bluuebunny/crossref_metadata_2025_split huggingface dataset:
文法、修辭與意義———1920至1940年代關於漢字“多義性”的討論
Authors: 鄭 毓瑜 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文以1920至1940年代相關論著爲研究範圍，由“文法”與“修辭”的語義分合出發，討論背後一個根本的焦慮：漢字或漢語究竟該如何對應以英語爲主的文法。其中，一方面思考西方以詞類、句法爲主的文法，如何可能規範漢語語境下的讀書作文；另一方面思考，修辭如果並不全等於標準文法，那麽不同於拼音符號的漢語或漢字，如何在認知、指涉之外，透過本義的引申、假借、類比來引發同情共感。更重要的是，討論漢字或漢語會如何表述那些牽引在説寫／閲聽雙方的經驗、心理狀態之間紛繁如“詩”的意義線索。而這股關於漢字“多義性”的論述潮流，明顯不同於當時漢字拼音化、符號化的“現代”工程，反倒可能是20世紀上半葉，一種翻轉“現代視線”的重要現象。
This essay is focused on discourses and writings on the semantic divergence and confluence of “grammar” and “rhetoric” between 1920 and 1940 to explore a fundamental anxiety behind: how can Chinese characters interact with an English-based grammar. On the one hand, I explore the way English grammar, which relies mainly on morphology and syntax, regulates the reading and writing in Chinese context. On the other hand, I ponder on the issue that, if rhetoric cannot be completely confined within standard grammar, then how Chinese characters, which do not have a syllabic structure, go beyond the writer’s referential point or perceptions and induce empathetic feelings through semantic derivation, phonetic loaning, and analogy. More importantly, this essay probes into the way Chinese characters express the “poetically-rich” implications which are entangled with the psychological states of the writer/reader. This discursive trend dealing with the polysemicity of Chinese characters is apparently different from another trend of trying to modernize Chinese language through syllabilization and linguistic signification then. The discourse of polysemicity in Chinese can be justified as a crucial overturn of the modern gaze.
《易》象新議
Authors: 鄭 吉雄 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文考論《左傳》所記韓宣子聘魯所見之“易象”，應指禮制中的陰陽之義，非如杜預所指“上下經之象辭”。這種禮制中的陰陽之義，其實普遍存在周代禮制中，溯其源則可上溯殷周之際，殷代尚陰，周代尚陽。今《周禮》、《禮記》諸篇所見“禮”中陰陽之義，即其遺迹。《歸藏》、《坤乾》爲殷商王朝典册，《周易》則昭示周民族尚陽主變的立國精神。自東周以降，王者之迹熄，《易》象的施用，雖仍本於前代，用於政治，但終於因禮教大義衰微，竟流而爲筮人問卦以附會人事的工具。《左傳》記筮例凡十九則，筮人多用“象”解説，《易》象學説一時看似鼎盛，從歷史角度考察則爲衰微。後人用《左傳》筮例，反證《周易》爲占筮之書，並不合宜。
This paper re-examines the term “yi-xiang” (易象, metaphors of the Changes) mentioned by Han Xuanzi in the Zuozhuan (左傳, Zuo’s Commentary on the Chunqiu), arguing that Han was actually referring to the illustration of yin and yang reflected in the national rituals of Zhou dynasty conducted in the Lu. Actually the national rituals of the Zhou dynasty contains two different features: the “yin” part which mainly relates to feminine, plural numbers, nighttime and negative, while the “yang” part which mainly relates to masculine, odd numbers, daytime and positive. We can further trace back to the major difference between the ideologies of the Zhou dynasty which admires “yang” and the Yin dynasty which admires “yin”, justified by the philosophies of the Zhouyi and Guicang/Kunqian. Later on in the Chunqiu period following the decline of the Zhou regime and its ritual system, the political connotation of yin and yang diminished, the Zhouyi was then broadly used as a text for divination and fortune telling.
