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Pawns In The Power Struggle: Navigating Creative Labor Precarity Across Mcns, Platforms, And State Regulation In China, Qingyue Sun

Interdisciplinary Studies

This study examines how digital creators navigate the precarious Chinese digital creative industries (DCCIs), shaped by multi-channel networks (MCNs), platform logic, and intensifying state intervention. Drawing on interviews with 34 creators, I identified three challenges facing Chinese creators: (1) dual exploitation by volatile platforms and capricious MCN management; (2) erosion of creative autonomy under MCN gatekeeping and state oversight; (3) involuntarily being enlisted as propaganda artisans. Creators, especially those affiliated with MCNs, are increasingly positioned as state labor with governed creativity: cultural workers whose output is shaped, constrained, and redirected by the layered imperatives of state mandates, platform governance, and …

論撮抄與典籍史上的“叢抄之書”, Xuping Chen

嶺南學報 Lingnan Journal of Chinese Studies

由於進諫、傳經、創制詩文等備忘之需，古人撮抄典册之内容，備於身邊，這就形成了典籍史上的一個特殊的文獻，即以“抄” “叢抄” “撮抄”爲名的一類典籍。細緻看來，其主要類型包括 : 用於上古行人、説客的“説林” “儲説”等，以《韓非子》所録最知名。用於進諫、講授經義於皇室的“微”等，以《漢志》所録“左氏微”等爲代表。又有搜集典故等以有資於皇子等人寫作而形成的類書如《初學記》等。漢唐以降，筆記之體繁興，“叢抄”之體代有佳作、延綿不絶，清人俞樾即有《茶香室叢鈔》。其中還有各種“文抄” “史抄”等。可以見出古人之生活“日用之需”與“文獻生成”之間的深刻關係。從形式上看，又分爲摘抄、全抄、概述等。從歷史語境上看，“撮抄”是中華典籍生成的一個重要機理，相應產生的“叢抄之書”是中華文獻的重要組成，具有重要意義。爲揭明以上説法的内涵，特寫作此文，以求教於學界同好。

Due to the need for offering advice, transmitting teachings, and creating literary works, the ancients often extracted and compiled content from classical texts to keep at hand. This practice led to the formation of a special category of literature in the history of Chinese texts, known as “extracts,” “collected extracts,” or “selected extracts.” Upon closer examination, these texts can be classified into several main types: “Shuolin” and “Chushuo” used by ancient envoys and orators, among which the most famous is recorded in Han Feizi. The “Wei” used for advising and instructing the …

甲骨文“本”字試解, Qingyu Du

嶺南學報 Lingnan Journal of Chinese Studies

甲骨文的“本”字，目前學界有釋“垂”、釋“叕”、釋“瓜”等觀點，這些觀點在字形、辭例釋讀方面都存在一些缺陷。本文從“本”的字形特徵入手進行分析，認爲該字應當是“本”之初文，在相關祭祀卜辭中應理解爲人牲的軀榦或下部，或與商代的肢解或腰斬之刑有關。

At present, there are various viewpoints about the “本” character Oracle Bone Inscription, such as the interpretation of “chui 垂”, “zhui 叕”, and “gua 瓜”, these viewpoints have some shortcomings in terms of form and example interpretation. This paper analyzes the form characteristics of “本” and believes that this character should be the initial form of “ben 本”. In related oracle inscriptions, it should be understood as the torso or lower part of a human sacrifice, it may be related to the dismemberment or beheading punishment in the Shang Dynasty.

