bluuebunny/crossref_metadata_2025_split huggingface dataset:
屈原與經術———從詞語、文法及思想看屈賦對儒經的接受和融合
Authors: 許 子濱 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
王逸標舉屈賦“依託五經以立義”，其《楚辭章句》中屢屢舉屈賦與經語互 證。這種論證方法，一直爲後世學者所沿用。洪興祖對王注多所補充。明、清 兩代《楚辭》學家如汪瑗和蔣驥等，對前人的論證方法，既有繼承，又有所擴充、 深化和完善，觸及屈賦與經術的更深層次的關聯。在近現代學者中，饒宗頤教 授是提出“屈原與經術”命題的第一人。饒公曾列舉十四條《離騷》與《論語》、 《易》、《書》、《詩》、《左傳》互證的文例。本文踵武饒公的論證方法，除條舉五十 餘例，印證屈賦中語多源於經書外，還從文法及思想兩方面，提出新證，著力證明 屈原與經術密切相關。從“内美”、“中正”、“折中”，以及“道”、“路”意象，足見屈 原的思想植根於經術，不獨文章爲然。不可不知的是，屈原的“中正”思想，亦與 《管子》相通，具備多元融合、恢廓宏遠的特質，也因此成就了屈原思想的獨特性。
It has been a traditional belief that Qu Yuan’s works were partly derived from the Confucian canons, and some exegeses even regarded him as a Confucian scholar from the Chu state in the south. The late Professor Jao Tsung-i delivered a speech entitled “Qu Yuan and Confucian Canon Studies” in the 1970s, in which he selected more than a dozen phrases from the Li Sao for comparison with their counterparts in the Confucian canons. Professor Jao’s interpretation accords completely with views put forth by some Eastern Han and Ming-Qing scholars. The present article is a thorough examination of the relationship between the Li Sao and the Confucian canons as well as thoughts of different schools. It comes to a conclusion that Qu Yuan not only absorbed Confucian views but also integrated them with those from different schools of the Warring States Period and thereby created his own ideology. This observation finds support in the evidence of a large register of phrases, especially those with philosophical meanings, such as: “internal beauty” (neimei 内美), “essential breath” (jingqi 精氣), “impartial and upright” (zhongzheng 中正), and the symbolic “the way and the path” (daolu 道路), as well as several other specific syntaxes. All these examples attest to the relationship between Qu Yuan’s works and the Confucian canons.
陳廣宏：《中國文學史之成立》
Authors: 龔 宗傑 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
自上世紀初清廷先後頒布“壬寅學制”和“癸卯學制”，將近代意義上的“中國文學”學科納入本國教育體系以來，“文學史”作爲文學教育與學術硏究的主要形式，逐漸成爲一種爲人們所熟知的用來了解和認識文學的知識形態。回望一個多世紀以來中國文學史的建構之路，文學史寫作日臻系統、成熟的同時，也逐漸暴露出諸如思維模式僵化、敘述框架固定等積重難返的問題，已引起當今學界的廣泛關注。“重寫文學史”的命題正是在這種反思與重構的訴求之下被不斷地提出。當然，要實現中國文學史書寫及其教學、硏究體系的翻新，還有相當長遠的路要走。評估和檢討已有的文學史書寫經驗，仍是當前很有必要開展的一項工作。上海古籍出版社於2016年底推出陳廣宏教授《中國文學史之成立》一書，是近年大陸學界在此領域頗具分量的硏究成果。該書將作爲詞語與槪念的“文學”以及作爲知識體系的“文學史”，置於晚清民國時期中西及日本不同知識背景、文化立場的時空坐標之中，又通過對中國傳統學術和西方理論新知的梳理加强其闡釋的縱深，細緻地描繪了這一知識與學術體系形成的歷史脈絡。(撮要取自內文首段)
漢晉時代《左傳》的附益與編修
Authors: 李 明陽 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《左傳》原爲魯史官左氏所撰，今本《左傳》是後世重新編纂、附益後的結果。左氏原作非注經文獻，後人將《春秋》中一些簡短記載抄入《左傳》並撰寫了解經語，“五十凡”與解經語性質近似，同爲後人附益成分。“徵兆—應驗—議論—結盟”是左氏原作的基本叙事邏輯，以“君子曰”爲標誌的時人議論體現了左氏解釋歷史和建構道德的書寫衝動。《左傳》的原初撰寫完成于戰國中期，是帶有原史精神的個人著述。漢晉之際原史文化主導的文獻書寫早已停滯，附益和編纂行爲源於對政治話語權的爭奪，因此，編纂者增益了左氏原作的事件，還對原作的結構和叙事策略做了旨在與《春秋》經“比其類義”的調整，至此完成了《左傳》從私人著述向公共話語資源的轉化。對《左傳》原本的附益與編修，不僅體現了漢晉經學博士對左氏史職的規訓，也凸顯出脱離宗教傳統、旨在知識建構的歷史書寫對原史職事的隔膜。
The Zuozhuan (Zuo Commentaries [on Annals of The Spring and Autumn Period]) was first compiled by a certain historian of the State of Lu named Zuo, but the edition we now have was a product of augmentation and re-compilation done by some other hands after Zuo. The Zuozhuan was not meant to serve as a “commentary” on the classics when it was first written. Later, some scholars incorporated some brief accounts from the Chunqiu (Annals of the Spring and Autumn Period) and wrote some exegetic notes on this classic. The “Fifty Rubrics,” which were quite similar to these notes on the classics, were likewise new components augmented by a later hand. The basic structure of Zuo’s narratives may be summed up as a flow, which starts with “an