bluuebunny/crossref_metadata_2025_split huggingface dataset:
王念孫《廣雅疏證》通假釋例
Authors: 楊 靜剛 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
三國魏張揖仿效《爾雅》一書的體例，著成《廣雅》一書，列舉出一系列古代的通假字。清人王念孫爲《廣雅》作《疏謹》，繁徵博引，以明《廣雅》的通假。本文即在闡述王念孫疏證《廣雅》所得出的通假條例，大略爲：（1）聲音相同。（2）聲音相近。包括：（i）聲音相同，聲調不同；（ii）兩字雙聲；（iii）兩字叠韻；（iv）兩字發聲部位相同，但一送氣，—不送氣；或一清，一濁；（v）兩字陰陽對轉；凡此皆可得通假。王念孫認爲，通假是聲的關係外，其他如異體字，古今字，則是形的差别，聲音則可同可不同，但王念孫也用“通用”、“同用”來考釋之。故通假字、異體字、古今字雖然不同，此處亦一并討論。王念孫的學問，段玉裁對其推崇備至，并認爲《廣雅疏證》一書，可謂天下至精矣，評價不可謂不高。
Zhang Yi who following the style and format of Erh Ya has published his famous gloss Guang Ya in the Wei of the Period of the Three Kingdoms. In the book, he has listed out a number of phonetic loan characters of the ancient time. Wang Niensun, a Qing philologist, has thus published his Guangya Shuzheng, in which he has stipulated the principles of phonetic loan which he observed used in the Guang Ya gloss. The present article is written to point out the various principles stipulated by Wang. These include: (1) Same phonetics, (2) Similar phonetics which includes: (i) Same initials and finals, but different tones, (ii) same initials, (iii) same finals, (iv) same vocal position of initials pronunciation, but one aspirated, one not; one voiceless, one voiced, (v) “yin-yang dui-zhuan” 陰陽對轉 (-m, -n, -ng finals and non -m, -n, -ng, -p, -t, -k finals interchange). Wang suggested that phonetic loan was basically a phenomenon related to sound. Other phenomena like “gu-jin-zi” 古今字 (characters of ancient and modem writing) and “yi-ti-zi” 異體字 (characters of different forms), as they are the same characters but of different structures, and as such they are also interchangeable. As their interchangeability are similar to the phonetic loan characters, they are therefore also discussed in the present article. Duan Yucai, another famous Qing philologist, has regarded highly Wang’s Guangya Shuzheng, and suggested that it is the finest publication under Heaven 天下至精. The remark is undoubtedly, a bit too high.
最後的盛筵:《白下愚園集》中的文人雅集與唱和
Authors: 孫 瑩瑩 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文從白下愚園主人胡恩燮（1824—1892）的生平入手，討論胡恩燮營治愚園期間多次文人雅集唱和的形制、内容和影響。胡恩燮在《清史稿》中被列入《忠義傳》，在太平軍剛占領金陵城期間，曾往返城内外36次商議與官軍内應之事。事敗之後，胡恩燮仍然救戚友以出，并以此官至知府。光绪初，胡恩燮歸家養母，築成愚園，招集文士雅集唱和，蔚爲東南風流。本文通過分析《白下愚園集》中的文人小傳和詩文唱和材料，論述愚園唱和的參與主體多爲中下層文士，其唱和内容多圍繞胡恩燮策應事、孝母和營筑愚園之功勞與象徵意義展開。集中所收唱和詩歌中存在大量意象重複，并交織以六朝、金陵和園林傳統的典故，深受當時宋詩風氣的影響。唱和詩歌對園林主人經世才能的贊揚，是對大平天國之後晚清衰世的映照。
Starting from the investigation of the life experience of the owner of Bai Xia Yu Yuan (Yu Garden in Jin Ling), Hu Enxie (1824-1892), this article focuses on several elegant gatherings of literati happened in his period when Hu built this garden and invited scholars to enjoy meeting and drinking in Yu Yuan. Hu was enrolled in the Zhong Yi Zhuan (the biographies of loyalty people) of Qing Shi Gao (the Manuscript of Qing History). During the preliminary Taiping occupation in the city of Jin Ling, Hu secretly contacted the troops of the court quartered outside the city for internal rebellion for thirty-six times. Finally, when this attempt didn’t succeed, Hu still survived his whole family and that brought him reputation and the position of a magistrate. In the first years of Guang Xu Reign, Hu came back to Jin Ling and built Yu Yuan to entertain his mother. Meanwhile, he invited his scholar friends to meet in the garden and write poems and articles about the garden. This paper argues that many authors were from the lower middle class in the literati world, through analyzing the biographies and literature works in Bai Xia Yu Yuan Ji (The anthology of Yu Garden in Jin Ling). The content of their poems and prose mostly based on the Hu’s plan of internal rebellion at that time, his filial piety to his mother and the symbol of Yu Yuan’s rebuilt. There were lots of repetitions of the poetic images and Allusions of the Six Dynasties, Jin Ling and the tradition of Gardens. It was also mentioned that practical talent of Hu Enxie, which reflected the decline in late Qing period especially after the Taiping Rebellion.
