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Ethical Transformations In Yan's 陆犯焉识 (The Criminal Lu Yanshi), Weihong Zhu

CLCWeb: Comparative Literature and Culture

In her article "Ethical Transformations in Yan's陆犯焉识 (The Criminal Lu Yanshi)" Weihong Zhu uses ethical literary criticism to explain the reason for the change in attitude which the novel's hero undergoes. Zhu argues that in Geling Yan's novel the turning point lies in the protagonist's realization of his inner "animal" factor. Subjected to severe tests by the extreme circumstances in a northwest prison in China, this realization helps him transform from a proud man to a humble human being, so that he learns to love his family. Although set in a grand historical background of important political events, Yan's …

"鑄造全國青年之思想" : 歐游前後梁啓超講學路徑的變動, Xiaohong Xia

嶺南學報 Lingnan Journal of Chinese Studies

梁啓超一生以1917年底爲界，大致可分爲從政與講學兩個時期。前期致力於政治活動，卻也不時興起“社會教育”之思，以報刊文字爲啓蒙利器，梁氏更關注的是國民常識教育。至1917年，其擬想中的教育對象已逐漸從中年人轉嚮青年學生，預示了日後施教場域由社會到學校的遷移。梁希望借助巡迴講演，發明“學問研究法”與“人格修養”。後者在1918年“專爲青年修養而設”、分刊南北三家大報的“講壇”系列文章中，得到明確呈現。而其背後的深切關懷仍是社會政治改良。1920年歐游歸來後，梁啓超的講學路徑發生顯著變化，以“文獻的學問”與“德性的學問”并舉，分别倚重西方科學方法和儒家人生哲學。梁啓超認定，經由西方研究方法整理和闡發的中國固有文化，足可融入世界最新思潮，不僅能够拯救西方的精神危機，也實爲“培養新人才”的“新文化”之有機部分。

論清人三家《詩》分類理論中的"師承法" : 以劉向及《説苑》爲例, Kam Siu Cheung

嶺南學報 Lingnan Journal of Chinese Studies

本文以劉向及《説苑》爲例，指出清人誇大師法、家法的作用，并以此作爲通則，凡認定某人治某《詩》，其著作所見《詩》文、《詩》説就歸入某《詩》，推而及之，祖輩治某《詩》，其子孫必定代代相傳。清人把這個認識用在三家《詩》分類上，使三家《詩》佚文遺説大量增加，且家數判然。然而清人强調師法、家法的同時，忘記了漢儒治學也有其别出心裁、博學多聞的特色，因此在判斷家數的時候往往有牽强附會的地方。我們今天重新檢視三家《詩》材料，當詳考其治學歷程，以其《詩》説比對同屬某家《詩》學者之《詩》説，辨明異同，始下判斷。即使二人同治某家《詩》，其引《詩》、説《詩》的文字亦容或有異，不必如清人般强求一致。本文同時提出今後完善三家《詩》分類方法時，應當注意古籍重文互見的現象，同時要善用新出土的以及緯書的材料。

區大典《詩經講義》述評, Hung Kai Lee

嶺南學報 Lingnan Journal of Chinese Studies

《詩經講義》是20世紀二三十年代區大典在香港大學講授經學的課本。是文透過評述《詩經講義》，指出其特點有六：（一）引《詩》互證；（二）引古籍説《詩》；（三）明通假義、引申義；（四）釋山川名物，地理位置；（五）明同義詞、虚詞；（六）評價前人注疏。此外，亦可窺見區大典在殖民地時期的香港，傳授傳統學問的一鱗半爪。區氏在殖民地時期的香港，傳授傳統學問，其貢獻值得肯定。

劉百閔的經學著述, Chun Hing Hui

嶺南學報 Lingnan Journal of Chinese Studies

劉百閔 (1898-1968) 是20世紀五六十年代香港著名的經學家。他在1949年由廣州移居香港前，長期投身政界。1952年9月，被香港大學聘爲中文系講師，1956年被擢爲中文系高級講師。前後服務香港大學13年，於1965年6月榮休。在退休前一年開始專注於整理舊作，以“學不倦齋自刊書”的名義先後出版《經子肄言》、《易事理學序論》與《周易事理通義》三書。於1968年1月4日不幸因喘病遽然辭世。《孔門五論》是他生前最後一本親自定稿的“學不倦齋自刊書”，在他逝世三個月後被冠以“劉百閔遺著”之名出版面世。1970年3月出版的《經學通論》則是在未及親自定稿的情況下付梓的，也是最後一部“劉百閔遺著”。這五部經學著述都是他任教香港大學時的教學與研究成果。本文即擬探討此等著述的若干特色，藉以窺察當時香港經學教育的一二情狀。