omen” to its “fulfilment” and “comments” by people and, finally, to “alliance” of states. The rubric of “the gentleman said” is a means by which the author brought in the comments made by people of the time; it serves to reflect Zuo’s views of history, moral values, and the motive behind writing. The Zuozhuan was first finished in the middle of the Warring States Period. It was meant to be a primary history by an individual. However, during the period of Han to Jin, the writing of culture powered by this kind of spirit ceased. Instead, the struggle for political discourse triggered the acts of augmentation and re-compilation of historical writings. As such, these later compilers added some events to the original Zuozhuan. In addition, they made changes to the structure and narrative strategy of the original book, in an attempt to match up the relevant parts in the Chunqiu. Then, the Zuozhuan completed its transformation from being a private historiographic work to becoming a public discourse resource. The augmentation and re-compilation of the Zuozhuan not only reflect the attitude of the scholars of Confucian classics of Han to Jin times towards Zuo’s historiographic principles, but also highlight the extent of how the historiography of the time, which had been divorced from religious tradition and committed to knowledge structure, became alienated from the mission of a historian of basic primary history.
從早期《申報》所載詠物詩詞看近代報刊文人心態的變遷
Authors: 陳 璇 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在早期《申報》文人創作的舊體詩詞中，詠物作品有一千四百餘首，是僅次於文人交遊題材的第二大關注點。這些作品或吟詠花草，或關注身旁近物，或留心近代上海出現的新鮮事物，其狀物摹形，窮形盡相；刻畫風神，遺貌取神。對於報刊所載詠物詩詞的研究，一方面能夠更好的釐清報刊所載舊體詩詞在對古典詩詞繼承方面的努力和創新，也可以更好的考察近代報刊文人在身逢家國變化、社會更替時的複雜心態以及由此萌生的近代人文意識。
The 1400-odd poems on objects written in classical style by literati in the circle of Shenbao in its early period rank only after the top popular focus on the theme of socialization among literati. Of these works, some are on flowers and plants, some on the objects around the poet, while some pay attention to the new situations in modern Shanghai. These poems excel in lively and detailed depiction of things. The present study of these poems published in newspapers and magazines aims to better recognize the efforts and innovation of these works in inheriting traditional poetics. It also offers a more detailed observation of the complex attitudes towards the social changes of the time, as well as the formation of their consciousness of humanity.
關於道的名、字、號：重讀《太一生水》
Authors: 黄 冠雲 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《太一生水》是1993年出土於湖北省荊門市郭店村一座戰國墓葬的竹簡文獻。本文爲之提出一個新的解釋，除了詳細檢討過去研究所提出的幾個主要觀點，更在新材料（包括新近發表的出土材料與過去沒有受到重視的傳世記載）的基礎上作出綜合論述：《太一生水》反映一場關於“道”與“一”的論辯。重構這場論辯，可以找回先秦思想史的一段被遺忘的故事，認識到《太一生水》與衆不同的獨特内涵，並且將之置入一個思想史的脈絡。
This study provides a new interpretation of “Grand One Gives Birth to Water” (“Taiyi shengshui” 太一生水), a manuscript discovered in the Warring States tomb in Guodian, Hubei Province, in 1993. Responding to earlier studies of this text and also taking into account relevant textual evidence that has only recently come to light, both among excavated texts and the received literary records, the present essay shows that “Grand One” is distinct from the Laozi and other materials that bear only a formal resemblance to it. In fact, “Grand One” was at the center of a debate about the Way and that other elusive notion in Early Chinese thought, “One.” The reconstruction of this debate restores a forgotten episode in ancient intellectual history and places “Grand One Gives Birth to Water” in a context vis-à-vis other textual sources.