唐宋“哩”“囉”考, Zhen Lin

嶺南學報 Lingnan Journal of Chinese Studies

唐宋歌曲中的“哩” “囉”等聲原屬彈舌音，發音時彈摇舌部以引聲。上古漢語中的彈舌音在南北朝時期已漸消亡，加之唐代悉曇學非常發達，很可能源自梵文彈舌音。因梵文彈舌音中的四流音於唐代應用並不普遍，故更可能源自彈舌音中的超聲r，超聲r與元音組合即成“哩” “囉”等聲。彈舌音對於其時漢人而言較爲新奇，人們爭相仿傚。初作歌助聲（虚聲、和聲），唐宋以降，歌曲中“哩” “囉”等字漸被用以指代其他物事（如歌曲、唱吟之事、男女合歡之事等），以及用作咒語。彈舌發音較爲困難，“舌强”之人方可爲之，“哩” “囉”等聲傳入漢地後，彈舌屬性或愈漸剥離。

The sounds of “ri” and “ra” in songs of the Tang and Song dynasties were originally tongue-twitching sounds, and when pronouncing them, the tongue was flicked to lead the sound. The tongue-twitching sounds in ancient Chinese gradually disappeared during the Southern and Northern Dynasties. In addition, Siddhamology was very developed in the Tang Dynasty, so it is very likely that they originated from the Sanskrit tongue-twitching sounds. Since the four-flow sounds in Sanskrit were not commonly used in the Tang Dynasty, it is more likely that they originated from the ultrasonic r in the Sanskrit. …

漢文帝朝禮制建設與君臣政治博弈, Chon-Chit Tang

嶺南學報 Lingnan Journal of Chinese Studies

漢文帝登位後，與高祖時形成的權臣勢力，尤其是擁立他的大臣，無可避免地形成錯綜複雜的矛盾。文帝試圖通過各種方式消解權臣的壓力，其中一個重要方面，是通過祭祀制度、漢朝德運、立五帝廟等禮制上的改革和建設，强化其個人繼位的合法性，並藉此鞏固和擴張個人的政治權力。權臣則以不同形式、在不同程度上，對文帝進行多方制約甚至反抗，其根本目的在於阻止文帝的權力擴張，保護權臣既有的政治權力和利益。聚觀多次的交鋒，基本以文帝落敗，權臣慘勝告終。而文帝的政治合法性問題，最終由劉啓以太子身份順利繼位爲景帝，恢復漢朝帝皇繼位的制度化模式纔得以解決。

After ascending to the throne, Emperor Wen faced complex conflicts with the powerful courtiers who had supported Han Gaozu, especially those who were his supporters. He attempted to alleviate the pressure from these ministers through various means and reinforce the legitimacy of his succession. Emperor Wen aimed to consolidate and expand his personal political power through ritual reforms and constructions, such as the ritual system, the Han Dynasty’s virtue, and the establishment of the Five Emperors’ Temples. However, powerful courtiers restrained and rebelled against the emperor in various ways to prevent the expansion of his power and protect their …

清華簡《五紀》與儒、墨、黃老、陰陽的鬼神思想, Qing Yuan

嶺南學報 Lingnan Journal of Chinese Studies

清華簡《五紀》由“天之五紀”推出人事的各種制度規範，並爲這些制度規範和人體各部位確立相應的神祇來掌控，鬼神是天道的輔助，《五紀》强調的是人事效法天道，天道和鬼神確保了人間制度規範的合理性和不可違逆。《五紀》中的“鬼”有時與“神”同義，又可用來解釋疾病産生的原因。儒家的鬼神觀與《五紀》差别較大。墨家“天志”和“明鬼”雖表面上與《五紀》鬼神思想有相通之處，但《五紀》中的天和神是自然之天和自然神，使人產生疾病的“鬼”也只是氣,這與墨家作爲宗教的天和鬼有所不同。《五紀》與黃老學都强調人事效法天道、人事不可違逆，也都認爲精氣不足會導致疾病，只是《五紀》將精氣不足視爲“鬼”的思想是黃老學所没有的。陰陽家“舍人事而任鬼神”的思想與《五紀》有根本的差别。《五紀》的成書較早，其鬼神思想近於黃老學，可能是黃老思想的來源之一。