香港有關《春秋》“五情”之研究
Authors: 單 周堯 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
中國大陸研究《春秋》“五情”者，主要有錢鍾書先生（1910—1998）；臺灣研究《春秋》“五情”者，則有張高評先生；香港研究《春秋》“五情”者，似僅筆者一人。本文所述者，爲筆者有關《春秋》“五情”之研究，其中包括：（一）讀杜預《春秋經傳集解序》五情説小識，（二）錢鍾書《管錐編》杜預《春秋序》札記管窺，（三）杜預《春秋經傳集解序》五情説補識，（四）論《春秋》“五情”———兼論“五情”與詩學之關係，（五）竹添光鴻《左氏會箋》論五情説管窺，（六）“五情”之相關問題。
Among the numerous researchers working on the five sentiments of the Spring and Autumn Annals, there are, for instance, Qian Zhongshu (錢鍾書) in the mainland, and Zhang Gaoping (張高評) in Taiwan, but I remain the only one in Hong Kong. The present article describes the essence of six of my research articles on the five sentiments.
朱萬曙：《徽商與明清文學》
Authors: 沙 先一 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
近年來，商人與中國文學的研究漸爲學界所重視，取得了令人矚目的成就。朱萬曙先生的《徽商與明清文學》當爲其中之翹楚，是一部頗多發明和創獲的力作，填補了徽商與明清文學研究領域的學術空白。該書分爲上下兩編，上編“徽商與明清文學生態”側重於探究徽商與文人交往、徽商與文學傳播、徽商家族與文學傳統、徽商與明清戲曲、明清文學中的徽商題材創作等；下編“明清徽商的文學創作”在研究明清徽商文學總體風貌與文學特徵的基礎上，選取徽商文學家進行個案分析，探討徽商文人具體的創作面貌與獨特的文學史意義。(撮要取自內文首段)
清代女性自題畫像意義探析
Authors: 卓 清芬 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
清代盛行描繪個人的小照、小像，女性也不例外。不同類型的畫像，顯示了清代女性自我觀看、自我認知、自我定位的心理投射；而透過題詠自己的畫像，更突顯出清代女性自我書寫、自我形塑、自我呈現的主觀意志。從自己的畫像題詠中可以見到清代女性對於親族關係中的自我定位、自我形象的重塑建構、理想志趣的追尋等隱藏的心理層面。不同的形象顯示女性不一樣的自我定位，以及期望被他人理解的内在心性，也爲較少人留意的清代女性自我書寫提供了更豐富的面向。
Portraits became very popular in the Qing Dynasty, and many male scholars and female authors made “small pictures” or “small portraits”. Made by either oneself or others, the portrait and its included poem became part of the major “self-reinterpretation” channels for women in the Qing Dynasty. As the portrait recorded the female subject’s appearance and image and the poem demonstrated her spiritual contents, a full self-image was formed by combining these elements. Hence, the self-image, self-ideal, self-interest, and self-value of life of women in the Qing Dynasty are manifested in the portrait’s poem.
亂世哀音———程兆熊及其《春秋講義》
Authors: 蔡 長林 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文略述程兆熊其人其學，及其《春秋講義》之主旨。以爲程氏深悉中國歷代土地政策對型塑中國文化具關鍵影響力，故其討論中國文化，頗能從土地開發與心靈開發相對應的關係上進行論述，以爲歷代農政之實施，同時包含了王道教化之精神在内。而此一王道教化之精神，即是儒家的性情之教。程先生《春秋講義》講述的内容，亦不外是對此儒家性情之教的贊揚與維護。是書所揭護持人道大防、讚揚禮義之行、堅守民族（文化）大義諸論，振聾發聵，令人耳目一新。而後知不論就學術史的角度，或者就當代新儒家的研究視野而言，程兆熊都不應該是被忽視埋没的學者。尤其當風雨飄零之際，若研究傳統學問之人，其視野仍僅在考訂字句之是非、版本之訛錯，而無視於天下家國之危，則經學之運晦而難明，亦自身之失誤有以招之。觀20世紀下葉，新儒家於海外之聲勢，對照經學傳統之落寞，得無慨乎！
This paper outlines the life of Cheng Zhaoxiong, his studies and the main idea of his work Chun Qiu Jiang Yi. It argues that under the awareness of the key influences of land policies to shaping Chinese ancient culture, Cheng’s discussion of Chinese culture noticed the corresponding relations between land developments and mind developments, thus, he hold that the implementation of agricultural policies contains a kind of kingcraft spirit for enlightening the public. This spirit was the so-called temperament educating of Confucianism, which was also the main content and fully praised in his book of Chun Qiu Jiang Yi. In this book, Cheng showed his proposition of supporting humanistic principles, praising proper and justice behaviors and adhering to national (cultural)spirits. So, whether from the angle of academic history or the Neo-Confucianism research, Cheng Zhaoxiong should not be overlooked. In troubled times, if scholars’ researches still focused on textual researches such as correcting wrong words and editions, instead of concerning the crisis of his own country, the decline of Confucian classics studies can only put its blame to the scholars themselves. Compared with the influential development of the Neo-Confucianism in the twentieth century overseas, the loneliness of traditional Confucianism really makes people sign with emotion.