“我們不能控裁我們的青春”——嚴歌苓及其“文革”題材小説解讀
Authors: 錢 虹 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
近年來，美籍華人女作家嚴歌苓在國内越來越“走紅”。但人們關注得較多的，往往是她那些“虚構”型文本，如《扶桑》、《小姨多鶴》、《第九個寡婦》、《金陵十三叙》等。本文則選取《灰舞鞋》等有關“文革”題材的“穗子的故事”系列小説，從作品與作者生活經歷的重合度、小説的“自傳”色彩、時代的印象寫真、殘酷的青春記憶等方面，做較爲深入的解讀與剖析，并以此凸顯嚴歌苓有關“文革”
American-Chinese writer Yan Geling is becoming more and more popular in Mainland China. However, most attention focuses on her fictional works, such as Fusang (Japan), Xiaoyi Duohe (Little Aunty Duohe), and Dijiuge guafu (The Ninth Widow). The present essay focuses on “Stories of Suizi, “a series of works on the Great Cultural Revolution. The discussion involves several aspects; the similarity between the author’s life and that depicted in the story, the autobiographical feature of the work, likeness of the image of the time, and the cruel memory of youth. The in-depth examination and interpretation of these aspects will highlight the value of Yan Geling’s “Impressionist” novels on the Great Cultural Revolution.
題材小説的“印象派”版本的價值與意義。
新詩中的“城”與“鄉”
Authors: 盧 楨 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
清末民初的文化革新促使中國文學的大觀念發生了轉變，傳统鄉土詩學的穩固性逐步動摇。伴隨著現代都市文化在中國的興起，詩人開始在“願望時間”（wish-time）與“願望空間”（wish-space）之中體驗到價值層面（城市化、現代化、西方化）與經驗層面（對鄉土中國的深厚情感）的錯位感，其美學（文化）現代性對資產階級現代性的拒斥集中體現在對城市和鄉村複雜的態度上。通過不斷地經驗整合，現代都市話語成爲新詩重要的理論資源，它所引領的速度感和空間模式、技術崇拜、商業氣息都在一定程度上契合了新詩自身變革的内在要求，而傳統的“鄉土/田園”抒寫則演繹成爲城市宏觀視野之中的潜在詩性結構。作爲城市抒寫的表達方式之一，抒情者透過“城鄉邊緣人”的觀察視角爲其多樣性的生存方式作出詮釋，從而拓展了新詩寫作的精神空間。
The cultural reform during the late Qing and early republican periods gave direct rise to dramatic changes in the general concept of Chinese literature. Consequently, the deep-rooted local-rural poetics began to find itself in a shaky position. As Chinese urban culture grew up, modern poets began to experience and feel the displacement between their “wish-time” and “wish-space.” This kind of displacement occurred at the level of value and that of experience; the former was a reaction to urbanization, modernization, and Westernization, while the latter concerned one’s keen attachment to China as a rural homeland. The poets’ attitudes towards the city and countryside were complex. The continuous integration of experiences turned the modern city discourse to an important theoretical resource. The modern city introduced new elements, such as a sense of speed, spatial mode, technolatry, and hue of business. These elements to a certain extent accorded with the internal features needed for the development of modern poetry. The traditional homeland/idyllic writing, on the other hand, had evolved to a poetic structure hidden behind the broad vision of the city and become one of the representation modes for versification on this topic. The lyrical poet took the point of view of “a person between the city and countryside” in the explanation of his/her many different ways of living and thus broadened the spiritual space in modem poetry.
