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《梁書·劉勰傳》“家貧不婚娶”問題新探, Yunfeng Chen

嶺南學報 Lingnan Journal of Chinese Studies

關於《梁書·劉勰傳》所載“家貧不婚娶”問題，已有不少學者發表過頗有見地的意見。不過，如果重新細緻地研讀《梁書·劉勰傳》“家貧不婚娶”一段文字，並聯繫相關史料，類比旁推，似尚有值得進一步辨析、闡釋之餘地。譬如，從文義關係的角度出發，將《梁書·劉勰傳》所載劉勰“家貧不婚娶”一事與前後文句聯繫起來，或可得出新的認識——“家貧”問題與“勰早孤”相關聯；“不婚娶”以及“依沙門僧祐”問題則跟“篤志好學”一句相呼應，並最終落實於“遂博通經論”這一結果上。如此闡釋，“篤志好學”之說與“遂博通經論”之間，方顯得義脈貫暢，而“家貧不婚娶”問題亦可得更為合理之解釋。

Many have discussed the issue of jiaping bu quqi (the family is too poor [for him] to marry a woman) in the “Biography of Liu Xie” in the History of Liang. However, this paper re-reads it in association with relevant historical records, which suggests room for further analysis and deeper interpretation. For example, reading jiaping bu quqi with its syntactical context yields a new understanding. Xie zao gu (Xie was orphaned at an early age [by his father death]) resulted in his family’s poverty. Bu quqi and yi shamen Sengyou (attachment to Buddhist monk Sengyou) echo duzhi haoxue …

杜甫“獨耻事干謁”發微, Peichen Jin

嶺南學報 Lingnan Journal of Chinese Studies

《自京赴奉先縣詠懷五百字》是杜甫耻事干謁的一紙宣言，早已成為學界的不易之論。然而，結合詩歌文本、唐人干謁風尚、杜甫一生行跡及其干謁觀念，可知“獨耻事干謁”內涵複雜，並不能據此說明杜甫以干謁為耻。事實上，杜甫不僅在安史之亂後仍有干謁活動，對待干謁的態度也有理性客觀、因時而變的一面。杜甫晚年絕意干謁，是多重因素影響下的結果。如果直接替杜甫貼上“耻事干謁”的標籤，既會妨礙我們理解詩人晚年生存狀態與思想觀念，也不利於還原真實的杜甫形象。

Du Fu’s “Going from the Capital to Fengxian County, Singing My Feelings (five hundred words)” has been irrevocably accepted as his denouncement of ganye (begging for favor from high-level officials). However, a close reading of the poem alongside with Tang-dynasty custom of ganye and Du Fu’s attitude toward ganye shows his complex understanding of du chi shi ganye, which cannot be held as evidence of Du Fu feeling ashamed to beg for favor from high-level officials. In fact, not only did Du Fu continue to do so after the An Lushan Rebellion, but his attitude toward ganye also …

論惠儋時期蘇軾以尺牘參政, Yujie Liao

嶺南學報 Lingnan Journal of Chinese Studies

蘇軾（1037–1101）被貶至惠州、儋州，再被詔北還，即自紹聖元年（1094）南遷至建中靖國元年（1101）七月這一段時間被視為惠儋時期。蘇軾在惠儋時期創作的參政尺牘是北宋士大夫私人書信與政務溝通的絕佳案例。本文著眼於以下幾個問題：蘇軾在惠儋時期的參政尺牘有何獨特之處？蘇軾利用尺牘討論政事、抒發政見，是寫作習慣還是刻意為之？公書寫作對蘇軾的參政尺牘有何影響？在這一時期，他創作了約65封參政尺牘，以尺牘感慨時政、推薦人才、參與政務。蘇軾的參政尺牘大多寫於惠州，至儋州數量減少，這一變化與蘇軾在惠州、儋州的生存境遇變化有關。在這一時期，蘇軾任散官，無職事，幾乎沒有寫作公文，而他的參政尺牘部分卻呈現出公書寫作的格式與習慣，一方面體現了公書寫作對私書寫作的影響，另一方面也是蘇軾面對處境刻意為之的選擇。