20世紀初中國文學現代性的曖昧面貌
Authors: HUTERS Theodore , 吉 靈娟 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
中國現代性在更加激進意義上的不完整，歸咎於它所處的複雜的歷史大背景，尤其是現代性在文學中的運用，由此衍生的多聲複義造成其繁複多義、含混使用的狀況。我這篇文章將要探討學界之於現代性、現代主義等概念的論述所存在的偏頗與局限。中國現代性的發生，應當區分以晚清、民初、“五四”三種模式，現代性與現代主義的融匯根本上源於現代性概念中所藴含的基本矛盾。現代性應當突出獨創性，所表現出的最爲突出的特徵體現在無需借鑒任何其他的標準和既成的範式，而是從自身出發創造一套新的標準和系統。
The obscure face of modernity in China begins with the fact that the project in that discourse is incomplete in a much more radical sense, in that its historical siting, key definitions, and ultimate implications, which all remain in many important ways quite up in the air. This paper outlines various limitations inhering in notions of modernity and modernism in China. For early 20th century Chinese literature, there would thus seem to be a late Qing modern, an early Republican modern and a “May Fourth” modern, each with its distinctive features. For a variety of reasons, the early Republican version, as I hope to show, seems to offer the most interesting innovations, perhaps the most important single feature of modernity, and something that fits comfortably with either interpretation of its essential nature. Modernity in essence, needs no longer borrow the criteria by which it takes its orientation from the models supplied by another epoch; it has to create its normativity out of itself.
生育母神、美化的道教女神與人神戀———論唐《黑叟》與明《玉圭神女》中的九子魔母
Authors: 劉 燕萍 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
九子魔母故事，始載於南朝劉宋劉敬叔《異苑》卷五陳虞故事。古典小説中，九子魔母的奉祀，始自東晉。唐《張應》載，東晉咸和八年（333），張應奉祀九子魔母，令患病妻子病癒。（《太平廣記》卷一百一十三／卷一百六十一）九子魔母故事，至唐而盛。至明代，則有《獪園》知不足齋本卷十《玉圭神女》。九子魔母（或鬼子母Hariti：訶利帝母），是由印度傳入中國的生育神；在生殖崇拜中影響甚大。唯没有專論，探討這批有關九子魔母的小説。本文集中探討唐《黑叟》（《太平廣記》卷四十一）和明《獪園·玉圭神女》兩篇九子魔母小説的代表作品，以探討九子魔母由生育母神至成爲人神戀女神的轉變。本文擬從民俗與文學方向作出探討，首先：從生育母神———賜人子嗣方面，探討九子魔母的本來神格（唐《黑叟》）。其二：討論唐《黑叟》和《獪園·玉圭神女》中夜叉女與美化女神的關係，因爲九子魔母本來就是吃人的夜叉。（三藏、淨義譯《根本説一切有部毘奈耶雜事》卷三十一）。其三：以人神戀，以及反抗巫術（antipathy magic）角度，探討《獪園•玉圭神女》中巫術逐神情節，並歸納九子魔母由生殖崇拜神祇，至人神戀女神的變化。
The fiction record of Jiuzi Momu first appears in Liu Jiangshu, Yi Yuan. The worship of this fertility goddess starts from the Jin dynasty as stated in the story of Zhang Ying (Taiping GuangJi Vol: 113/161). The worship of Jiuzi Momu flourishes in the Tang dynasty. In the Ming dynasty there is one piece of work recorded in Hui Yuan: Yuhui Shennü. Jiuzi Momu is a Buddhist goddess, her original name is Hariti. Jiuzi Momu is an influential fertility goddess yet very little attention has been paid to the fiction related to this goddess. This article is to study the fiction of Jiuzi Momu especially “Hei Sou” (Taiping Guangji Vol: 41) and “Yugui Shennü” (Hui Yuan) with the perspective of folk customs. Firstly is to study Jiuzi Momu as a goddess of fertility. Secondly is to study the beautified process of this goddess in relation to her original “status” as a yaksha: a malevolent spirit. Thirdly is to study the antipathy magic in the human-spirit love affairs. With the study of this article, the changes of images from a fertility goddess to a beautified goddess in love affairs of Jiuzi Momu can be also be traced.