王引之《楚辭》評點辨僞———兼論清末時期善本觀念的轉變
Authors: 陳 鴻圖 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
舊題王引之《楚辭》評點，原書於明人陸時雍《楚辭榷》上，最早經由傅增湘購入，後歸藏於張元濟涵芬樓。本文首先敍述王引之《楚辭》評點本的購藏與著録，繼而整理前賢對是書真僞的看法，然後通過仔細分析全書169則條目，首次提出王引之的評點篡改自明代凌毓枬校刊《楚辭》以及朱熹《楚辭集注》等書。從本文提出的各項僞作新證，可以確證此書經過妄人竄改，乃至用不同評點掩蓋僞作痕迹，應當是坊賈射利之作。由此亦反映出，清末時期善本觀念的轉變，名人批校本逐漸受人重視，以致對批校本作僞的意圖大爲增加。
The commentary traditionally attributed to Wang Yinzhi (1766-1834) is appended to Lu Shiyong’s (Ming dyn.) Chuci que [A Discussion of the Songs of Chu]. The book was first purchased by the famous bibliophile Fu Zengxiang (1872-1949), and was later acquired by Zhang Yuanji (1867-1959) in his Hanfenlou library. This paper begins with a narrative on the history of circulation and the commentary attributed to Wang, along with its appearances in various bibliographic records. After this is a review of how previous scholars have evaluated the authenticity of the text. Through a thorough analysis of the 169 comments attributed to Wang Yinzhi, the paper argues that these commentaries were extracted from an edition of the Chuci edited and published by Ling Yuzhan in the Ming dynasty and Zhu Xi’s (1130-1200) Chuci jizhu [The Songs of Chu with Collected Annotations and Commentaries] compiled in the Song. Considerable textual evidence proves that the forger of this book interpolated commentaries by different hands. The incentive for this was likely the profitability of the publishing industry of the time. This case study reflects the advent of a change in the perception of rare books in the late Qing. This period witnessed a heightened interest in annotations composed by famous scholars; hence there was an increase in forgeries of annotated texts of this kind.
晚清婚姻文化中的重逢花燭慶典：鄔啟祚夫婦個案研究
Authors: 劉 詠聰 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
“重逢花燭”指古代夫婦慶祝結褵六十周年，重新燃點花燭，再次舉行婚禮。本文以廣東番禺鄔啟祚（字繼蕃，號吉人，1830—1911）及其妻周氏（1828—1915）之重逢花燭慶典進行個案研究，並運用鄔家著述及結集三百多篇賀作的《南山佳話》爲主要參考文本，嘗試推敲當時盛況，亦藉以窺探中國傳統婚姻文化中較少爲人注意的一面。
The term “reunion under the exquisite candles” (chongfeng huazhu) means to light the wedding candles again, referring to the second wedding of the same couple to celebrate their sixtieth anniversary in pre-modern China. This article features the chongfeng huazhu celebration of Wu Qizuo (1830-1911) and his wife née Zhou (1828-1915) in late Qing Panyu, Guangdong province. It makes use of various publications of the Wu family, and particularly the Nanshan jiahua (Fine Talks of the South Mountains), a commemorative volume that contains over three hundred congratulatory messages, in the study and reconstruction of the occasion to shed light on a previously under-discussed dimension of the marriage customs in traditional China.