Su Shi’s (1037–1101) was banished southward to Huizhou and Danzhou from 1094 (the first year of the Shaosheng era) to July of 1101 (the first year of the Jianzhong jingguo era) when he was summoned back north, which has been known as his Hui-Dan period. Su Shi’s canzheng chidu (personal letters that discuss politics) written during this period became examples of Northern Song dynasty literati getting involved in political affairs through personal correspondence. This article tries to answer the following questions. (1) How were Su Shi’s canzheng chidu special? (2) Was Su Shi’s canzheng chidu merely his writing habit …

“石華”一辨 : 兼論謝靈運《遊赤石進帆海》詩之主旨, Jing Li

嶺南學報 Lingnan Journal of Chinese Studies

本文擬從對謝靈運《遊赤石進帆海》詩中的“石華”這一名物的考辨入手，重新認識謝靈運帆海之遊的目的；同時，通過對詩中典故（如“陰霞”、“窮髪”、“虛舟”等）的考證，判斷謝靈運在創作該詩的時候所聯想到的意象和文本，并試圖分析這些典故在詩中重組後的意義，并藉以歸納全詩的旨趣。總的來說，謝靈運前往帆海的動機包括了三個方面：尋仙藥（石華、海月）、訪天池之仙人、探索未知的遠海。而詩的主旨則落在“至人無己”、“適己”和“終然謝先伐”之上。全詩統一於“養生”的主題。

With an exploration of the term shihua (rock flowers) in Xie Lingyun’s poem “You Chishi jin fan hai” (On a Trip to Red Rocks I Sailed out on the Sea) as the point of departure, this paper re-interprets the poet’s motivations for seafaring. By investigating the allusions such as yinxia (lunar fire), qiongfa (barren land), and Xuzhou (vacant boat), this paper speculates on the images and texts the poet thought of when writing this poem, tries to analyze the significance of re-organizing these allusions, and in so doing summarizes the poem’s theme. Xie’s three motivations for seafaring include: (1) …

俞樾《諸子平議‧管子》補正, Pang Fei Kwok, Ting Choi

嶺南學報 Lingnan Journal of Chinese Studies

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，可說是子學訓釋的鉅著。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。然而，智者千慮，容或有失，今就俞氏《諸子平議‧管子》十四則，詳加探討，審視俞說之瑕瑜，並作補正，祈能為其中問題提供較為清晰的解說。

Yu Yue (1821–1907), courtesy name Yinfu, hao Quyuan, was a prominent philologist in the late Qing dynasty. His representative work Zhuzi pingyi (Commentaries on Pre-Qin Masters) is a masterpiece of Chinese philology. This paper investigates his commentaries in “Guanzi” in Zhuzi pingyi by discussing fourteen examples in detail and rectifies specific existing philological issues therein.

兩漢入繼帝王追尊私親述論, Zhan Huang

嶺南學報 Lingnan Journal of Chinese Studies

兩漢皇帝沒有子嗣的情況頻繁發生，皇位繼承人多從宗親藩王中擇選。外藩入繼不僅關係到禮法的依據和施行，還牽動著當朝的政治神經。由於漢初禮法多未定型，有關外藩入繼以及入繼者如何尊封本生父母，沒有明確固定的禮法規範。在入繼皇帝的尊親問題上，論者各執一詞，引發數次禮制論爭，甚至造成政治動盪，西漢政權的覆亡亦與此有所關聯；外藩入繼的禮法規範在光武帝劉秀的處理中才形成範式，在東漢後期逐漸定型。本文將就兩漢外藩入繼的情況加以論述，並聯繫政治角力和禮法爭議兩方面，就兩漢歷次外藩入繼事件的前因後果和複雜情況加以分析。

When Han-dyansty emperors deceased without any male offspring, a regnant-monarch was chosen as the heir to the throne. Adopting a regnant-monarch into the royalty bore association with the implementation of rituals and affected court politics. However, there were no institutionalized rituals for adopting a vassal king or conferring honorific titles to his biological parents in the early Han dynasty, which resulted in many debates over the ritual appropriateness. The confusion had led to political turmoil insofar as it contributed to the fall of the Western Han regime to a certain extent. Liu Xiu (Emperor Guangwu of the Eastern Han …

