East Asian Languages and Societies Commons^™

同志文學的翻譯、再版與重譯 : 一個叙事建構的視角, Bo Li

嶺南學報 Lingnan Journal of Chinese Studies

同性戀一直以來都是敏感話題，甚至是社會禁忌；同志文學的境遇亦然。雖然近年西方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。同志文學的書寫和翻譯始終是在文化與意識形態纷繁衛突的語境下進行。本文探討同志文學的奠基之作的中文翻譯。英國作家E•M•福斯特 (E.M.Forster) 於1913年寫下的頗具自傳色彩的同名小説，按照作者意願直到1971年作者去世之後纔正式出版。原作中的很多同性戀互文性符號在建構作品主題上發揮了重要作用，而中文翻譯中，譯者通過腳注等方法，重新建構了主題的呈現。另外，出版商通過譯者的“譯後記”和其它副文本，對小説的同性戀主題進行了重新建構。通過分析Maurice的中譯，我們考察於21世紀初，當譯入文化對同性戀接受程度提高，小説原文中的互文性符號如何於譯文中得到“同志主題強化” (gayed translation) 的處理。同時，因應讀者和其他社會因素影響，當Maurice的中譯文再版時，譯者同出版商如何對譯作進行重新建構以做出回應。

This paper aims to study the Chinese translation of Maurice. Homosexuality has been a sensitive topic, a taboo in many social contexts. Translation Studies in the West witnesses increasing academic attention in the translation of gay literature in the past two decades, while it has remained largely neglected in the Chinese context. The writing and translation of gay literature has always been closely associated with conflicts, culturally and ideologically. Maurice, by British novelist E. M. Forster, is considered as the founding work for contemporary gay literature. Though it was finished in 1913, it had …

“詩言志”之本義謭論 : 讀朱自清先生《詩言志辨》札記, Fengyi Zhang

嶺南學報 Lingnan Journal of Chinese Studies

朱自清先生《詩言志辨》，認為“詩言志”之基本内涵是言説思想意志用以教化，强調其思想旨趣在於政教。這個學術影響巨大的認知，其實是對漢代詩學思想的整理和提煉,與“詩言志”之本義不完全相符。本文從先秦“詩言志”之實踐和闡説、詩人自道“詩言志”之内涵以及“詩言志”訓詁三個方面，重新梳理“詩言志”之本義，以為其不僅包含“表達思想意志”之義，也包含“抒發情感”和“紀事論理”之義。

In Shiyanzhibian, Zhu Ziqing believes that the essence of shiyanzhi is that the purpose of expressing thoughts and ideas is to emphasize the significance of official propaganda. This conviction, which has major academic influence, is actually an induction of the overall poetic thoughts of Han Dynasty, rather than aiming at the essence of shiyanzhi. This essay holds this argument from three aspects: the practice and interpretation of shiyanzhi of pre-Qin period, the illustrations of shiyanzhi of poets themselves, and exegetical studies (xungu) of shiyanzhi. In doing so, this essay reevaluates the very essence of shiyanzhi, and proposes that shiyanzhi …

李兆洛對駢文的重構, Shuangwei Lu

嶺南學報 Lingnan Journal of Chinese Studies

雖然駢文之實到漢魏已備，但“駢文”之名直到清代纔出現。在嘉道以來駢散不分的文章思潮下，李兆洛通過理論批評及創作駢散合一的文章等，實現了對“駢體文”指向的重構，從而推動了清代駢文創作與理論的新變。他理論上輕視“齊梁體”，推崇“漢魏體”，以此推尊駢文；又在選本上將秦漢具有排偶色彩的文章收入駢體文選本，事實上擴大了駢體文的容量，建構了駢散不分的“漢魏體”駢文。這種駢文追求風骨遒勁，文質相符；多用四言單句，罕用四六隔對；語言清麗，隸事渾融，不重聲律等。這是晚清最受推崇的駢文體式，從而又實現了對清初工整的四六駢體的解構。理解李兆洛對駢文重構的過程和影響，對今天的駢文研究具有重要價值。

