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開啟南北朝至唐代遊仙詩道教化的轉關 : 上清經派道人楊羲的道教遊仙詩, Hong Zhang

嶺南學報 Lingnan Journal of Chinese Studies

上清經派道人楊羲等在製作上清經的過程中，開創了以扶乩降筆之法創作道教遊仙詩的神秘創作方式。楊羲開創了女仙婚戀遊仙詩、煉丹奉道的遊仙詩等新的遊仙詩類型，以道教各種修煉方式和功法爲主要内容，變遊仙詩爲修道詩，使遊仙詩的整體風貌大變。在仙境的營構描寫上，楊羲詩歌濃墨重彩地鋪排渲染了道教神仙活動的繁華熱鬧世界，在詩歌中第一次形象生動地描寫了煉丹奉道活動的神奇景象，散發出濃郁的宗教神秘氣息，使得遊仙詩中的“龍虎之氣”從此生生不息，開啟了南北朝至唐代遊仙詩道教化的轉關。對後代詩人特别是李白等的煉丹類遊仙詩産生了深遠的影響。

During the process of constructing Shangqing jing 上清經 (Shangqing School Scripture), Daoist Yang Xi 楊羲 created a mystical method of writing Daoist mystical excursion poems through planchette writing. Yang initiated created mystical excursion poems about fairies coming down to earth for love and marriage and about Daoists alchemy. Focused on Daoist practices, these poems changed the style of mystical excursion poetry to Daoist cultivation. On the description of fairyland, he praised a lively and bustling world of Daoist immortals in gaudy colors, and for the first time, depicted vividly the magical scenes of how Daoist alchemists create pills of …

北京大學藏西漢竹書《妄稽》釋讀斠正, Yunhe Xu, Qingxin Zheng

嶺南學報 Lingnan Journal of Chinese Studies

北京大學藏西漢竹書《妄稽》是漢代形成的文學作品，釋讀難度較大，2015年整理發佈以來備受學界關注，成爲近年來簡帛研究的一個聚焦之點。本文踵事續貂，勉爲考釋，所得六十八例。一是糾正過去文字釋讀存在的一些錯誤或偏差，二是對未及釋讀或疑不能明的字句作進一步的考察和研究，三是對一些句子的句讀問題重新作出研判，使之趨於合理。所做的工作基本覆蓋了全篇，希望能够對一個可供閲讀的文本的形成有所推進。

Wangji 妄稽 is a bamboo slip manuscript of Western Han collected by Peking University. It is a difficult literary text from the Han dynasty and has become a focal point in the area of bamboo and silk manuscripts studies since it was first published in 2015. This paper makes sixty-eight emendations to the annotated edition of Wangji from three perspectives; (1) they correct the mistakes in the character recognition made in the past; (2) they further investigate and study the characters and sentences that are yet to be recognized or seemly unrecognizable; (3) they revise the punctuations of some …

史家風神與金石體制 : 以明清時期的韓、歐碑誌高下論爲中心, Qi Hu

嶺南學報 Lingnan Journal of Chinese Studies

明清人關於碑誌文體的討論中，韓愈、歐陽修的高下品評是一個值得注意的問題。在具體作家、作品評價的背後，實際上潛藏著有關碑誌文類源流正變的整體觀念，牽涉到知識資源、理論架構以及審美判斷之間的複雜互動。茅坤以歐高於韓，背後的觀念是將碑誌文溯源到史傳傳統，以《史記》爲標準衡量唐宋古文創作。從明代到清前期，這一思路乃是古文家分析碑誌文的主流，不論贊同還是反對，士人大多接受其觀念預設。然而，清代金石學蔚興，爲碑版文字的研究提供了新的知識資源。姚範、姚鼐、章學誠等主張突出碑誌作爲“金石之文”的屬性，與“史家”區隔，以此爲韓愈辯護。對金石傳統的體認，刺激學者從新的角度考慮碑誌文寫作中的“正”“變”問題。另一方面，金石學的風氣進一步引發了對漢魏碑文的好尚，使得韓、歐代表的唐宋碑誌傳統本身受到了質疑。即使是以韓、歐爲正統的古文家王芑孫，也不得不撰寫考索漢魏六朝碑碣的專著，以此反過來證明韓、歐碑誌的價值。韓、歐碑誌的評價問題，正可以折射出傳統文章學内部“知識”與“理論”二端如何互相影響而又互相制約。