文體間的辯證法與詩歌的功能性擴張 : 張可久“律曲”, Jaehyuk Lee

嶺南學報 Lingnan Journal of Chinese Studies

張可久以極為可觀的散曲数量（全部元散曲的五分之一）以及其獨特的散曲風格在中國散曲史上佔據了舉足輕重的地位，尤其是張可久的散曲風格融合了中國傳統的詩歌元素和當時盛行的散曲形式，自成一派。本文旨在重现具有融合性美學詩歌功能的張可久式散曲創作觀。主要包括：第一，本文將對張可久散曲的節奏、對仗、押韻等散曲形式層面的主要構成要素進行詳細考查，以此探討張可久如何通過散曲的形式體現中國古典詩歌的美學特徵。第二，本文將通過對張可久時代的整個文化背景下的集體文學創作活動的分析，證明張可久散曲的融合性特徵並不是文言雅風格與口語俗風格的機械疊加的產物。

Zhang Kejiu 張可久 occupies an important position in the history of sanqu 散曲 (colloquial song). Not only does the sheer volume of his sanqu songs account for one-fifth of the extant sanqu songs, but his significance also lies in the unique style of his songs. In particular, his sanqu songs hybridize traditional literary elements with the up-and-coming form of sanqu. This article examines how Zhang Kejiu embodied the aesthetics of classical poetry in the format of sanqu through a detailed examination of meter, parallel lines, and rhyme. Also, to demonstrate the synthetic style of Zhang Kejiu’s sanqu songs …

劇作家角色之扮演 : 賈仲明增補《錄鬼簿》“凌波仙”散曲挽詞研究, Wenbo Chang

嶺南學報 Lingnan Journal of Chinese Studies

通過分析賈仲明增補《錄鬼簿》“凌波仙”散曲挽詞，本文旨在研究散曲如何對文學創作隱含的社會契約引起變化，尤其文本如何成為作者概念與社會身份之間互相協調的結果。長期以來，學界把賈仲明增補的挽詞當做研究劇作家個人生平的可靠信息來源，本文對這一做法提出質疑，認為這些挽詞整體來看其實寫的是賈仲明為劇作家社會角色建構出的一系列人格。作家概念在高雅文學體裁中佔據中心地位，可在賈仲明的散曲挽詞裡，雖然一個個都標註好了關漢卿、王實甫等姓名，卻降格為面目模糊並且可以輕易替換的人體模型。賈仲明這麼做的目的是為了凸顯在他的視角下設計出的劇作家社會角色。他構建出的劇作家角色既帶有都市商業劇場的痕跡，也反映了國家和精英價值的影響。因此，本文認為，賈仲明增補散曲輓詞的真正價值在於幫助我們更好地了解他所處的時代背景下劇作家的生存狀況。此外，恰當地解讀賈仲明輓詞也有助於我們進一步理解散曲文體的表演性。

This paper investigates the issue of how sanqu composition modifies the social contract of poetic composition in how a text mediated between authorship and social identity through a close analysis of Jia Zhongming’s 賈仲明 (fl. 1343–1422) sanqu songs written in the supplement to The Register of Ghosts (Lu gui bu 錄鬼簿). This paper challenges the conventional reading of Jia’s songs as reliable sources of biographical information on individual playwright to whom those songs are dedicated. It argues instead that they, if read together as a whole, represent a catalogue of various personae Jia constructs for the social role …

戴震《尚書》學著述考論 : 兼論其學術史意義, Chengjie Zhao

嶺南學報 Lingnan Journal of Chinese Studies

戴震《尚書》學研究貫穿其學術的前後期。乾隆二十二年（1757）之前是其学术研究前期，主要著作有《尚書今文古文考》《經考》等。乾隆二十二年（1757）之後是其學術研究的後期，代表作爲《尚書義考》，其成書最早不過乾隆二十七年（1762）冬。《尚書今文古文考》簡明扼要地勾勒出漢代《尚書》今古文源流；《尚書義考》雖未成書，但其義例之謹嚴，當爲世人所重。戴震的學術研究遵循“以聲音求文字，由文字求訓詁，以訓詁求典章制度，由典章制度求義理”的學術路徑，並貫徹“以詞通道”的研經原則，垂範後世。

Dai Zhen’s studies on Shangshu (Book of Documents) lasted throughout his scholarship. His earlier works (before 1757, the 22nd year of Qianlong’s reign) include Shangshu jinwen guwen kao (On the Old Text and the New Text of the Book of Documents) and Jing kao (Examinations of the Classics). Shangshu yikao (Explanation of the Meanings of the Book of Documents) is the representative work of his later scholarship (after 1757, the 22nd year of Qianlong’s reign). He appeared to have written Shangshu yikao no earlier than the winter of 1762 (the 27th year of Qianlong’s reign). Shangshu jinwen guwen …

