近現代時風嬗變下維繫、復興漢詩地位之良器。
Classical Chinese poetry flourished in the Meiji reign-period and its readership became more mainstream. After the tenth year of the Meiji reign-period (1877), several guidebooks of classical Chinese poetry writing were published. One feature of these books is their ease of use. Special attention was given to one learning method, in that the acquisition of poetry composition skills began with familiar vocabulary. These books pursued concision and precision. Of these Japanese authors, some claimed to revive classical Chinese poetry as a means by which they would achieve their academic goals or fulfil their political advocacies. As a result, in teaching poetry composition, some advocated political reforms by placing emphasis on using neologies and new titles, while some defined themselves as classicists and conventionalists who refused to accept grotesque and skillful poetic styles. However, all these authors insisted that beginners should learn how to identify level tones and deflected tones, and did not come around with the then-prevalent extreme trend abolishing the tonal scheme. The circulation of these kinds of prosodic guidebooks reveals the popularization and localization of classical Chinese poetry composition in modern Japan. Some of these books were translated by Chinese people and became a useful tool for the preservation and revival of classical Chinese poetry during the changes in early modern Japan.
南開大學所藏姚培謙《李義山七律會意》之文獻問題考論
Authors: 李 宜學 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
清姚培謙爲清代李商隱詩箋注的四大家之一，以《李義山詩集箋注》爲世所知。然此書出版的前十二年，姚氏已先撰成《李義山七律會意》，專解李商隱七律，事卻罕爲人曉，書亦不甚流傳，今僅北京清華大學與天津南開大學兩校圖書館、當代藏書家黄裳先生庋有刻本，而俱不出借，外人難睹其詳。但據姚氏自云，其撰《李義山詩集箋注》時，嘗“取《會意》覆勘，十易二三”；換言之，《李義山七律會意》的不少見解仍匯入了《李義山詩集箋注》，成爲有機整體的一部份。對此少作，姚氏顯然十分珍視，並未輕易悔之，準此，則該書之重要性不言可喻矣！職是，筆者乃輾轉取得南開大學圖書館版《李義山七律會意》之影像檔，詳加考論，撰成此文。首論“成書與版式”，次論“取《會意》覆勘，十易二三”之説，冀完整梳理其版本問題、比對《李義山七律會意》與《李義山詩集箋注》前後箋注差異，俾爲進一步研究其箋注內涵奠定較爲扎實的文獻基礎。
Yao Peiqian (1693-1766) won renown as one of the four eminent Qing- dynasty annotators of Li Shangyin’s poetry because of his Li Yishan shiji jianzhu (An Annotated Edition of Li Shangyin’s Poems). Twelve years before the publication of this book, however, Yao had already completed a book entitled Li Yishan qilü huiyi (A Comprehensive Commentary on the Heptasyllabic Regulated Verse of Li Shangyin), a book devoted exclusively to the explanation of Li’s heptasyllabic regulated verse. This earlier work was not well known and not widely circulated. This book is held in only two libraries, namely Tsinghua University library in Beijing and Nankai University library in Tianjin. In addition, a woodblock printed copy is in the possession of a contemporary collector Mr. Huang Shang. All three copies are not available for loan and therefore not accessible to outsiders. According to Yao, when he wrote Li Yishan shiji jianzhu he “proofread the texts against Li Yishan qilü huiyi and changed two to three tenths of the content of the Jianzhu.” In other words, a significant amount of the Huiyi content was adopted in the Jianzhu and became an integral component of it. Obviously Yao cherished this early work very much and did not abandon it thoughtlessly. This reveals the importance of this book. For this reason, the author of the present essay made an effort to acquire the image files of this book preserved in Nankai University Library, carefully studied it, and wrote this essay. It begins with a section on “the making of the book and its layout,” which is followed by a discussion of what Yao said about “proofreading the texts against Li Yishan qilü huiyi and changing two to three tenths of the content of the Jianzhu.” These tasks are an attempt to conduct a comprehensive study of the issues concerning editions and a comparison of the respective annotations in these two books, in order to lay a solid textual foundation for further studies on the content and meaning of these annotations.