The ranking of great authors has always been a core subject of the canonization of a certain literary genre. As for beizhi 碑誌 (tomb inscription) written in guwen 古文 (ancient-style writing), competition between the mode of Han Yu 韓愈 and that of Ouyang Xiu 歐陽修, is the most controversial issue for Ming-Qing scholars. This article aims to explain the theoretical basis upon which such debates were generated. Scholars who insist on the superiority of Ouyang Xiu generally consider tomb inscription as a sub-genre of historical writing and therefore regard Sima Qian’s 司馬遷 Shiji 史記 (Records of the Grand Historian) …

明代王鏊佚札輯考, Yick Tan Ching

嶺南學報 Lingnan Journal of Chinese Studies

明代王鏊佚作散見各種文集、筆記、書畫題跋、書法尺牘、存世手稿中，今於點校本《王鏊集》“補遺”外，另輯得其佚札十八封，匯成一編，略爲校注，各附考釋。所輯諸札，或有資於王鏊行跡、交游之研究。

“詭辭”以見義 : 論《太史公自序》的書寫策略, Sudong Cheng

嶺南學報 Lingnan Journal of Chinese Studies

司馬遷通過一系列特别的書寫策略，將恢國、致孝、繼聖與發憤這四種表達意圖同時注入《太史公自序》之中，這當中既包括對《國語·楚語》、《孝經》等援據文獻的微妙改寫，也包括對“五百年”這一神秘數字的刻意渲染，在與壺遂的對話中呈現出的前後矛盾，以及對《春秋》、《吕氏春秋》、《孤憤》等文本生成背景的時空重塑。這一書寫方式源於《春秋》公羊學所強調的“詭辭”以見義的表現方式，對於這一書寫策略的梳理，有利於我們進一步理解《太史公自序》，乃至《史記》全書的立場與語言風格。

This paper argues that Sima Qian 司馬遷, author of Shiji 史記 (Records of the Grand Historian) implanted various expressive intentions into his autobiographic writing “Taishigong zixu” 太史公自序 (The Autobiography of the Senior Archivist) by applying a series of special writing techniques, including the delicate rewriting of Guoyu 國語 (Discourses of the States) and 沿孝經 (Book of Filial Piety), deliberate rendering of the mysterious number “five hundred years”, contradictions within his dialogue with Hu Sui, and reconstructions of the temporal and spatial backgrounds of Chunqiu 春秋 (Spring and Autumn Annals), Lushi chunqiu 呂氏春秋 (Master Lü’s Spring and Autumn Annals), Gufen …

情景交融與古典詩歌意象化表現範式的成立祉, Yin Jiang

嶺南學報 Lingnan Journal of Chinese Studies

“情景交融”雖爲學界所通用，但却是一個相當模糊而理解多歧的概念，除了指示一種抽象狀態的結果外，並未提供什麽可供闡發、引申的理論線索，以致學界的定義長久以來一直停留在“情與景合，景與情合”的俗套表達上。本文認爲，情景交融作爲標誌着古典詩歌抒情藝術之成熟的美學特徵，是在特定審美意識和寫作策略的主導下逐漸被許多作者共同遵循、實踐並達致理論自覺的一種詩境構成模式，其結構特徵取決於作者們共同遵循的寫作範式。相關的概念還有寓情於景、借景言情、化景物爲情思、以景結情等等，它們分别負載着不同時代的詩論家對情景問題的關注。對這些命題的全面梳理，也就是對古典詩歌中情景關係的歷時性考察。本文从考察“情景交融”概念的由來入手，試圖通過對中古詩歌中情景關係的歷時性分析，説明“情景交融”的意象結構方式是在中唐詩歌意象化表現逐渐定型的背景下形成的。

Qing jing jiaorong 情景交融 (fusion of scene and emotion) has been widely used in the area of Chinese studies, but it is an extremely ambiguous concept that has been understood in various ways. Aside from indicating the effect of an abstract condition, it does not provide any clues for interpretation or theoretical extension, insofar as its definition has stagnated at trite expressions such as “feeing merging with the scene” or vice versa. This paper postulates the concept, “fusion of scene and emotion,” is not only an aesthetic development that marks the maturity of the lyrical art in classical Chinese …