自有風味 : 淺談散曲雅俗有致的本質, Patricia Sieber, Xuezhao Li

嶺南學報 Lingnan Journal of Chinese Studies

本文提出一種新的散曲分類法，橫截面式地討論分析了散曲一方面是如何處理不同的語域，另一方面又是如何將現有的主題和媒介再語境化。具體地說，文章聚焦三類散曲：重點呈現日常生活片段的歌曲，爲朝廷節日慶典助興的歌曲，以及回顧中國歷史上包括文學史、宗教史上的模範人物的歌曲。本文表明：日常歌曲和朝廷主導的歌曲尊奉即時性美學，而某些雅俗有致的歌曲則更爲清晰地呈現出具有不同導向的超媒介特徵。

This article proposes a new typology of the sanqu corpus. The discussion analyzes a cross section of sanqu songs in terms of how they engaged with language registers, on the one hand, and how they recontextualized existing motifs and media, on the other. Specifically, the article focuses on three subsets of songs: songs that foreground everyday vignettes, songs that celebrate festive occasions at court, and songs that revisit the exemplars of Chinese literature, history, and religion. The article suggests that everyday songs and court-oriented songs prized the aesthetic of immediacy, while certain mixed-register songs more explicitly exhibited differently oriented …

《儀禮》所見暫時性任務 : 兼評胡匡衷《儀禮釋官》, Guoliang Ye

嶺南學報 Lingnan Journal of Chinese Studies

《儀禮》所見人物活動，或有其固定性、經常性職務，亦有僅具暫時性任務者。所謂暫時性任務，其身分非屬職官，其任務時間不長，當任務結束，身分隨即消失，故謂之暫時性任務。此類任務《儀禮》所見非少，本文選取十要項述之，以見其餘。藉此可知胡匡衷《儀禮釋官》一書，對職官之認定、稱謂與分類，處理未甚妥切，有待商討。蓋《儀禮》禮典常見公私交錯，且兼有固定性職守與暫時性任務，倘讀者有此認知，允為得體。

Formal officials seen in the Yi Li had their fixed and regular duties. By contrast, there were also employees who had "temporary tasks", which were not official positions. The duration of the temporary tasks was brief, and at the end of the tasks, the title which went with it also ended, so it was called temporary tasks. Yi Li makes regular mentions of the temporary tasks. This article selects ten points for discussion. Judging from the above, Hu Kuangzhong's Interpretation of Officials in Yi Li may not be entirely accurate. The title and classification of officials, and the details …

論《禮記．鄉飲酒義》坐位之義及其成篇之年代, Tzu-Pin Hsu

嶺南學報 Lingnan Journal of Chinese Studies

《儀禮·鄉飲酒禮》記述諸侯鄉大夫每三年在鄉學（庠序）舉行選舉賢能之禮，而《禮記·鄉飲酒義》則解說經文包含的“尊賢養老”之意及坐位背後的意蘊，二篇又構成事義相應的關係。《鄉飲酒義》以“象”說解賓、主、介、僎、三賓坐位的象徵意義。本文將記文放在《易傳》及《荀子》、《中庸》的思想脈絡中作考察，闡明與禮諸人的坐位之義，及其與天文、四時、仁義的對應關係，以及當中體現的將人道與天道融為一體的觀念。《鄉飲酒義》談及仁義、聖、禮、德等德目，以及仁氣、義氣說，實有自來，可與《孟子》及郭店楚簡《五行篇》等文獻聯繫起來。然則，《鄉飲酒義》既以儒為主，又摻雜了不少如陰陽五行思想，融各家於一體而翻出新貌。凡此，無不反映篇中展現的晚周以後儒者的特點，其成書年代自可據以推知。

The Meaning of the Community Wine-drinking Ceremony aims to make interpretations of the Community Wine-drinking Ceremony. According to the traditional account, The Meaning of the Community Wine-drinking Ceremony was written by Confucian scholars from the Chunqiu period through early the Han period and was subsequently edited by Dai Sheng 戴聖. However, some modern scholars claim that there are allegedly primitive and mysterious thoughts contained in the text, which suggests that it was composed much earlier. Through careful contextualization, this paper seeks to reveal the relationship between the philosophical implications of the seating plan of the community wine-drinking ceremony …