據上博楚簡訂補楊伯峻《春秋左傳注》十則
Authors: 李 詠健 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
楊伯峻（1909—1992）《春秋左傳注》是近代重要的《左傳》注本。該書總結前人的研究，爲《左傳》全書作了通盤注釋。惟是書出版至今有年，期間有不少楚簡文獻出土，當中部分內容更可與《左傳》記載相互印證，對校訂《左傳》甚有裨益，亟待加以利用。本文即以2001至2012年間出版的《上海博物館藏戰國楚竹書（一至九）》所録文獻爲依據，就簡文與《左傳》相關之十處內容作比較分析，以訂正或補苴楊注。
Yang Bojun’s (1909-1992) Commentary on the Annals of the Spring and Autumn Periods with Zuoqiu Ming’s Exegesis (Chunqiu Zuozhuan zhu 春秋左傳注) has been regarded as an important commentary on the Zuozhuan since its publication in the late 20th century. Making use of relevant scholarship, Yang provides comprehensive and thorough annotations on the Zuozhuan. However, with the discovery of excavated texts in the last few decades, some of the commentaries by Yang need rectification and supplementation. The present article aims to re-examine selected commentaries by Yang in his Chunqiu Zuozhuan zhu in light of evidence from a collection of excavated bamboo slips dated from the Warring States period, which is preserved in Shanghai Museum and the images of which were published in nine volumes from 2001 to 2012. Through a comparative study of the text of the Zuozhuan and relevant Chu bamboo slips, the author of this article discusses ten selected parts of Yang’s commentary.
同志文學翻譯之叙事建構：以白先勇作品《孽子》的英譯爲例
Authors: 李 波 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
一直以來，同性戀都是一個敏感話題，甚至是社會禁忌。中文“同志文學”的書寫和翻譯在在於文化與意識形態紛繁衝突的語境下進行。雖然近年國際翻譯研究學界愈來愈關注同志文學翻譯議題，相關研究在中文學界卻並未得到重視。蒙娜•貝克（Mona Baker）於《翻譯與衝突：叙事性闡釋》中指出，透過建構策略（framing strategies），“譯者、出版商、編輯以及參與到整個翻譯出版過程的相關人員，在譯文中對原文叙事進行强調、弱化或者改變”。基於此，本文透過分析白先勇小說《孽子》的英譯本，討論各種語言及非語言符號資源如何被運用，從而實現標示等建構策略重構譯文，並最終對譯文進行凱斯•哈維（Keith Harvey）提出的“同志主題强化”（gayed translation）。
Homosexuality has always been a sensitive topic and even a social taboo. Translation studies in the West have witnessed an increase in academic attention given to the translation of gay literature in the past two decades. In contrast, it has remained largely unheeded in the Chinese scholarly world, where the writing and translation of gay literature has always been closely associated with cultural and ideological conflicts. In her Translation and Conflict: A Narrative Account, Mona Baker points out that through framing strategies, “translators and interpreters-in collaboration with publishers, editors and other agents involved in the interaction-accentuate, undermine or modify aspects of the narrative (s) encoded in the source text or utterance.” This paper is a study of the English translation of the Chinese founding work of gay literature, Niezi (Crystal Boys) by Pai Hsien-yung, which proves to be a supporting example of what Keith Harvey calls “gayed translation,” through labeling strategies and other non- linguistic resources.
俞樾《諸子平議•賈子》評析
Authors: 郭 鵬飛 , 蔡 挺 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
德清俞樾（1821—1907），字蔭甫，號曲園，晚清樸學大家，徐世昌（1855—1939）《清儒學案·曲園學案》曰：“曲園之學，以高郵王氏爲宗。發明故訓，是正文字而務爲廣博，旁及百家，著述閎富，同、光之間，蔚然爲東南大師。”《諸子平議》一書，是俞樾的代表作，可説是子學訓釋的巨著。此書仿效王念孫（1744—1832）《讀書雜志》而補其未及，識力之精，涉獵之廣，爲《雜志》之後，從事子學者不可或缺的典籍。賈誼《新書》，亦稱《賈子》，漢初名著，極具歷史及思想價值。惜久乏關注，是書文字缺漏頗多，難以卒讀。至俞樾爲之董理，《新書》面貌始見清晰，俞氏實爲《賈子》功臣。然而，智者千慮，容或有失，今就俞氏《諸子平議·賈子》部份，舉其精到見解，檢其可議之處，詳加討論，以見俞書得失。
Yu Yue (1821-1907) was a distinguished scholar of the Qing dynasty (1644-1912), whose tremendous achievements in the study of the Chinese classics and philology have been greatly respected to this day. His Zhuzi Pingyi (Commentaries on Writings by Various Philosophers) continues to be an essential reference for Chinese philologists. However, the authors of this paper argue that his commentaries on the Jiazi, more commonly known as Xinshu (traditionally attributed to Jia Yi [200-169 BC]), would have been more convincing had further investigation and refinements been done. The present study is an attempt to conduct a penetrating study of the successes and failures of Yu’s work. Fourteen examples from the Jiazi will be discussed in detail and it is hoped that the questions raised in this essay will form the basis for further research.