從蘇軾《東坡書傳》析論其詩文中的天文問題———以《前赤壁賦》爲主題
Authors: 蔡 根祥 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
宋代蘇軾的文章最爲人所稱道，其中《前赤壁賦》被選入國語文教材。清朝凌廷堪、張爾岐等人認爲《前赤壁賦》裏“月出於東山之上，徘徊於斗牛之間”兩句，以天文知識來講，是有錯誤的。本論文試圖從蘇軾的經學著作《東坡書傳》中有關天文方面的解説内容，再補充蘇軾其他詩文裏相關天文的描述文句，與《前赤壁賦》中天文陳述作比較，得以瞭解蘇軾的天文學知識的程度，並以判斷蘇軾的文章是否真的産生天文知識的錯誤，抑或蘇東坡如此寫作是有其他的因素存在。
從蘇東坡《東坡書傳》對《尚書》中所記載天文曆象的註解，可以確定蘇軾大部分都依循傳統《孔傳》的論述，也有超出《孔傳》，提出自己看法的。可以得知他對天文的瞭解程度，並不限定於《尚書》，更參考其他天文論述，具有深厚的天文知識基礎。
蘇軾既然具有註解《尚書》天文的認知能力，也表現在他所創作的其他詩文裏。蘇東坡詩文作品裏提到天上星宿不少。經筆者查考分析，在在都顯示蘇軾對天文縣象的精確理解。而對“斗、牛”二星宿更有切身深刻的認識。而“斗、牛”二星在天文星宿上，是極具代表性的，可以借代爲指天上繁星。
據此可知，蘇東坡《前赤壁賦》“月出於東山之上，徘徊於斗、牛之間”，應是用“斗、牛”來“借代”衆星的修辭格用法，説“月亮從東山升起，在夜空中，與滿天繁星優遊共舞”，並不牽涉到星、月之間位置、距離的是非對錯問題。
As one of the most famous scholar and poet in Song Dynasty, Su Shi’s “The Former Ode for the Red Cliff” is a popular literary work and has often been chosen in the nowadays textbooks as a masterpiece of traditional Chinese literature. However, Ling Ting-Kan and Zhang Er-Qi of Qing Dynasty doubted that the astronomical knowledge of the two sentences ——— ‘the moon rose from behind the eastern mountain and lingered between the Dipper Mansion and the Ox Mansion’———in “The Former Ode” was erroneous. In this paper, Su Shi’s Dong Po Shu-Zhuan will be examined with respect to his ability in astronomy, and then his other poems with relevant astronomical description will also be checked. After being compared with that of “The Former Ode,” we can determine whether Su Shi’s astronomical knowledge was in error, or there were other reasons that he wrote so.
The conclusion of this paper is that Su Shi’s astronomical knowledge was of high level and he just used “the Dipper Mansion and the Ox Mansion” as a metonymy for all the stars in heaven.
明代通俗文學與社會宗教生活中道教神系的構建———以《西遊記》和《封神演義》爲中心
Authors: 趙 益 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
明代中期以後發展興盛的通俗文學，真正具備了世俗性、商業性、普化性的通俗文學本質内涵，起到了溝通大小傳統、摶合集體記憶、傳播教化一般價值觀念、加强社會認同的顯著作用。明代通俗文學的這種反向作用主要是通過對社會一般宗教生活的影響體現出來的，其中重要的一端是神祇系統的構建。衆多的通俗文學作品不僅豐富和發展了民間“萬神殿”、塑造出重要俗神，而且在此過程中，對原有所謂“制度化宗教”特别是本土信仰和創生宗教的包容體———道教的神祇系統也進行了整理乃至新創。以《西遊記》、《封神演義》爲代表的傑出通俗小説都是中下層文人的作品，作者依據民間社會的接受、創造和自己的理解，在文學性的虛構中對道教神系達成了一種近乎義理化的建設。這種建設與道教包容體的“普化”過程相同步，奠定了近世中國社會一般宗教生活的基本格局。
Popular literature shows up greater development and prosperity after the middle period in Ming Dynasty. Meanwhile, it truly comes to possess the essential connotations such as secularity, commercial and epidemicity. In these point, the popular literature has made remarkable effect in linking up the great tradition and small tradition, gathering collective memory, spreading and educating general concepts, along as strengthening social identity. This reaction of popular literature in Ming Dynasty shows it’s influence mainly by impact on the general social religion life, especially the establishment of the Gods System. Numerous popular literature works have not only developed and enriched the folk Pantheon, which means shaped significant folk Gods, but also made collation and innovation in the Taoist Gods system, which is regarded as the original so called institutional religion. Masterpieces of popular literature, such as the Journey to the West, the Investiture of the Gods, are all written by the underclass litterateurs. In the background of literary imaginary, these authors have developed the Taoist Gods system in the way of argumentation by their own comprehension as well as the folk social reception and creation. This development has settled the basic pattern of the Chinese social common religious life in modern times along with the social lifelization of Taoism.