由“子”入經 : 從清華簡《繫年》重探《左傳》的源流與定位, Kam Siu Cheung

嶺南學報 Lingnan Journal of Chinese Studies

2008年7月，清華大學入藏一批戰國楚簡，其中有一篇文獻，整理者命名為《繫年》。《繫年》全篇共138支簡，分23章，共3875字。由於與傳世文獻，特別是《左傳》有不少可以互校互補的材料，《繫年》經整理後，在2011年以《清華大學藏戰國竹簡(貳)》整冊出版，即引起各界關注。十年以來，學者在文字釋讀、語料分析、史事考證、文獻比勘等方面取得了可觀的研究成果。在釐清文本細節與時代特徵後，《繫年》作為一種在年代與內容皆可以與《左傳》直接比擬的先秦史類文獻，對其文獻性質的釐訂，可以為探論《左傳》在漢魏經學化以前的源流與定位，提供一個嶄新而有效的參照角度。本文之撰，首先通過對讀《繫年》與《左傳》，從二者在敘述立場與撰作目的的差異，考訂《繫年》作為當時楚國貴族教本的文獻性質，並以此為基礎，從先秦王官之學到諸子之學的學術脈絡，重探《左傳》在歸入經部以前的學術源流與定位。

Xinian (String of Years) is the most notable excavated historical manuscript from the state of Chu. Since its publication by the renowned Tsinghua University (China) in 2008, most scholars have expended their efforts in character identification, linguistic analysis, historical reconstruction, and textual collation. The results are indeed impressive. After confirming the date of its composition and its content, a further step could be taken to compare it with the Zuozhuan, one of the fountainheads of Chinese historiography contemporaneous with Xinian. Such a comparison, this article argues, could help us understand the nature, the prehistory, and the early …

唐人稱引《周易》王、韓注側證 : 以《文選》李善注爲中心, Yongxin Gu

嶺南學報 Lingnan Journal of Chinese Studies

唐宋間《周易》文本經歷了最爲重要的一次遞嬗，即從寫本切換至刻本。本文以《文選》李善注所引《周易》王、韓注爲中心，參照約略同時的《後漢書》李賢注，以及稍晚出的官修類書《初學記》引文，同時參校宋刻《周易》經注本，以及敦煌唐寫本、陸德明《經典釋文·周易音義》、魏徵《群書治要》、李鼎祚《周易集解》、郭京《周易舉正》等唐代或唐前文本或異文資料，從而揭示唐人引文的特徵，並由此回溯唐代文本樣貌，進而探求唐宋《周易》文本遞嬗的規律性。唐人注解及類書引文大體上忠實於原文，基本上可以反映其所從出之底本的原始樣貌，雖然具有個性化和不穩定性的特徵，甚或經過一定程度的主觀改造。總體而言，唐宋《周易》文本具有穩定性和連續性，在從寫本時代進入刻本時代的遞嬗過程中大體保持統一，並未發生大的變易。

The text of The Book of Changes between the Tang and Song Dynasties experienced the most important evolution, that is, from manuscript to block-printed edition. This paper focuses on Wang and Han′s exegesis of The Book of Changes quoted by Li Shan′s anthology of Selected Works, and refers to Li Xian′ anthology of Post Han History and the official revision book Chuxueji, and collates the classical text & exegesis edition of The book of changes written in stone in the Song Dynasty, and Dunhuang manuscripts of the Tang, Lu Deming's Classic Interpretation, Wei Zheng's …

蜀石經所見《周禮．考工記》文本管窺, Wanli Yu

嶺南學報 Lingnan Journal of Chinese Studies

唐石經被稱爲是“古本之終，今本之祖”。蜀石經是否與唐石經同祖太和舊本，以及蜀石經對後唐長興本、宋景德本以下有何影響，都是經典文本流傳中不可忽視的環節。以蜀石經《周禮·考工記》殘拓爲對象，從文獻和文字兩方面考察，推知蜀石經與開成石經同祖兼有經注的太和舊本，唯開成石經僅取其經文而略加校勘，蜀石經則兼取經注，故蜀石經注文大致是太和舊本的面貌；長興本注文是在太和舊本基礎上廣收衆本再經校勘的文本，所以與蜀石經注文有不小的差異，張��《石經注文考異》是其見證。蜀石經注文中略可窺見唐代太和本以前的一些影子，但其校勘粗疏，留下不少譌誤。