詩、畫、禪與蘇軾、黄庭堅詠竹題畫研究———以墨竹題詠與禪趣、比德、興寄爲核心
Authors: 張 高評 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
會通化成，爲宋型文化特色之一；題詠繪畫，爲宋代詩畫之岀位之思；詩畫一律之觀念，至北宋元祐年間已流行應用。宋代士人習染佛禪，以水墨作畫，往往滲透於其中；詩人題詠墨畫，亦以禪爲詩，得游戲之三昧。竹在宋代，既名列歲寒三友，又比德爲四君子之一。竹之形象，中空、有節、長青、參天、堅勁、柔韌，故引發士人喜愛，或見之歌詠，或形之畫圖。尤其竹之本固、性直、心空、節貞諸德操，詠竹詩、墨竹畫往往多所體現。本文綜考北宋蘇軾、黄庭堅之詠竹詩篇及墨竹題詠，作爲研究文本。蘇軾有墨竹、水墨山水，以及枯木之詠。黄庭堅亦作墨竹11首，題詠横竹、偃竹、竹石、畫竹、緑筠、風雨竹、竹石牧牛之倫若干首。詩人或以比德，或以興寄，詠物之妙，蔚爲文人畫之墨戲，多體現爲游戲三昧，蓋合詩、畫、禪而一之。詩、畫、禪三者之跨際會通，新奇組合，形成詠竹、墨竹之一大特色。清吴之振《宋詩鈔》引曹學佺序宋詩之言，謂宋詩特色爲“取材廣，而命意深”，宋人之水墨畫題詠可見之。
One typical aspect of the zeitgeist of the Song dynasty is “comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign-period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.
In the Song, bamboo was regarded as one of “the three friends of wintertime” and one of “the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant’s virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.
The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand-copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan’s (1574-1647) “Preface to Song Poetry”: the main characteristics of Song poetry include “a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings.
《夷堅志》中不公正的蒼天和軟弱的神仙
Authors: 艾 朗諾 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《夷堅志》是洪邁生前就已經廣爲流傳的神怪故事巨製，往往被用來重構宋代的民間宗教和鬼神觀念。這篇論文探討在《夷堅志》研究中被忽略的兩點：（1）故事中神靈常從事欺騙和不義的行爲；（2）神靈常顯露與普通人無異的弱點。《夷堅志》中有许多善有善報惡有惡報的故事，但也有違背因果報應的，告訴我們神靈有時任性、虚僞和不可靠，反映人們對神靈庇佑熱切渴望的同時，也對神的無常有深深的惶恐。我們可提出一個宋代神性觀念的不同思考模式，把正義和邪惡視爲坐標軸的兩端，將個别神靈的表現置於這兩極之間的横軸上。《夷堅志》還有許多故事中的神靈與凡人打交道時展現出人類的弱點，像凡人一般衝動和善變，讀者無法預測他們下一步會做什麽。這些人性的弱點賦予了故事的“人情味”，讓我們在他們身上看到了自己。從文學的角度來看，這是爲什麽洪邁40間年發表了至少32種版本的《夷堅志》，故事總數超過一萬則，而讀者仍對這部著作保持濃厚興趣的原因。
Hong Mai’s (1123-1202) Yijian zhi (Records of Yijian) is well-known as a rich source for Song dynasty popular religion and the beliefs about supernatural creatures. This paper looks at aspects of Yijian zhi stories that belong to such beliefs but are often overlooked in studies of Song popular religion: (1) actions by gods and supernatural creatures that are amoral and deceptive or even cruel and unjust; and (2) the human weaknesses often displayed by gods and other divinities. The first of these is analyzed as part of a continuum found in Hong Mai’s stories that stretches from divine justice (including karmic retribution) all the way to divine treachery and cruelty. This is explained as a projection of deep human ambivalence about the reliability of the divine. The second is a projection of human personality traits upon the divine, which makes them flawed, unpredictable and, in a word, “more like us.” The two traits are absolutely central to the nature of divine agents in Hong Mai’s tales and also help to explain their effectiveness as literature and their enduring appeal.