圖中物色：明清“三好”／“郎與麗”類型畫像文本之隱喻觀看與抒情演繹
Authors: 毛 文芳 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
明清文人留有許多畫像文本，像主旁襯雅物或麗色的類型畫像，十分引人矚目。取源於南朝蕭琛典故以書、酒、樂三樣雅物擺置畫面、藴含人生快意的“三好”圖式畫像，或像主旁侍一或多名艷姝而敷演風流情境的“郎與麗”圖式畫像，二者相互取資，異曲同工，率爲文人勾勒了功業或倫理等主流價值外逸樂生活的側影。一幅明清“三好”或“郎與麗”圖式的類型畫像，總以像主作爲核心，據而構築一個以物、色襯景元素演繹的情境畫面，引導題詠者定向思維與對話：具像的物品依其形狀、顔色、質地、功能等特性各自延伸出視覺觀看的符號性意義，而像主旁侍的麗姝美色更爲文人寫照凝塑艷情氣氛。畫家採取隱性手段以佈設畫面，俾書、酒、樂、麗姝等視覺符碼經常性出現於圖式中，藉以熏染畫面現場的快意氛圍：“書册”擺於雅會桌几，隱含聚會吟誦的文學特質；“酒罈”立於一旁，喻指畫中人鬆解陶醉的精神狀態；“弦歌作樂”，以彈奏樂器的畫面轉譯現場愉悅的聽覺經驗；“麗姝”陪侍，則爲畫像沾染艷情享樂的色調。這些物／色是作爲創造隱喻的媒介符碼，“三好”或“郎與麗”之圖式則爲文本創建者互文間性及套語結構之修辭産物，筆者將連結諸多題詠用以譯解文本，探索畫家／觀者形塑像主的隱秘意向，逆溯重建繪像當時的意義系統。本文擬對焦於明清“三好”／“郎與麗”圖式之類型畫像文本，考察文本的集體創建者如何透過符號關係與隱喻思維，游移於物／色兩端之層層交織與演繹，爲形塑一位文人形象而展開雅物觀看與麗色抒情兩相交融的近世性意涵。
Among the extant portrait texts by artists of Ming-Qing China, the most eye-catching are those in which the main character has one or more beauties in attendance. Two modes of this type of work were particularly popular: “three good things” and “the gentleman and the beauties.” The former is a representation of the happiness of life. The idea was derived from the anecdotes of Xiao Chen of the Southern dynasties: the painter would place three elegant objects, namely a book, a bottle of wine, and a beautiful singing girl beside the main character in the portrait. The second mode, “the gentleman and the beauty,” is a romantic scene in which the main character is situated in the center of the picture, with one or more beauties beside him. These two modes have a reciprocal relationship with the common effect of outlining a picture of the intellectuals’ life of leisure rather than their general values, such as deeds and ethics.
In a Ming-Qing Dynasty portrait of “the three good things” or “the gentleman and the beauty,” the main character is customarily placed at the center point, and on that basis the painter constructs a scene that is enhanced by the elements of objects and beauty. The poet (who would inscribe some verse beside the portrait) is guided to express direct thoughts and conduct conversations: those substantial objects would lead one to extended symbolic meanings according to their shapes, textures, colors and functions. The effect of the beauties beside the main character is an erotic atmosphere and visual experience, which depicts the leisurely life of the literati.