The Stone Classics of the Tang Dynasty are regarded as an important document which follows the early version and is the basis of the later versions. The following problems cannot be ignored in the circulation of Confucian Classics: First, whether the Shu 蜀 Stone Classics and Tang 唐 Stone Classics are both formed on the basis of the Taihe 太和 version or not; Second, what is the impact of the Shu Stone Classics on the later Tang Changxing 長興 version, the Northern Song Jingde 景德 version and other later versions? Focusing on the incomplete rubbings of the Shu Stone …

元十行本注疏今存印本略說, Lijuan Zhang

嶺南學報 Lingnan Journal of Chinese Studies

元十行本注疏今存印本頗為豐富，除數部元刻明修《十三經注疏》匯印本外，主要以單經流傳，各本補版印刷時間不一，不同傳本之間多有差異。本文搜羅網絡發佈的元十行本注疏全文影像及已出版影印本、書志、圖錄等資料，以經為單位，列舉元十行本各經不同時期代表性印本，梳理其版面特徵與印次關係，以供讀者選擇利用，並為圖書館編目工作之參考。

There are many existing printed copies of the Yuan dynasty Ten-Line Edition of Confucian classics in the world. Only a few Ming dynasty Revision of the Yuan dynasty Ten-Line Edition of the "Shisanjingzhushu" were printed and distributed in sets, most printed copies were distributed individually. There are differences between the various printed copies depending on the date when they were printed. This article compares the different images and records of the Yuan dynasty Ten-Line Edition of Confucian Classics and lists representative printed copies of each Confucian Classic from different periods, discussing their version characteristics and the relationship between them. …

惠周惕《詩說》的成書歷程, Suching Chang

嶺南學報 Lingnan Journal of Chinese Studies

惠棟是清代經學典範轉向「漢學」的關鍵人物，而惠氏家學有著作傳世始於惠周惕之《詩說》。這篇論文考察京都大學藏書《研溪先生詩說》寫本，從寫本的流傳談起，進而比較這部寫本和傳世通行本的差異。《詩說》從不分卷到分為兩卷，最後定三卷，定稿成書的關鍵期大約在康熙十六年至二十二年間。從初稿本到三卷本，增加了許多條目，而《國風》增加的條目尤其多，或潤飾文字，或增補文獻資料，或加強議論，而撰述旨意在初稿時已大致確定。惠周惕的文學與學術受汪琬影響，強調文章應根柢於經，無論鄭玄或朱熹，漢儒或宋儒，率皆博徵而考證之。《詩說》解經無所專主，且多以己意發明經義，實以通儒自期，尚未專宗「漢學」。

Hui Dong was the key figure in the Qing Dynasty study of the Classics. And the writings of Hui's family began with Hui Zhouti's Shi Shuo（詩說）. This paper examines the manuscript of Yanjixiansheng Shi Shuo（研溪先生詩說） in the Kyoto University Library book collection, starting with the circulation of the manuscript, and then comparing the differences between this manuscript and the popular version. The single volume of Hui Zhouti's Shi Shuo was first divided into two volumes, and finally three volumes. The key period for finalizing the book was about the sixteenth to twenty-second years of the Kangxi reign. …

精微之教 : 陳淳學術與《四書大全》徵引內容考察, Feng-Yuan Chen

嶺南學報 Lingnan Journal of Chinese Studies

陳淳，字安卿，號北溪，朱熹紹熙元年（1190）任漳州知府，陳淳入於門下，朱熹先指點“根原”，後又提醒“下學”，傳授達於性天的日用之學，道德既是日常中驗之有得的結果，也是於義理當中詳審分判得來，以道與學為核心，道以顯學，學以入道，從而體現學術完整架構。朱熹與陸象山鵝湖之辯，朱熹採取含容兼取立場，陳淳則勇於與辯，同樣言“心”，陳淳依從朱學思考，“心”之所在，由根原而達於下學，理氣一貫。四書作為朱學要籍乃是朱門共識，然而陳淳以《近思錄》作為四書楷梯，乃是重申朱熹學術承濂洛之淵源而達於洙泗之正學，四書意義於茲而顯，盡其精微之思，成為《四書大全》援以印證朱學地位材料，轉為彰顯朱注價值、深化工夫內涵，擴大性命之教的詮釋內容，對於朱學地位確立，饒有推進作用。