香港大學"《春秋》、《左傳》學"研究述要續補, Chow Yiu Sin

嶺南學報 Lingnan Journal of Chinese Studies

筆者自20世紀70年代開始，即於香港大學講授《春秋》、《左傳》。1998年6月，筆者應“中央研究院”中國文哲研究所之邀，以“香港大學《左傳》學研究述要”爲題，作一演講，講稿其後刊於《中國文哲研究通訊》。2014年3月，筆者撰《香港大學“〈春秋〉〈左傳〉學”研究述要補》一文，宣讀於嶺南大學中文系主辦之“經學之傳承與開拓國際學術會議”，此文爲《香港大學〈左傳〉學研究述要》之續篇，以其篇幅過鉅，故分爲兩部分，上半採用原有題目，載於《嶺南學報》復刊第三輯，本文則爲續篇之續篇。内容包括（一）竹添光鴻《左氏會箋》論“五情”説管窺、（二）“五情”之相關問題、（三）《高本漢左傳注釋》孔疏杜注異義考辨、（四）《左傳》新注小學補釋芻議、（五）王夫之《春秋稗疏》研究。

現代學術中的喪服研究 : 以三部喪服學著作爲中心, Fei Wu

嶺南學報 Lingnan Journal of Chinese Studies

喪服在中國傳統經學中占有非常重要的地位，但在現代的學術框架中，我們往往不易給喪服研究一個明晰的定位。本文即試圖總結現有研究中的優秀成果，希望能够爲在現代學術框架中言説喪服有所助益。近些年漢語學界比較重要的喪服總體研究主要有丁淩華先生的《五服制度與傳統法律》（原名《中國喪服制度史》）、丁鼎（程奇立）先生的《〈儀禮·喪服〉考論》，以及林素英先生的《喪服制度的文化意義》。本文主要從喪服形制、喪服義例、理論詮釋三個方面全面對比了這三部著作。喪服形制是進一步研究的基礎，没有對具體形制的辨析，是很難有進一步的理論詮釋的。三位先生都非常系統地繼承了清人的重要成果，釐清了很多具體問題，因而在義例方面具有非常大的一致性，都從親屬制度的角度理解喪服，也都從親親、尊尊的基本原則理解制禮方式。但在第三部分，三位學者出於不同的學科背景，有相當不同的現代理論工具，因而呈現出很大差異，分别從法律史、母系社會到父系社會的轉型，以及文化意義的角度理解喪服制度。作者認爲，這些努力都有非常大的意義，但要對喪服有更進一步的系統思考，需要整合所有這幾個方面，對以親親、尊尊爲基礎的禮法體系給出更全面系統的闡釋。

申公臣靈王 (二) : "遇於枥隧", Wenqiang Liu

嶺南學報 Lingnan Journal of Chinese Studies

《上海博物館藏戰國楚竹書·申公臣靈王》篇首句“[吾戈]於枥隧”之首字“[吾戈]”，多數學者釋爲“禦”，獨周鳳五釋爲“圉”。唯不論“禦”或“圉”，皆無“禦於”或“圉於”辭例。本文釋該字爲“晤”，即“遇”，二者聲義既通，又有“遇”辭例，故無滯礙；因而遂論“遇”字，以明其事本末云。

疊詞訓釋與經籍句讀 : 楚竹書《周易》釋文辨正, Chi Keung Wong

嶺南學報 Lingnan Journal of Chinese Studies

1994年春，上海博物館自香港文物市場購得一批戰國竹簡，當中58枚，上書1806字，可與今本《周易》相對照。竹書圖版2003年刊布於《上海博物館藏戰國楚竹書（三）》，并附整理者濮茅左所撰《考釋》，於文字訓詁、簡序排列多所發明。唯《周易》成書於二千餘年以前，其文句斷讀，異説頗多，孰是孰非，甚難論定。濮氏深於經學，所採斷句，泰半確當，然亦間有可議者。今謹就涉及疊詞訓釋之簡文，管窺蠡測，希於經文句讀之正，有小補焉。

《詩經·周頌》與《大武》重探 : 以清華簡《周公之琴舞》參證, Pui Ling Tang

嶺南學報 Lingnan Journal of Chinese Studies

《大武》樂章是先秦時期的樂舞組詩，歷史文獻稱之爲《大武》，又或簡稱作《武》。20世紀初，王國維先生發表《周大武樂章考》一文，根據《禮記·樂記》記載之《大武》“六成”提出“詩當有六篇”，包括《周頌》的《昊天有成命》、《武》、《酌》、《桓》、《賚》及《般》，其意見雖然受到研究者的普遍重視，但因分析角度及詮釋之異，後代仍有不少研究者提出異議，較爲重要者有高亨、張西堂、孫作雲、陰法魯、楊向奎等十數家。