Tsinghua Wuji Manuscript introduces a range of institutional norms for human affairs and establishes corresponding deities to govern these norms as well as different aspects of the human body. The ghosts and gods serve as auxiliaries to the Way of Heaven, while Wuji emphasize that human affairs should adhere to the Way of Heaven. Through their collaboration with the Way of Heaven, gods and ghosts ensure that the institutional norms in the human world are rational and immutable. The term “ghosts” in Wuji is occasionally employed interchangeably with “deities”, which can also serve as an explanatory factor for illnesses. …

“歌詩必類”的禮制語境與禮義、樂義, Shenggao Cao

嶺南學報 Lingnan Journal of Chinese Studies

“歌詩必類”的本義，當求之於歷史語境。晉平公在繼位之初與諸侯會盟時，欲宣示晉爲盟主，參與的諸侯大夫皆以朝聘之禮見之。其中的“歌詩必類”，非諸侯引詩、賦詩的探求詩義，而是以大夫見天子之禮歌之。齊欲與晉爭霸，齊使高厚歌不類，引發晉伐齊。故“歌詩必類”的禮義，是依頌、雅、風的規格“上取下就”而用之，用所歌篇章的樂義交流，此爲春秋諸侯大夫歌詩的禮樂規則。其意義在於歌唱的詩篇要取其禮義、樂義，而非詩義。

The original meaning of “The Odes chanted must fit proper categories” should be sought in the historical context. When Duke Ping of Jin first held a meeting with the princes after he ascended the throne, he wanted to declare Jin as the leader of the alliance, and all the princes and ministers who participated in the meeting met him with the ceremony of paying homage. “The Odes chanted must fit proper categories” here does not mean that the princes quote poems or compose poems to explore the meaning of the poems, but that they are sung according to the …

養素堂刻《文心雕龍輯注》版本源流考, Shuzhen Wang

嶺南學報 Lingnan Journal of Chinese Studies

對於清代養素堂刻黃叔琳《文心雕龍輯注》，前輩學人只注意到了有原刻與覆刻之别，但從版本源流看，養素堂本實際存在三種不同的形態 : 初刻本、改刻本和覆刻本。本文考察了養素堂本的底本來源及黃氏的校改，詳細列舉了改刻本與初刻本之間的各種差異，並區分了後出的覆刻本的不同類型，梳理了民國以後幾種通行本與養素堂本之間的關係，指出范注本所用底本存在的缺陷。

Regarding Huang Shulin’s The Literary Mind and the Carving of Dragons with Annotations engraved by Yangsutang in the Qing Dynasty, senior scholars only noticed the difference between the original engraving and the reprinted version. However, judging from the origin of the versions, the Yangsutang edition actually exists in three different forms: the first engraved version, the revised version and the reprinted version. This article examines the source of the original text of the Yangsutang edition and Huang’s revisions, lists in detail the various differences between the revised edition and the first edition, and distinguishes the different types …

大數據對物質文化史的衝擊 : 以古建築及賦税用語“間”爲例, Yi-Long Huang

嶺南學報 Lingnan Journal of Chinese Studies

中國古代建築常以“間”或“半間”計數，然學界少見深入研究。本文即利用目前已建置完成之百餘億字可全文檢索的大數據新環境，查找出自唐宋以迄明清留有長闊或高度的近8,000間記事，並嘗試透過這些事例，深化對此古建築用語的相關認識。發現“間”字用在地舍的具體描述或租税計算時，其定義並不相同。前者對個别房舍通常只計以“間”或“半間”，取建築物正面“兩柱夾覆之中”爲1間，並以間闊1丈爲“標準值”，但往往略有增減。後者則是將面闊1間之房舍依其進深、屋況或地段等因素綜合估算（金代乃以“椓”數表之），再换算成間數（遂有畸零之數）以徵收租税。此一新認知展現大數據對傳統物質文化史研究所具有的啓發意義。