Chen Chun, named Anqing, also known as Beixi, served as the prefect of Zhangzhou in the first year of Shaoxi (1190) and became a disciple of Zhu Xi. In the study of knowledge, morality is not only the result of daily experience, but also the result of detailed judgment and the study of right or wrong. With the “Tao” and learning as the centre of fucus, The “Tao” invovles learning, and learning leads to the “Tao”, So they complement each other. In the Ehu debate between Zhu Xi and Lu Xiangshan, Zhu Xi based himself on a number of …

從文化學視角探討《爾雅．釋天》, Yazhou Chuang

嶺南學報 Lingnan Journal of Chinese Studies

《爾雅》不僅是十三經之一，也是訓詁學鼻祖，文化百科全書的雛型。研究之道多端，文化學的探討是現當代較為新穎的一個議題。本論文秉承文化意識，以文化統整的方法，析論〈釋天〉一篇的文化內涵與文化意義。首節簡介《爾雅‧釋天》、文化學並檢討研究成果。次節分天文、曆法、氣候、災祥、禮儀五項，以科技文化、社會文化及地下出土文獻重新詮釋〈釋天〉內涵。第三節分天文曆法一體的宇宙觀、風調雨順的氣候觀、虛實並存的社會觀、天人合一的政教觀四項，闡發古人的思維模式，及其在現當代的意義。最後為結論。希望此一研究，能賦古典以新貌，為〈釋天〉的探討開一新局。

Erya is not only one of the Thirteen Classics, but also the originator of exegesis and the prototype of a cultural encyclopedia. There are many ways of research, and the discussion of cultural studies is a relatively new topic in modern and contemporary times. This thesis upholds the cultural awareness and uses the method of cultural integration to analyze the cultural connotation and cultural significance of "Shitian". The first section introduces Erya·Shutian, and cultural studies and reviews the research results. The second section is divided into five items: astronomy, calendar, climate, disaster and auspiciousness, and etiquette. The third section …

論《周禮》“以為民極”開展的民本思想, Suying Lin

嶺南學報 Lingnan Journal of Chinese Studies

從《尚書》已可見禹繼承堯、舜以來傳賢的概念，提出“民惟邦本，本固邦寧”的政治概念，正式開啟民本思想之先聲，也成為後代施政規劃所取法的核心。《周禮》即借用《尚書‧洪範》“建用皇極”的概念，在“惟王建國，辨方正位，體國經野，設官分職，以為民極”的全書宗旨中，將“以為民極”的民本概念視為施政者努力開創全民福祉的核心。由於以民為本的思想，主要藉由養民、教民、治民三大方面體現之，因而本文再分別從此三大方面體現其所開展的民本思想。最後，總結《周禮》以發展民生經濟奠定王朝的根基，再以德禮之教締造講求道德的社會團體，並以“五刑”輔助治理邦國，共同促成理想社會的達成。

Chinese people-oriented thought originated with the abdication stories of Yao (堯), Shun (舜) and Yu (禹). The political concept that “people are the basis of the state and the state will be tranquil if the basis is firm” in Shangshu (尚書, The Book of Ancient Documents), evolved into the central policy of s government of ancient China.

Taking the concept of Jianyonghuangji (建用皇極) from Hongfan (洪範) in The Book of Ancient Documents, Zhouli developed the idea of Yiweiminji which meant that the rulers should devote themselves to the welfare of all people.

This paper will shed light …

《十三經注疏》的匯集、校刻與整理, E Wang

嶺南學報 Lingnan Journal of Chinese Studies

《十三經注疏》是儒家核心文獻。南宋初期，越州先刻八行注疏合刻本，後福建建陽刻“附釋音注疏本”，即宋十行本。元泰定間，翻刻宋十行本爲元十行本，遞經修補，形成元刻明修十行本《十三經注疏》，或稱十行本、正德本。元刻明修十行本板片壞缺，明嘉靖間，李元陽據以刻閩本，這是第一部名實相副的《十三經注疏》，監本、毛本、殿本、《四庫》本翻刻抄寫，校正是非，限於條件，仍有缺陷。清嘉慶間，阮元據元刻明修十行本，彙校眾本，補脫正訛，撰寫校記，於南昌府學刊刻阮刻本《十三經注疏》，兩百多年，風靡學界。近二十多年，《十三經注疏》數次整理，不無遺憾，方向東教授點校本以阮刻本爲底本，參校眾本，甚便閱讀。然欲整理出超越或代替阮刻本的《十三經注疏》，學界同仁，尚需努力！