On The Experiential Basis Of Beauty, Hongxiang Li

Theoretical Studies in Literature and Art

The concept of beauty has been abused in contemporary popular aesthetics, which attributes the beautiful to the superficial experience of human body and fails to understand the spirituality of true beauty. In contrast to beauty in everyday sense, true beauty exists in ecstasy, a holistic experience integrating body and mind, in which people may feel a transcendental sense of reality. Different from pathological illusion, the ecstatic sense of beauty signifies nature's manifestation in human life and testifies to the intrinsic harmony between humankind and the universe. Through the lens of ecstasy, this article examines true beauty in three dimensions: reflections …

On The Genealogy Of Heresy In Revolutionary Literature, Huiying Xie

Theoretical Studies in Literature and Art

In the late 1920s, the debates about the nature, function, direction and position of "revolutionary literature" were accompanied by various conflicting voices. In each stage of the revolutionary literature developed afterwards, there were "alien" elements that diverged from literary mainstream and authoritative discourse. With the development of history, these "alien" authors constantly developed and finally formed a continuous genealogy of heresy. In the context where mainstream culture became increasingly conservative and ideological discipline turned stricter, they were gripped in a historical dilemma. Originally, Chen Duxiu and Lu Xun were two revolutionaries with the same ultimate goal, but they had different …

On The Lyrical Tradition Of Chinese Prose, Jianhui Chen

Theoretical Studies in Literature and Art

Chen Shih-Hsiang's argument that Chinese literature is destined to be dominated by lyricism because lyrical spirit is a tradition in Chinese literature has a far-reaching scholarly influence. By tracing the development of the lyrical tradition of Chinese prose, this article summarizes three emotional patterns — "leaving and returning," "joy and worry," and "happiness and sorrow." In terms of lyrical standpoints and content, Western lyricism tend to focus on individual liberations and dreams of an ideal world, emphasizing subject value of individuals and the expression of self-feelings, while Chinese lyrical proses pay more attention to the unity of personal expression and …

The Emergence And Development Of "Chinese Aesthetics" In The Modern Times: A Historical Inquiry , Qiang Zhao

Theoretical Studies in Literature and Art

Over the last century, the legitimacy of Chinese aesthetics has been gradually confirmed in the studies of aesthetics and the writings of the history of aesthetics by Chinese and Western scholars. Cultural exchanges between China and the West have promoted the indigenization of aesthetics in China and deconstructed the universality of Western aesthetics, thus giving rise to the plural concept of "world aesthetics", which paved the way for the modern construction of "Chinese aesthetics". Due to its importance, the way to interpret Chinese aesthetics has become "the meta-question" that promotes the study and writing of the history of "Chinese aesthetics".

The In-Betweenness Of Humankind And Thing: A Crisis Of Modernity From The Perspective Of Philosophy Of Technology, Zhengbo Zhang

Theoretical Studies in Literature and Art

The harmony between humankind and Thing is the normative basis on which ecological balance and stable social development are maintained. With the development of industrial revolution, information technology, and neurosciences, this due harmony has been disturbed by such crises of modernity as the schism between humankind and Thing, the excessive connection between humankind and Thing, and the bewildered in-betweenness of humankind and Thing. These predicaments may lead to consequences like ecological imbalance, moral bankruptcy, emotional distortion, and even the destruction of human beings. In this regard, it is through returning to the "undifferentiated world," facilitating the mutual exchange between humankind …

The Innovation On Early Modern Language And The Change Of Fiction's Language Style, Xiaojun Liu

Theoretical Studies in Literature and Art

The change of early modern fiction's language style was closely related to the language innovation movement. Under the impetus of the movement of oral-written languages integration and the movement of national language unification, the language style of early modern fiction saw a decline in the influence of classical Chinese language and an increase in vernacular Chinese language. In this process, vernacular Chinese language absorbed the essence of classical Chinese language, received the influence of translated works, and combined the elements of classical and mandarin Chinese languages, thus forming a heteroglossia style. The completion of the change in the style of …

The Receptive Dimension Of "The Music Of Today Derives From The Music Of Antiquity", Miaodan Chen

Theoretical Studies in Literature and Art

The discussion between Mencius and the King Xuan of Qi on music was aimed at political benevolence, and "the music of today derives from the music of antiquity" was not Mencius's deliberate theorization. As this concept has no further elaboration in its original context, it has caused intellectual controversies for later generations. Basically, scholars of the Song dynasty denied the notion from historical and Neo-Confucian perspectives, while those of the Yuan, Ming, and Qing dynasties accepted it by justifying the value of "the music of today." Among the supporters, there were two different voices, that is, to consider "the music …