論元末顧瑛“三教合一”視域中的玉山雅集
Authors: 吴 新雷 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
元末昆山名士顧瑛是體現“三教合一”觀念的典型人物，他以“儒衣僧帽道人鞋”的形象出現，在主盟玉山雅集期間，匯集了一群儒士、詩僧和道徒，如“儒林四傑”中的柳貫、黄溍等，龍門僧良琦、净名居士倪瓚等，茅山道士張雨、大癡仙黄公望、鐵笛道人楊維楨等，融通文學、書法、繪畫、聲藝於一堂，形成了儒釋道多層面多元化文化交互爲用的奇特局面。本文以《玉山名勝集》、《草堂雅集》等典籍爲依據，勾稽各種史料，考論其三教會同的表現形態，揭示玉山雅集多重意藴的文化内涵。
Gu Ying (1310-1369), a famous literatus from Kunshan (modern Kunshan, Jiangsu province) in the late Yuan Dynasty, was a representative figure of the syncretism of the Three Teachings. When he presided over the Yushan salons, he wore Confucian apparel, a Buddhist hat and Daoist shoes. A group of Confucian scholars, Buddhist monk-poets and Daoist adepts gathered around him. Among them were Liu Guan and Huang Jin, two of the “Four Eminent Confucian Scholars”; the Buddhist monk Liang Qi from Longmen; the lay Buddhist practitioner Ni Zan; the Daoist adept priest Zhang Yu from Mountain Mao; the Transcendent of Stupidity, Huang Gongwang; and the Iron Flute Daoist adept Yang Weizhen. They brought together different fields of literature, calligraphy, painting and drama, and thus made a milieu for multi-layered interdisciplinary cultural exchanges between Confucianism, Buddhism, and Daoism. Based mainly on two books, Scenic Spots of Yushan and Caotang Salons, the present paper explores the features of this syncretism of the Three Teachings and analyzes the multi-layered cultural significance of the Yushan salons.
五四時期粤港新詩與基督教———李聖華之《和諧集》初探
Authors: 吴 美筠 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
李聖華所著《和諧集》是目前所見最早在廣東出版的新詩集。該書最早一篇作品完成於1922年，距離白話詩首次出現只相隔六年。作者李聖華（1903—1986），一般五四文學史料缺載，可查證的資料尚待鈎沉，目前只能在香港基督教文獻中得知其人其事。本論文分爲兩部分：第一部分考證作者生平及著作出版時地；第二部部分采取文學與基督教跨際研究的方法，分析書中新詩作品，并比較同期以北京、上海、杭州爲陣地的詩群。旨在通過《和諧集》的研究，印證二三十年代廣東省粤港區新詩已取得實質發展，打破二十年代現代詩在廣東省缺席的定論；并探討該書如何受《聖經》的意象和書寫風格影響，從而折射基督教及《聖經》文本如何通過新詩書寫進入五四文學，延展衍生現代漢詩的特質。詩作論述部分將從以下兩方向展開：（一）基督教意象與五四時期的祈禱詩；（二）擬《雅歌》詩體及其愛情意象與宗教神秘色彩的關係。
Li Shenghua’s Harmony Collection (Hexie ji) is the earliest extant collection of modern (vernacular) poetry published in Guangdong province. Recently it was rediscovered and republished by Hong Kong poets, and has attracted considerable attention. The earliest piece in it was completed in 1922, only six years after the first poetry in the vernacular. There is little information about the author Li Shenghua (1902-1986), in May Fourth documents, and the materials for his biography still need to be compiled and examined. For now, though, sources for the history of Christianity in Hong Kong do provide some information on his life and career.
This article contains two sections. The first section of the article uses primary sources to examine the author’s life and determine the dating of his writings and publications. The second section examines the nexus of literature and Christianity, comparing the modern poems in the collection with contemporary works composed in Beijing, Shanghai, and Hangzhou. This article uses the Harmony Collection to demonstrate that modern poetry in Guangdong, Hong Kong, and Macao had already made substantial progress in the 20s and 30s, and overturns the common view that modern poetry had not yet appeared in Guangdong in the 20s. This article further explores how this collection was influenced by the imagery and styles of the Bible, thereby showing how Christianity and Biblical culture entered May Fourth literature via modern poetry, broadening the very nature of modern Chinese poetry. The discussion of the poems addresses two main issues: (1) Christian imagery and the prayer-like poems of the May Fourth era; and (2) poems imitating the style and romantic imagery of the Song of Songs, and their religious mysticism.