Although the format of parallel prose was already established in Han and Wei Dynasties, the official term did not appear until Qing Dynasty. Since the trend of combining parallel prose and prose essay during the reigns of Emperor Jiaqin and Emperor Daoguang, Li Zhaoluo reconstructed the meaning of parallel prose through theoretical criticism and creative writing, and in doing so, innovated both the theory and the writing of parallel prose, In terms of theory, he criticized the parallel prose of Qi-Liang Style and praised the Han-Wei Style. He further added writings with parallel style from Qin and Han dynasties …

長慶體、梅村體與“本事詩” : 略論中國詩體的叙事形態, Yinpeng Zhang

嶺南學報 Lingnan Journal of Chinese Studies

本文以中國詩學中的“赋”、“本事”、“記事”等概念為據，區分了唐人新樂府“諷諫”之旨與元白長慶體“叙事”之旨的不同；又據徐銑《本事詩》，析出長慶體在明代的餘波，以及清初“梅村體”的成功。此體並貫穿於清中葉，直至民初，成為吾國叙事詩的主型。

Based on the concepts of fa, benshi and jishi in Chinese poetry, this paper distinguishes the difference between the purpose of irony of Tang Dynasty’s xin yuefu and the narratives of changqing style by Yuan Zhen and Bai Juyi. This paper will further analyze the aftermath of the poetic style of changqing in the Ming Dynasty and the success of the poetic style of meicun in early Qing Dynasty according to Xu Qiu’s benshishi. This poetic style was practiced through the middle of the Qing Dynasty until the early years of the Republic of China, becoming the major style …

“學詞”與“詞學” : 晚清民國的詞法論述與詞學演進, Zongjie Gong

嶺南學報 Lingnan Journal of Chinese Studies

伴随著晚清民國之際詞學體系建構的初步展開，研討學詞、總結作詞法也成為此時期詞學研究的焦點。從20世紀最初二十年指導“學詞”論著的不斷湧現，到三四十年代龍榆生、詹安泰對“詞學”與“學詞”的界分，這兩種對詞學不同層面的理解，恰好呈現出詞學在近現代轉型中實現其自身内部結構調整的路徑。有關“詞法”的討論從因襲前人發展為自我創獲，與此同時，詞學研究從以創作為主要導向，演變為創作和研究二分的態勢。對此稍作梳理，可以讓我們在文學創作與文學研究二者的互動關係上，更好地去把握晚清民國的詞體觀發展與詞學演進的軌跡。

As the system of ci theory in Late Qing Dynasty and the Republic of China developed, discussions on methods for ci writing became the focus of relevant studies in that period with a great many publicaitons on how to conduct ci writing. In the 1930s and 1940s, Long Yusheng and Zhan Antai discussed the differences between learning and studying ci and ci theories. The intertwined process of these two streams reveals the evolution and the modernization of ci studies. Clarifying the relationship of these two, will help us better understand the trajectory of the development of ci theories in …

論叙事與抒情的邊界, Longsun Rao

嶺南學報 Lingnan Journal of Chinese Studies

通觀中國古代各體文學發展演進的種種情形可知，叙事與抒情經由共生、分化、消長、互渗的歷程，兩者邊界是流動變化的，非一次劃定而截然清晰。從原始宗教到《詩》演述時期，叙事與抒情本來是一體共生的；春秋戰國以至兩漢時期，《詩》的赋與比興分開，赋的手法與赋的體式分開，赋體文學與他體文學分開，叙事與抒情分化，其邊界日益清晰；魏晉以後以詩歌為代表的抒情文類、以説部為代表的叙事文類分途發展，其抒情、叙事所占份额此消彼長，兩者邊界主要表徵在文體分類上；及至明清時期，兩者有時含混，叙事與抒情諸要素在此消彼長的同時，竟在某些特定的文類中出現互渗現象。是知，叙事與抒情並非静止而截然二分，兩者邊界一直處於流動變化之中。