《清華大學藏戰國竹簡（叁）》於2012年12月出版，其中刊載有《周公之琴舞》一篇，竹簡凡17枚，記載周公及成王儆毖詩共十首，保留迄今所見最早及最全面的先秦樂舞記録，能爲過去有關《大武》的討論提供重要的參考材料。本文將借助先秦兩漢古籍與《周公之琴舞》相參證，對《大武》的相關問題作重新探討。

重建歷史想象 : 周穎芳及其彈詞小説《精忠傳》考評, Yu Zhang

嶺南學報 Lingnan Journal of Chinese Studies

本文從家國危機與女性意識關係的角度考察晚清女作家周穎芳所著長篇彈詞《精忠傳》。通過搜索有關資料、對彈詞文本的解讀及與其他岳飛叙事的比較，考證周穎芳生平及文本中的自我呈現。周以另闢空間的方式在文本中建構了一種對歷史的不同想象，包括從女性視角對岳飛故事的改寫和對傳統家庭角色的重新思考與願景。通過對周穎芳《精忠傳》的重現與解讀，文章重申了對於明清女性文學，尤其女作家創作的叙事文學作品在文學史上的再認識、再探討的重要性。

禮壞樂崩時代聖賢君子的堅持與抉擇, Kuo-Liang Yeh

嶺南學報 Lingnan Journal of Chinese Studies

西周末葉一直到漢初，自周初建立起來的禮樂文明逐漸崩壞，其間約七百餘年，國家社稷爲何没有全面瓦解？其後漢武帝提倡儒術，終使往後二千餘年的歷史持續受到禮樂文明的影響，成爲中華文化的特色。此一歷史過程，值得探討。

本文臚舉十六項西周末葉至春秋末年禮壞樂崩的事實，然後陳述當時明君、賢大夫以及儒者如何堅持理念及禮典，同時如何體察世變做出抉擇，展現正面的力量，因而使得國家社稷不致迅速土崩魚爛，進而説明反映上述理念的古禮書的性質與價值之所在。結論是：《儀禮》、《禮記》爲典範，而《春秋》及三《傳》爲正負面之教材，這使得漢武帝提倡儒術有所依據，中華之禮樂文明成爲可能。討論古代文化，捨此諸書，無法有所褒貶，而這是孔子及其後學的主要貢獻。

The Logical Progress Of German Idealist Aesthetics: With A Discussion On The Aesthetic Historical Significance Of Schiller's On Beauty, Wei Li

Theoretical Studies in Literature and Art

The trajectory of German Idealist aesthetics form Kant to Hegel revolves around the developmental process from philosophical analysis of psycho-aesthetic structure to dialectic examination of aesthetic object down to critical aesthetics and philosophy of art, with a knowledge background of modern European intellectual climate or the pursuit of determinacy. Schiller's On Beauty (Kallias, 1793), by exhausting the research methods of beauty, constituted an intermediary link in the advancement in German Idealist aesthetics and established its inerasable significance in the history of aesthetics.

The Politics Of Technology: Reflections On Overseas Modern Chinese Visual Cultural Studies, Xiayun Yu

Theoretical Studies in Literature and Art

The dialectical relationship between words and images is an important issue of modern Chinese literary studies. Although the interpretations from the overseas, especially Rey Chow's "technologized visuality," highlight the key position of visuality in the making process of modern Chinese literature, they exaggerate the opposition between words and images, and this exaggeration implies a colonial thinking of technology which sets the relationship between China and the Western as that between the primitive and the modern through its emphasis on Western-ownership of technology. Thus, technology becomes not only a state of matter but also a structure of ideology. If the emphasis …

The Political Turn And Rational Return Of Critical Discourse In Its Localization In China, Wenfang Yao

Theoretical Studies in Literature and Art

The term "critical discourse" was not indigenous in China, and Liang Qichao and Wang Guowei were believed to bring it as a Kantian concept into Chinese knowledge and discourse system. But Liang gradually strayed from the neutral and rational Kantian concept to relate it with negative political nuance. The denunciative negative nuance was increasingly reinforced in the years from the May 4th New Culture Movement to the 10-year Cultural Revolution. The 1980s saw the return of the implications of the term from the highly political to the rational and neutral, with significant flexibility and tolerance. This return helped to redress …

The Qi-Liang Poets' Rediscovery And Imitation Of The Han Dynasty Music Bureau And Ancient Style Poetry, Yao Zhong