Focusing on the portrait texts of these two modes, the present essay examines how the artists collaborated in using the “objects” and the “beauty” in a metaphorical sense, and, through a comprehensive survey of a variety of inscriptions, argues that these portrait templates are rhetoric products of the creators’ intertextuality and language structures. It discusses how the collaborating creators of the artwork play with the interrelation and deduction of the two ends of “object” and “beauty” via the symbolic relations and metaphorical thoughts in their creation of an image of an intellectual who is deemed to have an elegant appreciation of objects and beauties, which represents the vogue of the time.
重探張愛玲小說裏的病態身體———以《花凋》、《紅玫瑰與白玫瑰》、《小團圓》爲主
Authors: 楊 佳嫻 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
蘇珊•桑塔格（Susan Sontag）認爲，疾病是内在精神狀態通過身體說出的語言，是一種自我表達。張愛玲（1920—1995）小說的文本分析車載斗量，疾病書寫在“張學”裏不是新話題。曹七巧“閣樓上的瘋女人”（The Madwoman in the Attic）形象，肺病隱喻，歇斯底里症候，或厭食症狀、子宫病變，均是學者關注焦點。總的來說，肺結核、歇斯底里、瘋狂，應該是張愛玲小說内的疾病書寫最常被論及的面向，當然，這些也是中國現代文學裏慣見的幾種病態。而本文則希望能擴及張愛玲小說内其他尚未被論說圓滿的病體書寫。
因此，本文主要透過《花凋》裏的肺癆、《紅玫瑰與白玫瑰》裏的霍亂與便秘、《小團圓》裏的厭食症與性愛疼痛，探討張愛玲小說裏的病態身體（morbidbody）的三種樣貌：消耗與醜怪的身體、堵塞與自囚的身體、内傷與自棄的身體，以及其所彰顯的意義、在小說美學上的功能。談疾病書寫而格外側重身體，是因爲疾病必須在身體顯現摧枯拉朽之力，才能暗示、側寫出人物的身心變化與生命困局；進一步也能探究，小說人物什麽樣的遭遇與什麽樣的疾病會被聯繫起來。借助歷史材料，並深化小說文本解讀，得以見出張愛玲小說裏所生産出的病態身體，並非孤立存在，而是鑲嵌於歷史、社會與性别的圖景内。
Susan Sontag argues that illness is the internal spiritual status that becomes a language spoken through the body, and is therefore a form of self-expression. There have been plenty of studies of Eileen Chang’s (1920-1995) novels, and the discussion of narratives on illnesses in her works is not new. Cao Qiqiao, the Madwoman in the Attic depicted as a patient of tuberculosis with symptoms of hysteria, anorexia and uterine diseases, has long been a focus of recent scholarship. These are certainly common illnesses found in modern Chinese literature. The present essay, however, is an attempt to discuss Chang’s writing on illnesses that have not yet been studied.
Hence, the present research focuses on illnesses such as tuberculosis in The Withering Flower, cholera and constipation in The Red Rose and the White Rose, and anorexia and dyspareunia in Little Union. It explores three types of morbid bodies in Chang’s novels: exhausted and ugly bodies; confined and self-imprisoned bodies; and internally injured and self-abandoned bodies; and discusses their significance as well as their aesthetic functions. The description of the body is essential in the discussion of narratives of illnesses because by means of its formidable power illness functions in implying or indirectly depicting the protagonist’s changes in physical and psychological condition as well as her life dilemmas. Furthermore, the research explores the connection between certain encounters and certain diseases. Making use of historical sources, the analysis of texts may become more in-depth; we see that the morbid bodies in Chang’s novels by no means exist in isolation but are imbedded in a contextual picture of history, society, and gender.