From a comprehensive perspective of the development and evolution of Chinese literature, we can see that narration and lyricism have gone through the course of commensalism, divisions, growth and decline, and mutual permeation. The boundary between narration and lyricism is constantly fluxing and changing, without a clear-cut definition. From primitive religions to performative writings such as The Book of Songs, narration and lyricism were originally co-existing. During the Spring and Autumn Period, the Warring States Period and the Han Dynasty, the narration in The Book of Songs began to separate from analogies and symbols. To be more precise, narration …

獨抒性情與文本互涉的辯證 : 袁宏道的詩論與詩歌, Jen-Nien Chai

嶺南學報 Lingnan Journal of Chinese Studies

文學作為文化的一環，其在當世的傳播或者後世的流傳勢必要依賴口語或文字。語文作為一種符徵，是傳播者的工具，但文學作品是作家個性與心靈的表現，因此表現作品的文字自然講求獨特性，纔能突顯作家之一空依傍，露才呈性；其次，文學中各種文類也有其傳统，作家不可能自外於文學傳统，作家作品必須放在文學傳统中纔能評估其作品的價值與個人才性。這就為作家帶來一個兩難處境，一方面作家要獨抒性情，一方面又要兼顧繼承傳统，如何可能？明代公安派詩人袁宏道可能是這種現象中最值的探討的詩人之一，他生在明代前後七子的擬古與復古的文學風氣之後，不滿於前七子李夢陽、何景明等與後七子李攀龍、王世貞等“文必秦漢，詩必盛唐”之詩文理論，於是提出“獨抒性情”之説。問題是前後七子主張“文必秦漢，詩必盛唐”，漢唐詩文確實是傳统中的經典，袁宏道真的能一空依傍，字字從心中湧出，篇篇都是獨創嗎？這是本文所欲探究的主題。

Literature is not only a matter of personal creation but also a matter of tradition and heritage. This essay intends to explore the relationship between creation and tradition, especially in the case of Yuan Huang-tao, a man of letter in Ming dynasty. Yuan was born after the prime time of the imitation and restoration of the ancient style when poems were only the reflection of those written by the masters of Han and Tang dynasties. The so-called imitation school was composed of a group of poets such as Li Meng-yang, Ho Ching-ming, Li Pan-lung, and Wang Shih-chen. Yuan was …

《史記》忌諱叙事與《春秋》書法 : 以征伐匈奴之相關人事為例, Kao-Ping Chang

嶺南學報 Lingnan Journal of Chinese Studies

忌諱叙事，緣於“切當世之文而罔褒”,有所刺譏褒諱挹損之文辭，不可以書見”，故推見至隱，筆削見義，寓微辭以譏諷之。忌諱叙事之焦點，在關注如何為尊者諱恥、為長者諱過。司馬遷《史記》叙武帝征討匈奴事，本文選取相關史傳四篇：《李將軍列傳》，叙討伐匈奴之功過，太史公詭辭謬稱，刺譏褒諱有功不賞。《衛將軍驃騎列傳》，叙衛青、霍去病征討匈奴，所獲不如所亡；衛、霍將略，太史公所不取。言外褒贬，實與而文不與。《匈奴列傳》，不敢斥言武帝窮兵黷武，乃托辭擇任將相。《平準書》，直書為邊費耗財而興利平準，因平準而滋長鬻爵酷吏。聚斂攘奪不可以書見，故或筆或削以見義。司馬遷擅長“於叙事中寓論斷”，以屬辭比事為脈絡，體現或書或不書之筆削去取。主體論文分為三部分：一，《史記》叙征伐興利與《春秋》筆削：（一）《春秋》書法與《史記》之筆削見義。（二）征戰興利，或書或不書，筆削以見義。二，征戰匈奴與《史記》之《春秋》書法、忌諱叙事：（一）《平準書》據事直書，寓論斷於叙事之中。(二）《李將軍列傳》於叙事中即見其指。（三）比事屬辭與《匈奴列傳》之忌諱叙事。三，征伐匈奴與《史記》之曲筆諱書、詭辭謬稱：（一）曲筆諱書，微婉顯晦，推見以至隱。（二）詭辭謬稱，實與而文不與。

