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The Aesthetics Of Parody In The Late Ming Dynasty, Jianqing Tuo

Theoretical Studies in Literature and Art

The late Ming parodic literature manifests itself as an innovated style based on the tradition of Chinese humorous literature. By means of vulgar imitation in the absurd senses of "crowning" and "de-crowning," it creates a comedic effect disagreeing with the original text and actualizes a restrained mockery of the social norm. The aim, however, is to appeal to the rationalization of human desire and the legitimatization of physical lust. The rise of aesthetic parody, on the internal level, stems from late Ming literature's conceptual shift from morality to entertainment and its narrative departure from traditional storytelling; on the external level, …

The Dissolution Of Dualism And The Reflective Nature Of The "Contestation Between The Tang And The Song Poetry" In The Qing Dynasty, Yunyun Tang

Theoretical Studies in Literature and Art

The "contestation between the Tang and the Song poetry" in the Qing dynasty is commonly viewed dualistically as a rivalry between the pro-Tang poetry group and the pro-Song poetry group. However, the said contestation was not an dispute over learning from the Tang poetry or the Song poetry in poetry writing practice, because their theoretical footings of the two groups do not cover the same ground to form a dualist opposition. At the core of the contestation are the dispute over the value of the Song poetry, and the discussions of traditional poetical concepts such as "poetry expressing ideals," temperament …

The Idea About Writing To "Convery The Truth" Of The Aixuan School In The Southern Song Period And Its Cultural Significance, Tianxi Zheng

Theoretical Studies in Literature and Art

The four generations of the epigones of the Aixuan School in the Southern Song dynasty laid equal emphases on wen and dao, the artistic and ideological aspects of literature. The importance of human nature rose to prominence in this process, and finally obtained the same position as the ideological requirement for writing to "convey the truth". The increasing focus on the nature of literature was a projection of the secularization of Neo-Confucianism from the Southern Song period. Despite the Neo-Confucian repression of literature, it was a special phenomenon that the Aixuan School insisted on its belief in literature and continued …

The Significance Of "Sense Of Beauty" In Eighteenth-Century British Aesthetics, Jialian Li, Yunfeng Lei

Theoretical Studies in Literature and Art

Centering on "sense of beauty," the inner sense theory developed by Shaftesbury and Hutcheson is highly significant to eighteenth-century British aesthetics. However, due to linguistic and cultural differences, these two concepts have not been well received by the Chinese intelligentsia. By focusing on "sense of beauty," this paper aims to delineate the concept's development in eighteenth-century British aesthetics and evaluate its academic significance in the history of Western aesthetics, with the purpose of supporting the theoretical construction of contemporary Chinese aesthetics.

Why Is K. A Land Surveyor?, Yanbing Zeng

Theoretical Studies in Literature and Art

In Franz Kafka's novel The Castle, the protagonist K. claims that he is a land surveyor by profession. However, K. has no land to survey, which undermines the certainty of K.'s profession. Why, then, did Kafka choose this ancient profession for his protagonist? The uncertainty of K.'s identity, the paper claims, implies that K. is in essence an explorer of existence. Thus, Kafka was a pioneer of existentialist writers. Giorgio Agamben argues that the protagonist K. gets the name from kardo, an old instrument for land surveying. The land surveyor's work is to establish and to break boundaries — not …

Essential Differences Between The Late Qing And The May Fourth Written Vernacular Chinese, Yu Gao

Theoretical Studies in Literature and Art

Dedicated to enlightenment, the late Qing movement of written vernacular Chinese spread both old and new ideas, whereas the May Fourth movement of written vernacular Chinese was an intellectual revolution. Not only did they refuse old ideas, May Fourth literati radically criticized traditional Chinese culture and initiated the modernization of China on both intellectual and social levels. Essentially, the written vernacular Chinese of the late Qing dynasty is a language of instrumentality, whereas that of the May Fourth is a language of thought. The former, mainly including colloquialism and slangs, was an auxiliary language of classical Chinese and unable to …

On Rancière's Concept Of Modern Fiction, Danhong Cao

Theoretical Studies in Literature and Art

Jacques Rancière has a long-standing interest in fictional issues. In recent years, he has published several monographs, in which he ponders the nature of modern fiction and presented unique insights. Rancière's concept of modern fiction is based on the critique of the traditional fictional rationality pioneered by Aristotle and the inheritance of scholars and writers such as Schiller, Keats, Flaubert, Woolf, Auerbach. It points out that the core of modern fiction is no longer the imitation of an organic whole action, but rather the manifestation of juxtaposed sensible micro-events. Changes in content lead to changes in the form of modern …

On The Theoretical Construction Of The Characteristics Of Tongguang Style Poetry By Tongguang Style Poets, Xiaowei Zhang