Theoretical Studies in Literature and Art

The Qi-Liang Period was an important phase in the acceptance history of the Han Music Bureau Poetry and the ancient style poetry. The Qi-Liang poets rediscovered and imitated the Han poetry and through this they had developed a reflective relationship with the Han poetry in terms of technique, style and criticism. Their emphasis on the folk song tradition and on the Wu-dialect ballad (Wu Sheng Xi Qu) had not only highlighted the folk song features but also the lyric genre in the Music Bureau poetry, while their pursuit for lyricism, individualistic style and the expression of personal sentiments led to …

The Structure Of Narrative Dynamics In Lyric Poetry: Exemplified With Classical Chinese Lyric Poems, Junqiang Tan

Theoretical Studies in Literature and Art

As a product of author-reader communication, lyrical texts, like narrative texts, have internal narrative dynamics to push the narrative progression. The structure of the dynamics shows as the three relations of time, logic and space in the texts. These relations exist in the combination of events and development of plots in narrative texts, but in lyrical texts they show in different ways. The fusion of narrative dynamics and reader dynamics pushes the narrative progression and realizes the communications between the author and the reader. This paper takes classical Chinese lyrics as examples to illustrate the analysis.

A Philosophical Discussion On Liu Xie's Concept Of Literary Talent Mindset, Shugong Zhao

Theoretical Studies in Literature and Art

The idea of literary talent mindset was epitomized in The Literary Mind and the Carving of Dragons in the period of Wei-Jin and Six Dynasties. The book contained the most comprehensive and profound knowledge of literary mind as an aptitude, which was seminal to almost all the later discourses on the issue of literary talent, and its theoretical insight remains unsurpassable in many aspects. Liu Xie's philosophical view of the nature and human is reflected in this concept of literary talent mind, which gave both weight to gift and diligence, and the equal emphases on human efforts and born gift …

Between Medusa And Nymph: On Agamben's Theory Of Image, Jiang Lan

Theoretical Studies in Literature and Art

Image is born as a technology of memory, that is, the image realizes the possibility to access a disappeared past from the perspective of our finite present. However, the original image, as an object petrified by Medusa, has frozen a past which we cannot penetrate from our finitude. Indeed, Agamben doesn't think that the existence of image will thoroughly petrify our past; on the contrary, there are crevices between the petrified stones. It is in these crevices that lies the possibility to dialectically articulate the images, that is, Walter Benjamin’s dialectical image. Nevertheless, what fascinates Agamben most is not the …

Foucault And Damnatio Memoriae: An Introduction To The Mnemo-Government Of Cinema, Yang Li

Theoretical Studies in Literature and Art

Foucault published several interviews and articles about cinema in 1970s, and he took the cinema as one of the dispositifs codifying the popular memory. The working class in 19th century invented many ways to write their own memory, but the cinema, by way of popular historical narration, ended the history of the people from the lower depths to write their memory. Foucault analyzed how the controversial (retro and erotic) films in 1970s represented desire and power in historical narration. This paper tries to combine Foucault's "dispositif of popular memory" with the biopolitics, and claims that the memory is also the …

Gao Ershi's Concept Of The Refined And The Mundane In Calligraphic Art, Bin Zhou, Shuqiang Cui

Theoretical Studies in Literature and Art

The concepts of the refined and the mundane are a pair of important category in calligraphic aesthetics and Gao Ershi's ideas on this are reflected in three aspects. The first is to regard the classical as the refined and the contemporary as the mundane. This is realized by reviving and studying the cursive style for official writing. The second is to regard the cultured to be refined and the crafted as the mundane. This emphasizes the cultural and aesthetic implications and attributes of calligraphy. The third is to take the clear to be refined and the turbid to be mundane. …

Ironical Appropriation Of Revolutionary Signs: For Memories Buried In Forgetting, Jiwu Zhou

Theoretical Studies in Literature and Art

The ironical appropriation of revolutionary signs is a visual representation strategy widely used in contemporary art practice of China, with the purpose to transform invisible cultural trauma into visual text of remembrance. Amid the textual and visual narratives, hierarchical order of symbols and signs meets its deconstruction. Appropriation of revolutionary signs in contemporary art practice is evident in three aspects: 1) appropriation and contra-appropriation of visual signs; 2) displacement and transformation of visual images; 3) parody of visual texts. However, not all appropriation of revolutionary signs is ironical, and the criteria for irony should include semantic polysemy, contextual sharing, and …

Is Queer Theory Equal To Gay And Lesbian Studies？, Lanlan Du

Theoretical Studies in Literature and Art

Queer theory is a field of post-structuralist critical theory that emerged in the early 1990s out of women's studies. Although it is related to gay and lesbian studies, it differs from and reacts to them. Since Chinese scholars tend to conflate queer theory with gay and lesbian studies, this essay hopes for a more accurate introduction of queer theory with an analysis of its main ideas.