Why is there such a thing as taboo narrative? Because according to The Analects, Confucius wrote Chun Qiu in accordance with the incidents of the time when sarcasm, praises, and criticism were taboos and cannot be written, therefore authors appropriated writing skills and hidden words to satirize. The main point of taboo narrative is to show how the authority taboos shame or mistakes of the elders. Sima Qian wrote four essays on the war between Emperor Wu of Han and Xiongnu in Shi Ji, which I will discuss in this paper. Among these four, Biography of General Lee describes …

從叙事角度看抒情傳統説, Xiuyan Fu

嶺南學報 Lingnan Journal of Chinese Studies

廣義的叙事覆蓋抒情，狭義的叙事與抒情並列，目前已有將抒情問題納入叙事學理論體系的努力。在叙事傳统之外提出抒情傳统，在西方或許没有多大必要，在中國則有助於穿透史官文化的影響，從詩學而非史學的角度去尋找文學傳统的真正源頭。叙事學不應是“無情”之學，叙事傳统研究也不應忽視自身文脈的個性，注意聆聽抒情與叙事兩大傳统的“交響共鳴”，或可避免從單一角度看問題的片面。

Narrative covers lyricism in the broad sense, while it is juxtaposed with lyricism in the narrow sense. In today’s scholarship, the efforts have been made to integrate issues related to lyricism into the theoretical system of narratology. It may not be necessary to put forward lyrical tradition beyond narrative tradition in the west, but in China it is important to pervade the culture of historiography and seek the real source of literary tradition from the poetic perspective. Narratology should not be a “heartless” science, and the study of narrative tradition should not ignore the distinguished features of its own …

《毛詩草木鳥獸蟲魚疏》中的物觀, Jianguo Cao, Zijun Yi

嶺南學報 Lingnan Journal of Chinese Studies

三國吴陸璣所作《毛詩草木鳥獸蟲魚疏》以博物學這一新視角、新方式對《毛詩》進行注解。作為博物學著作，它詳細記述了一百餘种動植物的生物屬性及實際功用，充分展現了漢魏時人將其運用到飲食、醫療、生產、娱樂、宗教與方術等諸多方面的豐富形式，是今人了解漢魏時期風物與風貌的重要參考内容;作為經學訓詁著作，它開創了《毛詩》風物研究這一專門之學，對後世《詩經》的多樣性專門研究影響深遠。它的出現反映了魏晉時期人們精神自由開放，突破兩漢以來重政治倫理意義與比附習氣的傳统思維，另闢蹊徑的《詩經》研究新風向。

Lu Ji, an intellectual from the three Kingdoms era, provided a new perspective for natural history in his maoshi caomu niaoshou chongyu shu (Meanings of Plants Birds, Beasts, Insects and Fish in Mao Shi) for maoshi (or shijing, the Book of Poetry). As a work of natural history, this book describes in detail the biological properties and practical functions of more than 100 species of plants and animals while fully showing the rich forms of food, medicine, production, entertainment, religion and fangshu used by people in the Han-Wei era, making it an important reference for understanding the scenery and …

叙事與抒情 : 《紅樓夢》詩學中的風格論, Li-Chuan Ou

嶺南學報 Lingnan Journal of Chinese Studies

《紅樓夢》乃説部第一之傑作，叙事宏大複雜而精妙入微，卻又是抒情傳统的絶佳繼承者，詩歌作為文人最主要的抒情載體,在其中發揮了説部前所未有的功能，包括其他小説所無的“起結構作用”，而有機地參與了叙事範疇，與人物塑造相互作用，堪稱叙事與抒情的絶妙匯融，更使之成為紅學的重要議題。於緊密結合叙事與抒情的《紅樓夢》中，曹雪芹幾近全面地提供了完整的詩學呈現，也包括了風格論述。透過中西風格學的視角，本文一方面從形式因的幾個方面入手，分析作品的詞藻、句子結構和句法、韻律的格式等現象；另一方面則從動力因的範疇，分析作品中所展現某種獨特的世界觀，亦即“人與世界的某種活生生的關係”，一種對社會生活世界的觀照或對生命存在的感知。據此可以進一步足成《紅樓夢》的完整詩學體系，並使《紅樓夢》的抒情性更形朗現。