Theoretical Studies in Literature and Art

The Tongguang Style poetry, which had its origins in the Song School poetry during the reigns of Emperor Daoguang and Xianfeng (1821-1861), represented a profound innovative force within traditional poetry in both theory and creation. Tongguang Style poets also had systematically theoretical construction of the characteristics of their creation. They rebelled against the "orthodox form" in previous poetry and opposed Zhang Zhidong's theory of "qingqie" (explicit), by raising a set of binaries such as "qingqie" and "pise" (recondite), as well as "guangyi" (transparent) and "jianshen" (difficult). Zheng Xiaoxu also said that in modern society, "everything changes with disturbance outside and …

The Decline Of Dualism And The Rise Of Soma-Esthetics In Western Aesthetics, Xiaohua Wang

Theoretical Studies in Literature and Art

Dualism has long been dominant in the history of Western aesthetics, and it has established a hierarchical schema from the day it was born. The mind is imagined as a subjective role, while the body is regarded as a passive object that needs to be driven, enriched and guided. From the point of logic, a paradox is inherent to the schema: if the body and the mind are essentially different, they cannot interact with each other; if their nature is the same in essence, it is equally illogical to distinguish them. In the process of solving this paradox, the significance …

The Image Consciousness In Literary Criticism Of Fu In Ancient China, Jie Xu

Theoretical Studies in Literature and Art

Image consciousness in literary criticism in ancient China is most prominent in the criticism of Fu (Rhapsody), which can be seen from Liu Xie's "describing objects as they appear" in "Interpreting the Genre Rhapsody" (501-2 A.D.) to Zhu Guangqian's comment that "Rhapsody is akin to pictures" in On Poetry (1943). The imagist representation in the criticism tradition involves a way of "picturely" thinking developed from the fusion of verbal and pictorial horizons, with theoretical basis in rhapsody's linguistic characteristic of graphic description and the aesthetic configuration on objects and images. The image-representing way of thinking and the graphic criticism of …

A Study Of The American Boxer Indemnity Scholarship Program And Its Influence On Chinese Education: Taking Shandong Students As An Example, Pengxiu Sun

Seton Hall University Dissertations and Theses (ETDs)

The American Boxer Indemnity Scholarship Program (ABISP) was one of the most important events in the modern Chinese history of overseas education. This thesis focuses on the group of Shandong students which has representative characteristics of the whole American Boxer Indemnity Scholarship Program (ABISP) students to provide descriptive data for the influence on Chinese higher education through the achievements of Shandong students in the American Boxer Indemnity Scholarship Program (ABISP) in higher education. Through tracking the forty-two Shandong ABISP students, the thesis shows the establishment of Tsinghua University and ABISP students’ study and life in Tsinghua and the United States. …

Effective Strategies For Integrating Stem Education Into Chinese Language Classroom, Sophie Wang, Christine Zhang

Faculty Publications & Research

1. What is STEM?

-How can it be integrated into the current language curriculum?

2. Why STEM?

-Trend of offering the Mandarin course at K-12 schools

3. Chinese Curriculum & STEM-focused topics

-The STEM-focused topics incorporated at IMSA

4. Teaching strategies

-Lesson design, use of authentic materials, activities

禮莫大於聖王 : 論《荀子》對「禮」概念的擴充與轉化, Wai Yi Yau

Lingnan Theses and Dissertations

春秋戰國是社會大變革時期，諸子各派皆圍繞國家治亂問題展開論述，尤其是主張政治倫理化的儒家，其內在「倫理體系」與外在治國規範的「禮」有著密切關係。在整本《荀子》中，「禮」字出現342 次，涉及修身、資源分配、人事等多方面的意涵。相比《論語》、《孟子》主要以「仁」等倫理情感解釋「禮」，視「禮」為內在道德情感的外化表現，《荀子》則提倡「禮生於聖人之偽」，強調「心」能自主思慮抉擇，「禮」為外在理性產物，呈現有別於《論》、《孟》的一塘禮學思想。

本文將以《荀子》「禮」論為研究重心，並與《論語》、《孟子》有關「禮」的論述進行比對，探討《荀子》「禮」論與傳統儒家 (主要針對《孟子》) 的既定立場或看法有否差異之處？如有，會是何樣的差異？而這些差異的產生有否特定意義？本文將對此等疑問作一解答。

底層的自我表述 : 以余秀華和范雨素為例, Mengying Zhang

Lingnan Theses and Dissertations

從新文化運動的「平民文學」到近年廣受討論的「底層文學」，關懷底層群體的作家對如何更好地描寫不同境遇中的底層群體提出各自的見解。而在當下時代新媒體的推動下，底層作者也發表文學作品表現自己的生活和情感世界。