Ancient Chinese architecture is often counted by “Jian” or “Half Jian”, but there is little in-depth research in academia. This article uses the new big data environment that has been built with more than 10 billion words of full-text search to search for nearly 8, 000 records of length, width or height from the Tang and Song Dynasties to the Ming and Qing Dynasties, and attempts to deepen the understanding of this ancient architectural terminology through these examples. It was found that the definition of the word “Jian” was different when it was used in the specific description of …

“胡部新聲”的傳播及與漢樂的融合, Dongsung Shin

嶺南學報 Lingnan Journal of Chinese Studies

初盛唐之際，河西地區流行的“胡部新聲”傳入中土。由於這一新的胡人音樂不同於此前已傳入中土的音樂，故被稱爲“胡音”或“新胡聲”。以往不少學者把“胡部新聲”與龜兹、河西等地的地方音樂關聯起來，把它視爲“胡樂漢化”的産物，然而《通典．樂．四方樂》《舊唐書．音樂志》《新唐書．禮樂志》等音樂史史料記載“胡部新聲”與龜兹音樂是並列關係，而非從屬關係。盛唐時期出現的新的樂種——胡部，從樂部結構而論，與隋唐之際流行中土的龜兹伎有較大區别，前者由管樂器、弦樂器構成，後者以管樂器、皮樂器爲主。經筆者考證，“胡部新聲”獨特的樂部結構指明它與薩珊王朝霍斯魯二世宫廷音樂之間的關聯。據阿爾．馬蘇第《黃金草原》、菲爾多西《列王記》等文獻記載，這位波斯君主曾令巴爾巴德、薩爾喀什等創造新的宫廷宴享音樂，波斯宫廷迎來了一次大規模的音樂創作大潮。這些音樂通過波斯、粟特商賈大隊介紹到中原大地。天寳十三載（754），唐玄宗下令道調、法曲與“胡新聲”合奏，胡音成功融入唐王朝燕樂系统。“胡音”的流傳刺激了中土音樂，爲了符合新“胡音”的旋律美特徵,樂工開始嘗試脱離傳统入樂詞句式（齊言句式），創作能够符合“胡音”的入樂詞形式——詞調。

In the early Tang dynasty, new popular music from Hexi area was introduced to China, called “Hubu Xin Sheng”. As this music was different from the Kucha music which had spread to China earlier, it was also called “Xin Hu Sheng” or “Hu Yin”. Previous scholars usually presume this music was the product of Chinese localization of Kucha music or Xiliang music. However, the structural feature of Hubu Xin Sheng was quite different from Kucha music. According to the record of “Hubu music” in “Tai Chang sibu yue”, which was compiled in the mid-Tang dynasty, Hubu music didn’t use …

論東周銅器銘文仿古的文體學意義, Sijie Zheng

嶺南學報 Lingnan Journal of Chinese Studies

東周器銘的仿古是立足新的時代語境而模仿古代文辭的一種書寫方式，是在純文本寫作日益佔據主導優勢的情況下，依然仿效“記録一修改”模式的某些特徵的做法。具體而言，仿古主要包括擬辭和擬篇兩個層面。前者是從古老的“詩”“書”類文獻和舊器銘文中採擇詞彙、語法對新文本進行“作舊”處理。後者是在西周器銘常見類型，如册命、訓誥等基本消隱的情況下，重又參照舊文本改寫事實以製作同類銘文。這造就了東周銘體獨特的演變節奏。仿古的主要目的在於利用銘體穩定的文本特性和禮制屬性以彰顯作器者的權力合法性。其影響經由傳世東周文獻的傳導，開啓了秦漢以後長期追求簡古弘深的銘體創作，對銘體傳统的塑造作用是關鍵的。其手法與原因，一定程度上又含有超出東周時代的啓發價值，具有特殊的文體學意義。