Being a great masterpiece of classical novel, The Dream of the Red Chamber is celebrated in its grand, complex and finely-characterizing narrative. At the same time, the work also inherits and incorporates a great Chinese lyrical tradition. In the novel, poems (the main vehicle to express and communicate feelings for Chinese literati) play an unprecedented “structural role” and are organically incorporated in the narrative. The wonderful blend of narrative and lyrics is an important topic in Hongxue (The critics of The Dream of the Red Chamber). In The Dream of the Red Chamber, which closely combines narrative and poetic …

論馮秋雪在澳門詞學上之貢獻, Chon-Chit Tang

嶺南學報 Lingnan Journal of Chinese Studies

民國年間，澳門“雪社”包括“雪堂”詩社的馮秋雪，不僅創作了大量的詩詞作品，還在詞學的推廣和研究方面卓有建樹。秋雪在《詩聲一雪堂月刊》上編撰“莽蒼室詞譜”、“冰簃詞話”，又請人為宋詞製作西式樂譜。此外，他編著有《宋詞绪》一書，除選詞編集外，在詞譜考訂、詞的批評上亦多有己見。馮秋雪的詞學上承嶺南詞家陳洵，進而接通清代常州詞派的脈絡。對於秋雪詞學的探討不僅可以填補澳門民國詞學研究中的一個重要的空白，而且可為澳門與嶺南以至整個清代至民國詞學關係的尋繹，提供一個較有學術價值的例證。

During the Republican era, Feng Qiuxue of Macao Xue She (snow poetry society, which include Xue Tang, snow poetry institute) not only created large number of poems and ci, but also made outstanding achievement in promoting and researching cf studies. Qiuxue compiled “Mang Cang Shi Ci Pu” and “Bing Yi Ci Hua” in Voice Of Poetry--Xue Tang Monfhy and composed ci in Western style. Furthermore, he compiled Song Ci Xu (preface to ci of Song Dynasty), with unique views on the textual study of cipu and ci criticism. Feng Qiuxue’s ci study links the Lingnan ci writer Chen Xun …

杜亞泉的啟蒙理性與生態意識 : 兼及生態時代的東西方文化交流, Shuyuan Lu

嶺南學報 Lingnan Journal of Chinese Studies

杜亞泉是中國近現代思想史上一位被長期塵封的學者，他不但是一位普及科學、呼籲民主、開發民智、變革社會的“百科全書”式的啟蒙者，同時又是一位尊重自然生命、宣導身心和諧、統整傳统與現代、致力平衡接續發展的卓越思想家。在激進主義潮流的遮蔽下，杜亞泉長期以來被國人遺忘，直到上世紀末纔被“發掘出土”，並受到學界重視。本文試圖立足於啟蒙理性的複雜性、啟蒙人格的多面性，並在與西方啟蒙思想家比較研究的基礎上，悉心探究被衆多論者忽視的杜亞泉啟蒙理性中的生態意識，進而追溯全球生態災難的起因與衍變，探索生態時代東西方文化交流的新維度、新走向，為地球人類樹立生態型世界觀、走出生態困境、創建生態文明提供一點參考意見。

Du Yaquan was a scholar in the history of modem Chinese thought, who has long been neglected and not been rediscovered until recently. He was not only an encyclopedic enlightenment thinker who called for democracy, the development of people’s intelligence, and societal change, but was also an outstanding thinker who respected natural life, advocated for physical and mental harmony, integrated tradition and modernity, and was devoted to balanced and sustainable development. Overshadowed by radical trends, Du has long been forgotten by the Chinese people and was not discovered until the end of the last century. History has proved that …