余秀華和范雨素即是近年來廣受關注的兩位底層作者，她們的作品因呈現了和普遍的對底層群體的苦難描寫不同的個人主體性而得到大量的關注和討論。本文將分別從文學生產和文本分析兩個層面對這一現象進行分析梳理。本文首先將對不同時期底層書寫的文學生產過程進行梳理，強調新媒體的加入對當下底層書寫的影響；其次本文將對余秀華和范雨素兩位作者的文本進行分析，試圖探究其文本的特性。

以往的研究或是關注專業作家對底層群體的描寫，或是將底層作者的作品進行單獨研究，本文借這兩位作者做整體分析探究，希望由此獲得關於底層書寫的更多理解。

編後記, Chunhong Wang

嶺南學報 Lingnan Journal of Chinese Studies

《嶺南學報》第十一輯終於編定，審視一遍，感到沉甸甸的。本輯論文時間跨度大，從秦漢以至清代，而選題亦多有發明，可謂新穎獨到，會令讀者頗得開卷有益之樂。

韋孟、韋玄成詩背景考及以經爲詩論, Xu Hu, Meihui Liu

嶺南學報 Lingnan Journal of Chinese Studies

韋孟和韋玄成是西漢《魯詩》學的著名代表，其傳世之作也每每體現了他們的經學家身份，研究者往往將二者互證。然考察韋孟《在鄒詩》之“我之退征，請於天子”後，容易發現這個説法與漢初諸侯國之官制多有齟齬，故該詩可能並非韋孟所作。《諷諫詩》究竟是否韋孟所作，自班固起已有懷疑，除了詩中塑造韋孟的忠謇形象與史實並不相符外，該詩與韋玄成《自劾詩》、《戒示子孫詩》某些方面的高相似度，也遠非模仿與借鑒所能解釋。尤可注意者，《自劾詩》與《諷諫詩》中多次化用《尚書》、《周易》等經典之句，可見諸經被確立崇高地位後，内部形成了一個封閉的體系。詩人的目的並非單純地言志抒情，而是要重新組合經典爲己所用。在此過程中，文本有了新的指向並獲得了新的生命力。

Wei Meng 韋孟 and Wei Xuancheng 韋玄 are well-regarded Lu shi 魯詩 scholars from the Western Han dynasty. Their poems also demonstrate their identity as classicists. In later scholarship, Wei Meng and Wei Xuancheng are often juxtaposed to highlight these achievements. An examination of “Zai zou shi” 在鄒詩 (Poem Written in Zou), a poem commonly attributed to Wei Meng, however, will reveal that Wei’s reputation of being a classicist and a poet has to do with the bureaucracy of Han dynasty principalities and consequently testifies against his authorship. Furthermore, the authorship of “Fengjian shi” 諷諫詩 (An Irony Poem), another …

唐詩詩題異名的類型、成因及性質闡論, Xiaoting Xian

嶺南學報 Lingnan Journal of Chinese Studies

唐詩在其流傳過程中，以及在各種不同的文獻載體中，經常被改題而出現多個題名。學界目前對於唐詩詩題異名進行綜合研究者甚少，本文從三個方面探討唐詩詩題的異名及其背後的成因，即别集總集編輯者改題、傳鈔中的他人改題以及唐詩入樂與改題。唐詩是中國古典詩歌藝術的高峰，它誕生於寫本時代，在唐代即被廣采入樂，又深受後世喜愛而廣爲流傳，流傳既廣則文本變異問題尤重。唐詩詩題異名問題是唐詩文本變異的一個重要組成部分。探討唐詩詩題異名的類型、過程、方式及其背後的成因，一方面有助於深化對唐詩以及唐詩詩題原貌的認識，另一方面，唐詩詩題異名的研究是唐詩接受史研究的重要内容，同時，以期通過對唐詩詩題異名進行深細的文本分析引發對寫本文本性質的反思。

During the process of dissemination through different kinds of media, Tang dynasty poems were frequently renamed and ended up having different titles. At the moment, there is limited systematic research on the variation of titles of Tang poems and the causes behind. This article will discuss the issue of varied multiple titles of Tang dynasty poetry and the corresponding causes from three perspectives, including the change of titles by editors of comprehensive (zongji 總集) and separate collections (bieji 别集), by others while making private copies, and through the adaptation of poems into music. Originated in the manuscript era, Tang …