少山堂本：一個今存最早的《西廂記》“初印初評”本
Authors: 楊 緒容 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
萬曆七年少山堂《新刻考正古本大字出像釋義北西廂》二卷，現藏日本御茶水圖書館成簣堂文庫。少山堂本有眉批和少量旁批。該書不僅是現存最早的《西廂記》評點本，也是今存“最早的中國戲曲評點本”，在《西廂記》傳播史乃至中國戲曲史上具有非常重要的價值。少山堂本很可能是一個“原刻初印”本，也是一個“初評”本，在正文和批語兩方面實爲今存多種明刊《西廂記》之初祖。具體而言，少山堂本直接影響到徐士範本，又經過徐士範本間接影響到熊龍峰刊余瀘東訂本、三槐堂本等明刊《西廂記》評點本。
An edition of the Xixiang ji (Romance of the West Wing) published by Shaoshan tang in 1579, titled Xinke kaozheng ben dazi chuxiang shiyi bei Xixiang (A newly engraved redacted edition of the north edition of The Xixiang ji in large print, with illustrations and annotations) in two fascicles is preserved in Naruhodo Bunko of the Ochanomizu Library in Japan. This Shaoshan tang edition contains some “eyebrow” notes and a few notes next to the text. This edition is not only the earliest extant commentated edition of the Xixiang ji but also “the earliest extant commentated edition of Chinese dramatic texts; therefore, it is very significant in the circulation of the Xixiang ji and even in the history of classical Chinese drama. The Shaoshan tang edition is most likely the “first cut and first print” edition and the “first commentated” version, which contains the urtext and commentaries on which the extant Ming versions were based. In particular, the Shaoshan tang edition had a direct influence on the edition of Xu Shifan, who continued to exert influence on other Ming editions such as the one done by Yu Ludong and published by Xiong Longfeng, and the one with commentaries published by Sanhuai tang.
從《漢書•藝文志》、《文心雕龍》看中國文學之抒情與敍事兩大傳統之關係
Authors: 汪 春泓 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
將《漢書•藝文志》與《文心雕龍》作爲一個文化參照來看中國文學裏的抒情傳統和敍事傳統，此二者完整地存在於這兩種文獻之内，並且屬於不可分離、割裂的關係；從《漢志》所謂“九流十家”，闡發中國抒情與敍事兩大傳統的民族特點，也可與西方形成對照。
The present essay attempts to examine two major traditions in Chinese literature, namely lyricism and narrative, from a cultural perspective based on the “Monograph on Literary Writing” of the Hanshu and the Wenxin diaolong. It argues that these two traditions have a substantial presence in these two sources and that they have an undividable relationship. It also demonstrates the national characteristics of these traditions as seen in the so-called “nine streams and ten schools” in the “Monograph on Literary Writing,” which form a contrast with its counterpart in Western thought.
唐李康成《玉臺後集》蠡測———“玉臺詩史”、“玉臺美學”的建構
Authors: 歐 麗娟 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文探討李康成《玉臺後集》。作爲一部失傳已久、由現代學者重加輯録的殘本，自其序言可知編纂動機、原始規模、選録標準，配合選集中詩家與選詩的個案研究，以及中晚唐的詩歌發展現象，足以掌握這部經典續編的意義。可以說，李康成的編纂反映了從南朝延續到唐代的典律之爭，於《文選》的崇盛風潮下，意圖以《玉臺後集》揄揚《玉臺新詠》的詩學價值，透過這部續編，一方面是“玉臺詩史”的完整建構，一方面則是“玉臺美學”的全面確立，而這兩個範疇彼此互爲強化，亦即“玉臺詩史”的建構延續了“玉臺美學”的確立，而“玉臺美學”的確立又有助於“玉臺詩史”的建構，從而擴大《玉臺新詠》的影響力。
值得注意的是，《玉臺後集》作爲對《玉臺新詠》的接受反應，失傳後保留其殘篇的後世文獻又呈現出對《玉臺後集》的接受反應，將此一獨特的歷時現象給予綜合觀察，將展示出“玉臺美學”備受壓抑的高度生命力，以及“玉臺詩史”的淵遠流長。
In Chinese literary tradition, an anthology is always a powerful means to express literary thought and to initiate or continue an attitude towards literary composition and criticism. This is especially the case in the Tang, as poetry anthologies compiled by Tang critics reveal the poetic thought of Tang poets and anthologists. This paper proposes to study a Tang poetry anthology, the Yutai houji (Sequel to the Jade Terrace), with a focus on ideas about the significance and the value of poetry revealed therein.
Yutai houji is the first sequel to the sixth-century anthology Yutai xinyong (New Songs from the Jade Terrace). Very little has hitherto been done to this anthology mainly because of its fragmentary status. Despite the dearth of relevant information, the present essay aims to study the attitude of this anthology. The discussion will focus on two aspects. The first is about the history of Tang poetry in the Yutai style (so called Yutai poems); the second is about the Yutai aesthetics. This study is expected to shed some light on the role and significance of Yutai houji in traditional Chinese literary criticism, a topic that has long remained unheeded and understudied.