商盤手批《杜工部集》考辨, Shao-Huang Zeng

嶺南學報 Lingnan Journal of Chinese Studies

商盤作為清代著名文學家，有手批《杜工部集》一種，見藏於湖北省圖書館。商盤手批杜詩以朱筆小楷細書，通本滿批，被視為該館重要的珍稀善本之一，向不為學界所瞭解。商盤手批杜詩的内容多係選録清初學者黃生《杜詩説》一書。商盤在選録過程中刻意做了相關“技術性”處理：或删内容以泯其痕跡，或添枝葉以增其繁雜,或拆批語以亂其整體，或移位置以混其視綫，從内容到形式進行改頭换面，頗具迷惑性。商盤手批《杜工部集》保存了黃生《杜詩説》的大部分評點内容，為整理黃生《杜詩説》提供了可資參考的校勘材料；商盤手批杜詩對黃生《杜詩説》的選擇性抄録從一個侧面體現了清初杜詩學的研究風尚，也反映出清代杜詩手批文獻辨偽的艱巨性和複雜性。

In the Qing Dynasty, Shang Pan manually annotated Tu Fu’s Poetry Anthology (杜工部集), which is now stored at Hubei Provincial Library, where it is regarded as one of the most important rare books. However, academia has thus far not paid enough attention to Shang Pan’s annotations. In the process of selecting from Tu fu’s anthology, Shang Pan deliberately made relevant technical changes, including deleting content or adding details to increase the complexity of the anthology. Shang Pan’s changes to the anthology encompass both content and form, which could be confusing for the readers. In fact, Shang Pan’s annotations and …

王鏊及其《震澤先生集》研究, Yick Tan Ching

Lingnan Theses and Dissertations (MPhil & PhD)

王鏊（1450-1524），字濟之，南直隸蘇州府吳縣人，明代成化、弘治、正德三朝名臣及文學家。正德初，宦官劉瑾擅權，王鏊持節周旋，不得已去位，退隱林泉。其古文典雅，以制義名家，因道德文章兼而有之，為世推重。本論文以王鏊及其《震澤先生集》為研究對象，論文計有以下數端：（一）考察王鏊生平、交遊、著述，辨明其於吳中文人中之地位。（二）考察《震澤先生集》成書、刊刻之過程及版本源流，並嘗試復原該書部分殘缺之篇章。（三）自明清以降編纂之總集、別集、方志、譜牒、手稿中輯錄王鏊本集未收入之詩文，彙為一編，以備研究者取用之資。（四）考辨輯佚過程中所見署名王鏊所撰篇章之真偽。（五）根據所輯本集以外新見材料，補正今人所編王鏊年譜之訛漏。

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 (MPhil & PhD)

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 (MPhil & PhD)

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。

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 …

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 …

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 …

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 …

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。

英語詞與香港粵語詞的語法融合現象, Chi Lam Cheung

Dissertations from all years

自上世紀末起，不少學者已展開針對漢語與外文字詞混雜使用的研究，並稱此類進入漢語語法體制的詞彙為「字母詞」；當《現代漢語詞典》正式把「西文字母開頭的詞語」收錄入冊後，此課題得到更多人關注。對於「字母詞」的界定，雖然至今仍未有絕對一統的定義，但基本共識都是要求該詞彙擁有一些特殊的表徵，例如緊縮、與固定漢字組合、難以對譯等，而不會把日常語碼混合 (code mixing) 中借用到的英語詞都歸為同一類。然而，港式粵語中卻有一些特別的英語詞彙，它們保留著原來英語的發音和書寫方式，卻不再遵從原先的語法功能和意義，僅僅被香港的粵語使用者所能理解及廣泛普遍地應用。

本文挑選了「friend」、「OK」、「short」這三個經常被本地人使用的英語詞作分析。研究它們在粵語句子中充當的功能並且探討它們與其粵語對應詞的關係，在語法層面上歸納一套能夠解釋這類英語詞借入粵語的規律和機制。