曾鞏古文的美感特質 : 兼論其與歐陽古文的關係, Chi-Peng Ho

嶺南學報 Lingnan Journal of Chinese Studies

曾鞏古文自宋至清爲論者所推崇，以爲乃歐陽修嫡傳，然民國以後讀者漸少，學者雖猶時時論之，亦認同前揭前人説法，但對於曾鞏究竟如何承繼歐陽修，實缺乏細密分析與論述。按，歐陽修古文有二大特質：就行文言，極盡“宛轉”之能事；就格調言，則多濃厚抒情。本文謹擇曾鞏《相國寺維摩院聽琴序》、《齊州雜詩序》、《贈黎安二生序》、《王無咎字序》、《墨池記》等五篇爲例，以見曾文之“宛轉”風貌；復取《送王希字潛之序》、《學舍記》、《劉伯聲墓誌銘》、《二女墓誌》、《懷友一首寄介卿》等五篇爲例，以見曾文之“抒情”格調，冀可藉此彰顯曾文之美感特質，並且適時與歐文對照，俾以掌握歐、曾相承之關係，間亦指出二者之差異，供學者參考。

Zeng Gong’s 曾鞏 guwen 古文 (ancient-style prose) is viewed as a direct successor to Ouyang Xiu 歐陽修 and is well regarded by the scholars from the Song to Qing dynasties. However, his readership declined since the Republican Era ( 1912 _ 1949) . In spite of the discussions on his work with continued appreciation, there lacks detailed analysis and treatise of the ways in which Zeng Gong succeeded Ouyang Xiu in terms of ancient-style writing. Ouyang Xiu’s ancient-style writing occupies two main aesthetic features, including, first of all, the tactful and wanzhuan 宛轉(euphemistic) writing style; second, the sentimental and …

《中論》引詩與漢魏之際的《詩經》學, Yushan Yin

嶺南學報 Lingnan Journal of Chinese Studies

《中論》引《詩》約47次，以《雅》、《頌》爲主。徐幹在書中發揚了荀子等儒家諸子“以《詩》爲教”的傳統，體現了他在漢魏之際的亂世中企圖借助《詩經》的美刺作用來光大自己傾注到《中論》中的經世致用理想。據今傳文本看，《中論》所用詩説以毛爲主，輔以韓、魯及其他雜説。《中論》引詩不主一家詩説，而陳喬樅、王先謙都以《中論》證《魯詩》義，馬瑞辰以爲《中論》引詩多出韓説，都不免失之偏頗。諸家詩説並用的現象也出現在東漢末年的其他幾部子書當中，既可見出諸子引詩用詩的開放態度，也可見漢魏之際《詩經》傳授的百家争鳴盛況之一斑。

Zhonglun 中論 (Balanced Discourses) quoted Shijing 詩經 (Book of Songs) about forty-seven times, mainly from Ya 雅 (hymns) and Song 頌 (eulogies). Xu Gan 徐幹, the author of Balanced Discourses, developed the tradition from Xunzi 荀子 and other Confucian thinkers in putting Confucian ideas into practice particularly during turbulent years. According to texts passed on to today, the study of poetry in Balanced Discourses mainly focused on Mao Commentary, accompanied by Han 韓, Lu 魯, and other texts. Previous studies, including Chen Qiaozong’s 陳喬樅 and Wang Xianqian’s 王先謙 examinations of Balanced Discourses for the meaning of Lu, and Ma …

北朝《漢書》學與北朝文學的漢代傳統, Danjun Cai

嶺南學報 Lingnan Journal of Chinese Studies

中古時期《漢書》學的發展，離不開十六國北朝時期北方地區的人們對《漢書》的闡釋、研究和利用。廣爲流行的《漢書》故事，重新構建了新時代所需要的漢代歷史，從而爲北朝《漢書》學奠定了社會基礎。在這個多民族融合的南北分裂時期，正統與華夷等觀念被不斷申明、強調，北方地區的政權紛紛向《漢書》尋求政治借鑒，《漢書》被作爲典章參考，進入實際的政治生活。北朝後期，北齊南來士人顔之推爲代表的《漢書》學研究，融合南北學術之長，是北朝《漢書》研究獲得新的學術成就。受時代影響，北朝《漢書》學對文學發展的影響同樣深遠，一方面，《漢書》學影響了北朝史傳文學的發展，崔鴻、魏收等史家皆以《漢書》爲標杆來撰史；另一方面，《漢書》學也引導了人們對漢代文學有所推崇和繼承。

The development of Han shu 漢書 (Book of the Former Han) study in medieval China cannot be separated from the interpretations, research, and appropriations of Book of the Former Han in the northern areas of the Sixteen Kingdoms and Northern Dynasties. The popular stories from Book of the Former Han reconstructed the history of the Han dynasty needed in the new era then, thus laying a social foundation for the study of Book of the Former Han in the Northern Dynasties. In this period of multi-ethnic integration, the concepts of orthodoxy and Han-Yi ( non-Han people, “barbaric”) distinction were …