The Eastern Zhou Dynasty’s imitation of ancient bronze inscriptions was a way of writing that imitated the ancient languages based on a new era context. It was a practice that disregarded the increasing dominance of pure text writing and imitated features of the “record-modify” mode. It mainly included two levels of practical techniques: imitation of words and imitation of texts. The former involved selecting vocabulary and grammar from documents related to Shi and Shu, as well as inscriptions on old bronzes, to “nake old” the new texts. The latter was the practice of rewriting facts based on old …

“常蓄東遊之志” : 杜甫晚年神仙思想的地理傳記學考察, Zhitian Wang

嶺南學報 Lingnan Journal of Chinese Studies

樊晃《杜工部小集序》談到杜甫晚年“常蓄東遊之志”。從這一記載入手並對照杜甫詩歌可以發現，杜甫晚年確實有再次東遊吳越的計劃。吳越自六朝以來便是神仙思想盛行之地，也成爲道教“同天福地”聚集的區域。杜甫之所以對吳越念念不忘者，除了因有親友在此之外，更爲重要的是受了神仙思想的指引。除了“東遊”杜甫晚年也表達過“南征/南遊”的意圖。“東遊”的目的地是吳越，而“南征”的目的地是武陵桃源（唐朗州，今湖南常德）乃至嶺南。二者雖然目的地不同，但同樣都是爲了求仙問道。江南乃至嶺南一帶，在六朝以來“洞天福地”的道教地理中佔據了重要位置，吸引了包括杜甫在内的道教信徒前來修仙朝聖。歷來讀者更多注意到杜甫的家國情懷，却忽視了神仙思想對杜甫的强大吸引力。運用傳記地理學的方法，可以幫助我們更好地理解杜甫晚年的心跡與行乘，加深對杜甫晚年詩歌的理解。

In “Preface to Du Gongbu’s Small Collection”, Fan Huang said that in his later years, Du Fu “always have the ambition to travel east (changxu dongyou zhizhi)”. It can be seen from this account and Du Fu’s poetry that in his later years, Du Fu did have a plan to travel east to Wu-Yueh (presently Zhejiang and Southern Jiangsu province) again. Since the Six Dynasties, Wu-Yueh had become an area where the idea of immortality prevailed, and many “grotto heavens and blessed earths” (dongtian fudi) in Taoist system were gathered there. The reason why Du Fu …

“塵外塤箎”與中日詩誼 : 《元元唱和集》新探, Yunlong Xing

嶺南學報 Lingnan Journal of Chinese Studies

江户前期，東渡日本的浙江籍文人陳元贇與日蓮宗僧元政詩歌贈答往來，唱和盈帙並合編爲《元元唱和集》。該集是東亞漢文學史上的第一部中日人士唱和專集，既見證了士僧之間神交心契、塤篪相應的深厚友誼，又呈示了明清嬗替時期與江户漢文學交流互動的多元樣態和詩藝圖景。書翰往來與詩歌唱和交際功能的耦合，不僅在文學場域產生了雙重疊加效應，同時也俾使“元元唱和”活動得以跨時空延續。“元元”唱和詩歌在抒寫日常生活、自然四時、行旅思歸與讚頌親友之情等層面，多向度地映現了中日漢詩的同源異流特徵。作爲近世中日文化交流史上的詩誼典範，通過對“元元唱和”及唱和集内容的尋繹，可覘其中含藴著豐富的文學文化價值。

In the early Edo period, Chen Yuanyun (陳元贇, 1587-1671), a scholar from Zhejiang who traveled to Japan, exchanged poems with Gensei (元政, 1623-1668), a monk of the Nichiren sect (日蓮宗), and their poems were compiled into Yuan Yuan changhe ji (《元元唱和集》). This collection is the first special collection of Chinese and Japanese poetry and poetry in the history of East Asian Chinese literature. It not only bears witness to the deep friendship between a scholar and a monk, but also presents the diverse forms and poetic landscape of exchanges and interactions with Edo Chinese literature during the transition period …