Narrative, Situation And Metaphor: How Plato's Republic'S Opening Paragraphs Are Written And Read, Linfang Zhu

Theoretical Studies in Literature and Art

Plato's Republic is both a philosophical and a literary text. Plato had kept revising the opening of The Republic till the end of his life. The Republic has a structure of dual narrative, with the man called "I" also playing a double role in this book. The time, the place, the order of appearance and the unfolding of the events all correspond to the theme. The genre of dialogue and narrative saves this philosophical text from being trapped too deep into the metaphysical mire, but too many symbolic metaphors make the interpretation of the text an attempt to solve mysteries. …

Notes On Text Theory, Youxiang Tu

Theoretical Studies in Literature and Art

The conception of le texte scriptible (the writerly text) in Roland Barthes reveals the character of the text of undistinguished relation between subject and object. According to Barthes, "the text" is both an object and a subject, and if it is a pure object, it will be a work, while as a subject the text brings the author's role into play. The theoretical significance of the text is given not innate, and the pure plurality in Roland Barthes's theory does not refer to multiple meanings, because ambiguity can still lie in a unified structure, when pure plurality eliminates the centrality …

On Beauty: Its Naming And Reference, Hongxiang Li

Theoretical Studies in Literature and Art

What is beauty? This is the first and an everlasting question in aesthetics. However, there is no clear definition about beauty so far in aesthetic history because of the confusion of name and reference. Beauty is often interpreted as the beautiful thing or the beautiful attribution of thing. This paper aims to delineate the problematic of the naming and reference of beauty by putting the problem back to the context of Plato's time and tracing the process of the formation of this philosophic concept. The paper falls into three sections, which first problematizes the naming of beauty and the reasons …

On Liu Shipei's "On The Difference Of The Southern And The Northern China's Literature", Jian Wu

Theoretical Studies in Literature and Art

Traditional distinction between the Southern and the Northern China's literature were made on historical specificities, while Liu Shipei in his pioneer essay in modern literary criticism "On the Difference between the Southern and the Northern China's Literature" took a theoretical perspective that viewed the distinction as an ahistorical literary framework a priori. Liu's argument may be read as a point for a paradigmatic breakup, but Liu did not push forward his idea in his practice. Instead, he attached more weight to the essence (zhi) over the literary (wen) in this traditional pair of concepts, and his contribution in the history …

Redefining Art, Anying Chen

Theoretical Studies in Literature and Art

This paper tries to present a new definition of art on the basis of contemporary Western philosophy of art. William E. Kennick's and Arthur Danto's definitions are sophisticatedly open, but they fail to take into account of the dimension of value in art. This paper proposes that art is both a production and a culture, which means that art is the production of cultural value through artisanship. The definition of art in the classical aesthetics has defined art as craftsmanship plus aesthetic value and defines artworks as the product with aesthetic value, while this paper defines art as craftsmanship plus …

Style-Breaking In Song-Dynasty Ci-Poetry And Its Acceptance In The Context Of "Flexible Method", Xiaoli Wang

Theoretical Studies in Literature and Art

The idea of "flexible method" in composting ci-poetry in the Song Dynasty has two essential elements of "rule" and "change," and this idea embodies the pursuit of literary innovation in the Song Dynasties. It is an important part of the poetic theory and has profound influence on the literary evolution in the Song Dynasties. The style-breaking methods such as "composing ci-poems like regulated poems" and "composing ci-poems like prose" were in effect the proliferation of the idea of "flexible method" in the field of ci-poetics. There has been much elucidation in the Song and Yuan commentaries on ci-poetry that echoes …

Truth / Method: The Gadamer-Ricoeur Debate, Jin Qiu, Fenggang Du

Theoretical Studies in Literature and Art

There exist remarkable differences between Gadamer's and Ricoeur's understandings of the concepts "truth" and "method." Ricoeur believes that Gadamer's hermeneutics brings about the disjuncture of hermeneutic truth, while Gadamer holds that Ricoeur's structuralist method cannot integrate the conflicts of interpretations into a unified ontology. This paper points out that both philosophers develop their theories of truth on the basis of Heidegger's hermeneutical ontology, but in different ways. Gadamer focuses on the truth of understanding disclosed in the event of hermeneutic dialogue, while Ricoeur emphasizes the truth of self-understanding mediated by hermeneutic reflection. Both philosophers keep similar distance from the absolute …