Shi San Jing Zhushu is one of the core classics of Confucianism. In the early Southern Song Dynasty, the Ba Hang Ben version was first carved in Yuezhou, then the Fu Shiyin Zhushu Ben version was carved in Jianyang, Fujian province, under the name Song Shi Hang Ben. During the Tai Ding Period of the Yuan Dynasty, the Yuan Shi Hang Ben version was carved as a reprinted edition of the Song Shi Hang Ben. Because Yuan Shi Hang Ben was repaired during the Zhengde Period of the Ming Dynasty, it was also called Shi Hang Ben or Zheng …

Poetic Theory And Practice In The Ming And Qing Dynasties : Poetry : The Pain Of Loss And The Pleasures Of Everyday Life, Grace Fong

How to Read Chinese Poetry Podcast

In this final episode, we will first listen to the “Song of Suffering Calamity” by the woman poet and scholar Wang Duanshu (1621-ca. 1680), narrating her flight from the invading Qing army during the Ming-Qing transition. We will conclude with two examples by women among the many poems in the Ming and Qing that record quotidian pleasures and reflections on daily life. Whether pain and loss or pleasure and joy, men and women in late imperial China inscribed their emotions and thoughts in poetry.

Poetic Theory And Practice In The Ming And Qing Dynasties : Poetry As Autobiography, Grace Fong

How to Read Chinese Poetry Podcast

An outstanding development in this period is the practice of writing poetry as autobiography, as the record of a life story. We will discuss the life-long collection of over 1000 poems by an eighteenth-century woman poet to illustrate her poetic self-construction.

Poetic Theory And Practice In The Ming And Qing Dynasties : Poetic Theory And Practice In The Ming And Qing, Grace Fong

How to Read Chinese Poetry Podcast

The Ming, and especially the Qing, witnessed the unprecedented spread of writing poetry among literate men and women in the history of imperial China. This episode introduces the influential theories of poets, such as Yuan Mei’s “native sensibility” (xingling), which promoted naturalness and personal expression over formal learning and ethical concerns, thus encouraging the common practice of poetry.

Song Poems (Sanqu) Of The Yuan Dynasty : Poetry Of Rambunctious Wit And Impudent Humor, Xinda Lian

How to Read Chinese Poetry Podcast

The carefree playfulness presented in Wang Heqing’s poem “On the Big Butterfly” tells us much about the cultural milieu of the time when the sanqu flourished, and reminds us of the genre’s origins in streets, marketplaces, and entertainment quarters.

Song Poems (Sanqu) Of The Yuan Dynasty : The Art Of Tongue-In-Cheek : Two Love Songs By Two Great Dramatists, Xinda Lian

How to Read Chinese Poetry Podcast

The two love songs—authored by Guan Hanqing and Bai Pu respectively—present humorous dramatic moments in a lively language of everyday speech.

Song Poems (Sanqu) Of The Yuan Dynasty : The Power Of Poetic Imagery, Xinda Lian

How to Read Chinese Poetry Podcast

Using a cluster of carefully chosen images, Ma Zhiyuan’s “Autumn Thoughts” invites readers to identify themselves with a weary traveler, a “heartbroken man at the end of the earth.”

Long Song Lyrics (Manci) Of The Song Dynasty : Li Qingzhao : Singing Her Autumn Sorrow, Xinda Lian

How to Read Chinese Poetry Podcast

A master of tune and sense, Li Qingzhao knows how to bring out her almost unspeakable inner feeling through her skillful employment of the ci form, the music of words.

Long Song Lyrics (Manci) Of The Song Dynasty : Su Shi : Meditation On The Past, Xinda Lian

How to Read Chinese Poetry Podcast

Su Shi does not only expand the subject matter of the ci poetry, but also gives his song lyrics a genuine personal voice, an unambiguous autobiographical tone as that found in the shi poetry.

Long Song Lyrics (Manci) Of The Song Dynasty : Liu Yong’S Use Of Leading Words (Lingzi), Xinda Lian

How to Read Chinese Poetry Podcast

Thanks to his innovative use of leading words (lingzi), Liu Yong creates a multilayered structure for his poetic description and narration, which allows him to explore time and space, to involve things both far and near, to relate the parts to the whole, and to weave what is outside with what is inside.