朝鮮時代嶺南家訓研究芻議
Authors: 盧 鳴東 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
對於韓國境外學者來説，“嶺南”是慶尚道的别稱，也許不曾發現它在朝鮮時代的文教地位。朝鮮知識分子把嶺南稱爲“鄒魯之鄉”，反映當地具備儒家文化發源的條件，與嶺南家訓的大量出現，關係密切。本文分析嶺南家訓採用的文體，發現其多樣化的書寫形式，包含箴銘、書信、詩歌和雜文等；在其題材内容上，揭示儒家經典知識的重新建構過程；從它在鄉村社會裏的流通情況，勾勒嶺南儒學世家在家訓形成上的貢獻。在嶺南當地，家訓不但起到訓戒家人和族人的教育功能，兼能實現古聖賢傳經濟世的宏願。
As Confucianism spread and matured on the Korean Peninsula, family precepts for Confucian education were developed in the Joseon dynasty (1392-1897). Initial statistics have yielded 296 family precepts dated from the Yeongnam area. They were penned by some 139 authors writing in different formats and genres, including letters, prose, verse, mottos, and inscriptions.
This paper is an exploration of the genres and construction of Yeongnam family precepts. It also analyzes how the content of Confucian classics served as foundations for family precepts that were intended to be handed down to later generations. This practice was an important boost for Confucianism to become a national value of the Korean people.
《玉燭寶典》所見杜臺卿音系研究
Authors: 姜 復寧 , 李 金澤 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
《玉燭寶典》是杜臺卿所撰作的民俗類類書，其中包含有杜臺卿自創的音注材料。長期以來這部分材料未得到學界重視，但通過對其進行爬梳，我們可以發現杜臺卿的語音特點。將這種語音特點與代表六世紀文學語言系統的《切韻》音系予以比較，尋找到其間的異同，進而可以看出杜臺卿時代的方言語音差異。
A Precious Canon of the Jade Candle (Yuzhu baodian), an encyclopedia of local customs compiled by Du Taiqing (6th c.), contains material from the pronunciation glossing system created by Du himself. This material, however, has long remained unheeded in relevant scholarship. In fact, an analysis will yield hints to reconstruct some characteristics of Du’s phonetic system. These characteristics may be compared with the phonetic system of the Qieyun, which represents the literary language system of the sixth century, to show the similarities and differences between them. With these findings, one may see the phonetic differences of dialects in Du’s time.
宋元話本形態演進新探
Authors: 李 建軍 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
宋元時期“話本”一詞，作爲説話伎藝的文本化產物，應釋爲“故事傳本”，即將故事按照一定次序組織起來的相對完整的口頭或書面傳本。宋元話本存在著從口頭傳本到書面文本，從簡本到繁本，從脚本式準話本、録本式話本到擬本式話本的演進態勢；擬本式話本還會經歷從文言擬本到白話擬本的發展脈絡。脚本式準話本，指尚無話本體式特徵但有爲説話伎藝而進行改編形跡的小説文本；録本式話本，指説話内容的記録加工本，從體式而言參差不齊但大都有説話伎藝痕跡；擬本式話本，乃是文人模擬説書口吻和話本體制，用文言體或者白話體編創而成的文本。從脚本到録本再到擬本，體現了話本從雛形到成型再到被模擬的演進邏輯，呈現出話本從粗糙到精緻、從民間發育到文人模擬的發展趨勢。
The novella (huaben) of the Song and Yuan Dynasties was a product of the write-up process of storytelling and should therefore be understood as a “story script,” a relatively complete oral or written text in which stories are organized in a certain order. The evolution of the Song-Yuan novella outlines the changes from the oral version to the written, from simple to complex, and from script to recording to simulation. This last change also saw a transformation in language, from literary to vernacular. These evolutions illustrate a paradigm of changes from basing the writing on the prototype to simulation and imitation. This shows the process of formation and mutation of this genre, from rough in form and style in the hands of folklore writers to refined literati simulation.