殷墟王陵區人祭坑與卜辭所見“羌祭”及“殺牲法”研究
Authors: 唐 際根 , 牛 海茹 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
人殉人祭是商史研究中的重要問題之一。長期以來，甲骨學者的研究多集中于利用卜辭中的文例、語境來研究商代人殉人祭所涉祭名與祭法，考古學家則只注重對田野發掘中所獲人祭遺骸進行觀察與描述。基於1976年安陽殷墟王陵區發掘的191座商代人祭坑材料，本文嘗試將實物遺存與甲骨文中的祭祀卜辭關聯起來，探討商代“羌祭”祖先的問題以及祭祖過程中部分“殺牲法”的真實含義。
The using of human sacrifice in ritual performance in Shang China is one of the critic questions in the studies of the history of Shang Dynasty. It has been long that the experts of the oracle bone inscriptions usually focus on understanding the worshiping terminologies and the ways of killing in the context of writing information, field archaeologists on the other hand, pay more attention to the descriptions of the skeleton remains unearthed in sacrificial pits. Based on the data of human remains buried in 191 sacrificial pits at the royal cemetery in Yinxu, the capital site of Shang, this paper, aims to explore the using of Qiang (羌) people and the ways of killing recorded in oracle bone inscriptions.
韓愈、孟郊的汴州記憶———《城南聯句》“惟昔集嘉詠”章箋證
Authors: 孫 羽津 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
文章通過比訂《城南聯句》舊注章旨，對《城南聯句》“惟昔集嘉詠”一章提出新的闡釋：此章並非“一味排空生造”，而是通過追憶韓愈與孟郊、孟郊與陸長源的交遊唱酬，寄寓了世事無常之慨，飽含著韓愈、孟郊於唐德宗貞元年間在汴州的詩心與别愁。《城南聯句》“惟昔集嘉詠”一章所寄寓的汴州記憶，又與《城南聯句》卒章所鋪叙的陽山之貶相互呼應，充分呈現出作者的處世心態。藉此，不難窺見韓愈、孟郊變革聯句詩體之功。
Through a comparative analysis of traditional commentaries, this essay presents a new view on the main theme of the chapter “Fine Verses Written at a Gathering in the Past” in Linked Verses of South of the City-walls. The content of this chapter is nota product of “mechanical crafts from pure imagination.” Rather, through the remembrances of the association and poetry exchange between Han Yu (768-824) and Meng Jiao (751-815), and those between Meng Jiao and Lu Zhangyuan (d. 799), the verses express sighs on the impermanence of the human world as well as Han and Meng’s poetic discourses on grievances over separation when they were both in Bianzhou during the Zhenyuan reign-period (785-805). The memory of Bianzhou in “Fine Verses Written at a Gathering in the Past” corresponds with the relegation to Yangshan mentioned in the last stanza of the Linked Verses of South of the City-walls. They both reflect the poets’ attitudes towards life. The discussion in this essay outlines Han and Meng’s contribution to the reform of linked verse.
杜甫五絶别論
Authors: 葛 曉音 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
杜甫絶句在詩歌批評史上毁譽參半，反映了杜詩學中不同的審美標準以及對絶句表現功能的不同認識。本文將五絶分出别論，根據五絶的表現原理，對照該種體式的創作傳統，分析杜甫在30餘篇五絶中不同的表現方式。認爲杜甫既有合乎傳統審美標準的名作，更有題材、結構和藝術表現等方面的“創調”，尤其是在寫景方面的獨創突破了五絶傳統的表現程式，並開發出更深的審美感覺層次，爲後人探索五絶的表現潛力篳路藍縷，其實驗意義不容低估。
In the history of Chinese poetic criticism, Du Fu’s (712-770) penta- syllabic quatrains have been praised and criticized. This phenomenon reflects the diverse aesthetic standards and views of the representation functions of quatrains in the scholarship of Du Fu. If we focus only on penta-syllabic quatrains and trace the conventions of this poetic form according to its theory of representation, we may find among the 30-plus poems penned by Du some that meet the traditional aesthetic standards of penta-syllabic quatrains and some “innovative tunes” in the respects of theme, structure, and artful representation. This innovation is especially evident in scenic depiction, which saw a breakthrough from the traditional formula of representation in penta-syllabic quatrains. It also explored a deeper level of aesthetic feelings and thereby opened up for later generations new exploration in the genre’s potential of representation. Therefore, the significance of Du’s experiment must not be underestimated.