韓少功對“文學尋根”的重探———以2006年新版《爸爸爸》爲論述中心
Authors: 鄺 文峯 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
中國大陸上世紀八十年代“文學尋根”理念的倡導者韓少功於2006年重寫其“尋根”經典小說《爸爸爸》，同期發表一系列重探“尋根”的文章，爲有關“尋根”的討論帶來新的衝擊。本文首先整理韓少功修訂《爸爸爸》的背景，指出作家通過是次修訂，具體回應評論者二十年來側重於《爸爸爸》的批判性的解讀方向。本文亦指出是次修訂的準則並非純如作者解釋，旨在恢復原貌、解釋用語和修補缺失，更有重新創作之意。本文其後通過對讀《爸爸爸》的新舊版本，指出作家通過強化小說内部各種思維的角力，強調“尋根”問題的複雜性，肯定《爸爸爸》於批判以外的意義。本文亦配合韓少功2000年以後重探“文學尋根”理念的文章，說明韓少功在其重探“尋根”的過程中，其焦點漸漸由強調以中國“先鋒派”作家作參照，轉移至強調知青下鄉與“尋根”的關係。韓少功通過重探“尋根”肯定其“進步的回退”文學理念，爲“尋根”賦予新的意義。本文由此說明韓氏先後標榜“先鋒”和“回退”兩種看似截然不同的姿態，事實上呈現了作家在現代主義文學與左翼文藝之間的協商。
In 2006, Han Shaogong, one of the most vital writers in contemporary Chinese literature, rewrote his renowned novel Pa Pa Pa, a classic of the “Root- seeking” movement in the 1980s. At the same time, Han published a series of articles on “seeking the root” and put his theory into practice in Pa Pa Pa. The ambiguity of the novel immediately raised great concern. Critics generally viewed it as a tale showing the dark side of the Chinese national character.
In the new version of Pa Pa Pa, Han added more than 10,000 words and made significant amendments. With a detailed comparison of the two versions, this paper argues that Han re-examined the Chinese “root-seeking” literature and responded to criticism that had been made over the previous 20 years through rewriting his classic work. It also shows that in the new version, Han deliberately toned down the level of criticism and focused on the dilemma the characters encountered in the novel. Taking the novel as an example, this paper shows the complexity of Chinese “root-seeking” literature.
Moreover, with the support of Han’s articles published in the 2000s, this paper argues that Han’s concern shifted from the influence of Chinese avant-garde literature to why the young intellectuals sent to rural regions during the Great Cultural Revolution were so eager to “seek their roots.” As such, Han’s re-interpretation of “root-seeking” is an attempt to advocate his idea of “A Retreat of Progress.”
《i-城志•我城05》的城市及身體空間書寫———兼論“後九七香港青年作家”的情感結構
Authors: 鄒 文律 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
西西《我城》面世30年後，潘國靈和謝曉虹以《我城05》寫出了一部新世紀的“i城”故事。小說通過再現發達資本主義香港的城市生活，寄寓了兩位作家對城市和身體空間的思考。本文分爲三部分：第一部分，通過細析《我城05》，探討潘國靈和謝曉虹在書寫“i城”時，如何呈現香港那深受資本形塑的城市空間，揭示香港在21世紀初成爲發達資本主義都市後的諸種空間特質。資本主義不僅按其邏輯塑造城市空間，身體空間亦在其支配之下，故第二部分聚焦於考察《我城05》中的“勞動身體”和“疾病身體”。潘、謝二人一方面批判資本主義通過教育把“勞動身體”物化，另一方面亦指出“疾病身體”藴含對資本主義的強大反思性／批判性力量。最後，本文把《我城05》與韓麗珠、李維怡、可洛等“後九七香港青年作家”的作品並讀，勾勒出他們的“情感結構”———抗拒資本在城市空間的無止境擴張。
Thirty years after Xi Xi published her novel My City, Lawrence Pun Kwok-ling and Dorothy Tse Hiu-hung collaboratively wrote a story about the “i-city” and published it as a book entitled My City 05. Through their representation of the highly capitalistic city life of Hong Kong, the “i-city” reveals the authors’ thoughts on the city-space and body-space in Hong Kong. This article is divided into three parts. The first part explores and analyzes how their depiction of “i-city” shows the city-space of Hong Kong as highly capitalized, so as to reveal the spatial characteristics of Hong Kong in the early 21st century. The second part discusses the fact that it is not only the city-space that changes according to the system of capitalism, but the body-space is also under its control. This part thus focuses on the “working body” and “disabled body” in My City 05. On the one hand, Pun and Tse criticize capitalism by illustrating how it objectifies the “working body” through the education system, but on the other hand they demonstrate how the “disabled body” engages in reflection/criticism on capitalism. The third part of this article is a comprehensive reading of “post-1997 young Hong Kong writers” through the lens of the “structure of feelings,” that is, their resistance to the expanded influence of capitalism towards the city-space. This reading takes My City 05 as a central text and compares it with works by other writers such as Hon Lai-chu, Lee Wai-yi, and Ho Lok.