出世悲時事，忘情念友生：吳梅村與臨濟宗三峰禪僧交遊詩文映現的心靈圖景
Authors: 張 俐盈 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
吳梅村臨終之際，遺言“斂以僧裝”一事格外引人注目。一般認爲此乃梅村仕清後，無顏以前朝冠服入殮的自解之道，然而此說實削弱他的佛教因緣與主觀意願。過去研究吳梅村與佛禪關係，較少梳理其倫理困境，及對佛門僧諍之省思。本文擬補足這兩點，以與吳梅村交往最熱絡的臨濟宗三峰派之交遊詩文爲討論核心。首先，梳理梅村與晦山戒顯相約入山卻辜負，映現的家國承擔與心理衝突；其次，推翻袁枚“梅村贈答方外詩俱無佳處”之說法，指出吳梅村雖與三峰派漢月法藏不曾往來，但與其法嗣剖石弘璧、繼起弘儲、具德弘禮等之贈答酬作，在在透顯對漢月的尊崇，以及與三峰禪僧亦師亦友的深刻情誼。最後，本文發現吳梅村與遺民僧繼起弘儲、檗菴正志之往來詩作，一方面傳達從廟堂荒頹到禪門論諍，梅村的感慨與省思。同時在詮釋法門戈矛的過程中，梅村有意强化出世必能安身的傾向，雖過於一廂情願，卻又襯托他遺囑以僧衣入殮，是洞悉一切後的選擇。
Wu Meicun’s (1609-1671) last words on his deathbed, “Bury me in sangha clothing,” have attracted significant attention. Most believe that Wu was absolving himself from having deserted to serve the Qing dynasty and was thus likely ashamed of being buried in court uniform of the dynasty he had formerly served. However, this interpretation undermines his Buddhist cause and subjective will. Existing scholarship on Wu Meicun’s relationship with Zen Buddhism rarely looks at his ethical dilemma and his reflections on the debates amongst different Buddhist schools. This essay aims to elaborate on these two points by focusing on the poems that Wu exchanged with the Sanfeng Sect of the Linji School, with whom he was closely associated.
First, I will analyze how Wu Meicun’s broken promise to enter into monasticism with Huishan Jiexian reflects a clash between his feelings of familial and patriotic duty, and his mental proclivities. Next, I will argue against Yuan Mei’s (1716-1797) remark, “None of Meicun’s poems for the hermits are noteworthy,” by pointing out that although Wu Meicun had never interacted with Hanyue Fazang of the Sanfeng Sect, the poems he gifted Hanyue’s disciples Poshi Hongbi, Jiqi Hongchu, Jude Hongli, and others, reveal his admiration for Hanyue time after time, as well as the deep bond he shared with the Sanfeng sangha that was both instructive and friendly.
Finally, this essay observes that the poems Wu Meicun exchanged with refugee monks of the previous dynasty, Jiqi Hongchu and Boan Zhengji, convey the poet’s regrets and reflections on the declining political status of temples and quarrels among the schools of Zen thought. By interpreting discrepancies amongst Buddhist methods, Meicun simultaneously wished to fortify his belief that abandoning all that was worldly was sure to bring peace of mind. While overly hopeful, this affirms that his final wish to be buried in sangha clothing was a choice informed by enlightenment.