中國詩歌中的兒童與童年———從陶淵明到陸游、楊萬里
Authors: 淺見 洋二 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在中國古代，兒童這一形象是怎樣被捕捉的呢？兒童在儒家倫理規範下，可謂是“縮小版的大人”。因此，“老成的兒童”形象一直被稱讚，而“純真的兒童”形象則有被否定或排除的傾向。
其中值得注意的是陶淵明的詩。陶淵明在詩歌中傾心表現“純真的兒童”的形象。從他敢於描寫儒家言説所否定的兒童形象這一點説，他的詩可謂具有劃時代的意義。
這樣的作品在陶淵明之後的六朝詩人中並没有出現，而到唐代杜甫那裏卻出現了。和陶淵明描寫的一樣，純真的兒童形象在諸多杜詩中被栩栩如生地表現出來。更值得注意的是，杜甫首次在詩歌中追憶他自己的童年，而且總是帶著鄉愁。這種情況包括陶淵明在内也是没有的，到杜甫纔初次開闢了這一新主題。
至宋代，陶淵明、杜甫所開拓的兒童的主題被廣泛繼承。北宋的蘇軾和黄庭堅詩中都可看出此主題的呈現，與之相較更值得注意的是南宋陸游和楊萬里的詩歌。在中國古代，描寫兒童作品最多的詩人恐怕就是陸游和楊萬里。他們的詩明顯深化了兒童與童年這一主題。
陶淵明與陸游、楊萬里，他們一生都與故鄉緊密聯繫，創作了許多歌詠農村田園生活的詩歌。就杜甫來説，他所描寫的雖然不是故鄉而是異鄉的農村，但是歌頌田園生活的詩歌依然占多數。他們所描寫的兒童形象，基本活躍於農村田園詩中。中國詩歌中關於兒童的主題，是與鄉村社會及其田園空間的主題相關連的。本文就上述的觀點加以論述。
How were the images of children outlined in ancient China? In the course of coming of age in accordance with Confucian ethical norms, children were regarded as “miniature adults.” For this reason, “matured children” were always praised, while “naïve children” were prone to negation or repulsion.
Tao Yuanming’s (ca. 365-427) poems deserve our attention. Tao wholeheartedly represents the image of “naïve children.” Bravely going against the Confucian denigration of such children, Tao wrote about them and thereby achieved epoch-making significance.
No other poems on this topic were written after Tao’s during the Six Dynasties period until Du Fu (712-770) in the Tang. Like what Tao did in his poetry, Du vividly depicted the images of naïve children in numerous poems. Most noteworthy is that Du Fu for the first time wrote about his own childhood in reminiscence and nostalgia. This unique representation mode is not found in Tao Yuanming’s works; it was Du Fu who initiated this new poetic theme.
In the Song, the theme of children established and developed respectively by Tao and Du was widely adopted. It is evident in Su Shi’s (1037-110) and Huang Tingjian’s (1045-1105) poetry, but the poems by Lu You (1125-1210) and Yang Wanli (1127-1206) draw our special attention. Lu and Yang are probably most productive in writing poems about children in pre-modern China. Their poems patently deepened the themes of children and childhood.
Like Tao Yuanming, Lu You and Yang Wanli were closely tied to their respective homelands and wrote numerous poems praising their idyllic life. While Dufu’s writing is not about his own homeland but villages on strange soils, idyllic poems still constitute the majority of his compositions. The images of children are basically set in the context of their idyllic poems. The themes about children in Chinese poetry are related to the themes of rural society and farmland space. The present essay is an elaboration on these observations.
“不粘不脱”與“不即不離”———乾隆間性靈詩學對詠物詩美學特徵之反思
Authors: 蔣 寅 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“不即不離”與“不粘（黏）不脱”夙被作爲中國詩學乃至古典美學的一般命題來討論，但實際上它們主要與詠物詩的理論反思相聯繫，且集中於清代乾隆年間，是由性靈詩學引發的焦點話題之一。它們與性靈詩學的重要概念“切”相表裏，在特定的詩學語境中獲得很大程度的理論充實和深化。
The two prosodic doctrines, “not attaching but not detaching” and “not approaching but not departing,” have long been treated as a general poetic theory in Chinese poetics as well as classical Chinese aesthetics. However, they are actually related to the reflection on the theory on the genre of poetry on objects (yongwu shi), a trend prevalent mainly in the Qianlong reign-period (1736-1796) of the Qing Dynasty. These two doctrines were inspired by the poetics on “inner nature and soul” and have a close relationship with the concept of “strikingly relevant” (qie). They were largely enriched and deepened in the specific poetic context of the time.