An Analysis Of The Phenomenon Of Titling Fu With Poetry In The Tang Dynasty, Haoyu Tang

Theoretical Studies in Literature and Art

Poetry and fu (prosy ode) both flourished during the Tang dynasty, and thus with the mutual infiltration and development of poetry and fu, there was a phenomenon of using poetical lines in the title of fu, which influenced its content and purport. This phenomenon also reflected similarities and differences of poetry and fu in expressions and characteristics, and clearly revealed the trend of confluence of poetry and fu in the development of literary styles during the Tang dynasty. This article lists all the works in The Complete Fu of the Tang Dynasty that used poetry in titles and analyzes their …

Can "Contemporaries" Know How To Read?, Rabaté Jean-Michel

Theoretical Studies in Literature and Art

In order to respond to Kyoo Lee's theses on reading, this essay focuses on obscurity and difficulty, terms often associated with modernism. Moving from a controversy opposing Mallarmé and Proust in the last decade of the 19th century to Lacan's use of a Mallarmean language when he describes how symptoms can be read, that is not by thinking naïvely that we are "poets" but by understanding that we are unconsciously scripted "poems," the essay posits a mediation provided by Ezra Pound when he invents both Comparative Literature and Translation Studies.

Connotations And Characteristics Of The Public And The Private In Classical Chinese Poetics: A Case Study Of Zhang Xuecheng's Idea "Publicness Of Language", Qingyu Yan

Theoretical Studies in Literature and Art

Issues of the public and the private have been discussed thoroughly in the history of thought, while it is yet to be developed in the field of literary history. Zhang Xuecheng's idea of "publicness of language" can be regarded as an inspiring beginning. From Zhang Xuecheng's perspective, the issues of the public and the private of classical Chinese poetics can be discussed from three dimensions, namely, ownership, originality, and authorship. The tendency of privatization and the balance between the public and the private in classical Chinese poetics is clear in the discussions on the formation of and response to ownership, …

From "Image" To Simulacrum: Derrida's Discussion On Writing, Shubao Dong

Theoretical Studies in Literature and Art

Writing is one of the key words in Derrida's deconstructive philosophy. In his Of Grammatology, Derrida refers to the claims of writing from Plato to Rousseau and down to Saussure, confuting their idea that "writing is the image of speech". However, Derrida, inspired by Saussure's principle of difference that "in language there are only differences," and expounds the relationship between writing and difference, by which he transforms Saussure's static difference into the dynamic difference. Writing plays the game of difference in simulacra, and fills up the simulacrum in the supplemental movement of "image", Writing finally becomes a roaming orphan, which …

From Neutrality To The Other: Levinas On Blanchot, Jiajun Wang

Theoretical Studies in Literature and Art

Levinas's and Blanchot's literary theory coalesced while maintained a tension in between. They both tried to break through Heidegger's ontological literary theory, but Levinas used "the other", and Blanchot used "the outside" as the weapons to achieve this goal. In general, Levinas and Blanchot showed us two different and yet connected ethics and literature. The former intended to use ethics to transcend the totality of philosophy, but ultimately found the literary language in the depth of this ethics, which made the ethics become literary; the latter intended to use literature to transcend the identity of philosophy, but ultimately found the …

Political Or Ethical: Chen Duxiu's Motive For Writing "Towards A Literary Revolution", Xu Xu

Theoretical Studies in Literature and Art

Chen Duxiu's motive for writing "Towards a Literary Revolution" has been widely understood on the political level. This conception is based on its historical consequence and therefore controversial among scholars. To put the article into its original context, a solid correlation can be found between the debate on literary revolution and the slogan of "reforming national characters." Combined with the anti-Confucian revolution back then and the textual performance of the article, it can be argued that, for Chen Duxiu, the concern of ethics was more imperative than that of society or politics. In this view, to reconnect "Towards a Literary …

The Paradox Of "Self": New Literature's Ethical Problems Of "Individual Liberation", Jianhua Song

Theoretical Studies in Literature and Art

The new literature relies on the form of "natural person" to pursue the ideals of "self" and "freedom", which indeed promoted the historical progress of Chinese society. However, this type of absolute "self" and "freedom" also directly destabilized the ethical relationship in traditional culture, thus making people's behavior disordered. Once the "self" was placed above society and broke away from the control of social moral norms, the opposition between the "self" and society emerged, and the "self" eventually fell into ideological confusion as it could no longer exist. For new literature, the shift from blind optimism to rational thinking in …