論洪深對蕭伯納的接受及其與中國現代戲劇史的關係
Authors: 盧 敏芝 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
在中國現代戲劇史中，洪深（1894—1955）是一個不可繞過的關鍵人物：1922 年，洪深作爲在哈佛攻讀戲劇碩士的“中國破天荒第一人”從美國留學回國；1928 年，洪深作爲“話劇”一詞的發明者，被譽爲“中國話劇的三個奠基人”之一；1935 年，洪深爲《中國新文學大系·戲劇集》擔任編者和撰寫導言，其論述對往後中國現代戲劇史的各種書寫影響深遠。然而，有關洪深的討論和研究在比例上一直遠遠落後於他在中國現代戲劇史上的重要地位。本文聚焦於洪深與愛爾蘭劇作家蕭伯納（George Bernard Shaw, 1856—1950）的戲劇關係，連繫洪深的上述生平和貢獻，重新梳理洪深如何指引中國現代戲劇在現實主義和劇場性方面的發展。本文爲洪深研究鈎沉原始史料，爲洪深與西方戲劇的關係補充重要一筆，同時梳理蕭伯納於戲劇方面在中國的接受情況。本文首先討論蕭伯納在中國現代戲劇中的位置和接受情況的落差，接著鈎沉整理洪深對蕭伯納的接受和引介，最後通過重讀《從中國的新戲說到話劇》一文，分析洪深如何爲中國現代戲劇的早期發展建立起現實主義和劇場性的論述脈絡。
Hong Shen (1894-1955) was a significant theorist in modern Chinese drama. In 1922, Hong Shen returned from the United States as “the pioneer in China” who studied drama at Harvard University. In 1928, Hong Shen invented the term “spoken drama” and was reputed as “one of the three founders of Chinese drama”. In 1935, Hong Shen was the editor and wrote the preface of Compendium of Modern Chinese Literature, Drama Volume, which had a profound impact on the various discourses of the history of modern Chinese drama. However, the research on Hong Shen has been far behind in proportion to his important position in the history of modern Chinese drama. This paper focuses on the theatrical relationship between Hong Shen and Irish playwright George Bernard Shaw (1856-1950), with connection to Hong Shen’s career and contributions, and re-examines how Hong Shen influenced the development of realism and theatricality in modern Chinese drama. This paper aims to re-investigate the relationship between Hong Shen and the Western drama by the exploration of original historical materials, as well as the reception of Shaw theatrics in China. This paper first discusses the position and the different receptions of Shaw in the Republican China. Then, this paper examines the reception and introduction of Shaw by Hong Shen. Finally, this paper re-examines the article “A discussion from Chinese New Drama to Spoken Drama”, in order to analyze how Hong established the discourse of realism and theatricality in the early development of modern Chinese drama.
宣恩與争夫：論唐滌生編《紫釵記》（1957）———以末折之名實爲核心
Authors: 劉 燕萍 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
唐滌生編《紫釵記》（1957），改編自湯顯祖編《紫釵記》，收録在葉紹德編撰《唐滌生戲曲欣賞》（葉本）和張敏慧校訂《唐滌生戲曲欣賞》（泥印本）。葉本和泥印本在齣目上，最大分別是泥印本末折沿用湯劇《紫釵記》之《節鎮宣恩》齣目，而葉本則改爲《論理争夫》。本文主要討論末折，分析齣目在內容與名稱方面名實相副的問題。湯劇《節鎮宣恩》，由劉節鎮宣讀聖旨，造成“劍合釵圓”的團圓結局。（第五十三齣）泥印本第六場《節鎮宣恩》沿用湯劇同名劇目，唐劇末折卻沒有出現劉節鎮也沒有宣恩的情節。唐滌生對湯劇《紫釵記》的結局，有個顛覆性而精彩的改寫：增添了“論理争夫”的情節。小玉以卑微的妓女身分，與盧太尉對壘，迫退情敵燕貞、令軍校們“收棍”，力抗看似不可抵擋的命運，反抗太尉，表現了性格決定命運的强大意志。葉本將末折由《節鎮宣恩》改爲《論理争夫》。葉本在齣目上的改動，使劇作最後一齣得以名實相副。
Tong Di-sang’s “The Purple Hairpin” was adapted from a play with the same title by Tang Xianzu (1550-1616). Tong’s play is included in Ye Shaode’s Tang Disheng Xiqu xinshang (hereafter, Ye version), while Cheung Man Wai’s book with the same title includes a clay-print libretto of Tong’s play (hereafter, clay-print version). One major difference between the two versions is the title of the last act, a main focus of the present essay. The last act of Tang Xianzu’s play is titled “The Military Governor Grand Commander announcing the imperial edict” 節鎮宣恩, which contributes to the happy ending (Act 53). The clay-print version of Tong’s play follows Tang’s “The Purple Hairpin” by adopting the title of the last act in its last act. The problem is that in Tong’s play one finds no such character of the Military Governor, let alone his announcing any imperial edict. Does the title of the last act match the content of the play? Tong Di-sang made a radical change in his adaptation of Tang’s play by adding the plot of the female protagonist Xiaoyu’s debate in her fight to win back her husband. Xiaoyu is depicted as being incredibly courageous to challenge Defender-in-Chief Lu, who represents the formidable power. She embodies strong will to fight against fate and, therefore, her temperament determines her fate. The Ye version changes the title of the last act to “A fight to win back a husband through a debate” and makes it fit the play content.