“Sisters, Are You Running Out Of Menstrual Supplies??”: Exploring #Sistersfightpandemicwithease And Tactical Hashtag Feminism In The Covid-19 Crisis, Qingyue Sun

Interdisciplinary Studies

This article examines the hashtag feminism movement#SistersFightPandemicWithEase (#SFPWE) on Weibo, analyzing how it navigated state censorship, online misogyny, and platform governance during the Wuhan lockdown in China. Through qualitative analysis, I argue that #SFPWE diverges from traditional hashtag feminism,instead operating as a form of pragmatic feminism in crisis. The movement embodies what I term tactical feminist activism—an issue-based advocacy that prioritizes pragmatic problem-solving over structural critique. Its tactical nature lies in its ability to appear politically non-threatening and temporarily valuable to authorities. However, findings indicate that #SFPWE ultimately reinforced state legitimacy rather than challenging the structural gender inequalities underlying the …

Towards All-Under-Heaven: China’S Geoeconomic Strategy In The Asia-Pacific Region, Alfariza Dika Azzani

Global: Jurnal Politik Internasional

This research aims to understand China’s geoeconomic strategy in reshaping the alternative international order in the Asia-Pacific region. China’s economic rise increased its geopolitical influence and significance as a global great power. The Chinese Communist Party (CCP) government, under Xi Jinping, has adopted classical ideas in its foreign policymaking, including tianxia. Tianxia is a classical concept of a hierarchical Sinocentric international order. An empirical study was conducted on several cases of China’s economic policy and analysed with the congruence method to determine the correlation between the tianxia concept and China’s economic policy. Tianxia served as a paradigm and justification for …

Book Review On The Worlds Of Classical Chinese Aesthetics (By Paul R. Goldin), Lin Wang

Comparative Philosophy

No abstract provided.

Moral And Ethical Nature In Confucian Liang-Zhi And Islamic Fitra: Comparative Perspectives On Innate Morality, Yanrong Shi

Comparative Philosophy

This article offers a comparative philosophical analysis of Confucian liang-zhi (innate moral knowledge) and Islamic fitra(primordial nature), focusing on their accounts of innate morality and moral epistemology. Drawing on classical Confucian sources—especially the praxis-oriented interpretation of Wang Yangming—and foundational Islamic texts and commentary, the study demonstrates that both traditions posit an inborn moral faculty grounding ethical universality and responsibility. Wang Yangming’s liang-zhi is conceived as an innate moral principle that, under the imperative of zhi (to actualize or extend), is continually activated through moral practice. In parallel, fitra is understood as a God-given orientation to truth, cultivated and safeguarded through …

Chinese Transnational Intellectual Elites In Nanyang And China: A Comparative Study Of Lim Boon Keng, Wu Lien-Teh, Wong Nai Siong And Khoo Seok Wan, Lin Lan

Student Works (2020-2029)

During the late Qing and the Republican period, the longstanding extensive corridors of Chinese labour migration to the Nanyang were supplemented by a significant flow of elite travel and cultural and professional exchange between China and Nanyang. A group of transnational intellectual elites came into being whose lives and life-work spanned geographical and cultural space between a colonised and Westernised Southeast Asia and a China on her transition to modernity. Among them were Lim Boon Keng, Wu Lien-Teh, Wong Nai Siong and Khoo Seok Wan, the four case studies in this dissertation. An investigation of these elites either from Nanyang …

戴君恩以「臆」解《詩》研究, Aifan Zhan

Lingnan Theses (MPhil & PhD)

晚明文人戴君恩（1570-1636）的《讀風臆評》以「臆」解讀《詩經》，是明代中後期《詩經》的解讀經學向文學轉向思潮的具體體現。本文在學界研究的基礎上，以戴氏《讀風臆評》為核心，結合其《剩言》《繪孟》等著作，探討其解《詩》體系的生成背景、方法論特徵及詩學意義。第一章梳理晚明思想文化背景，指出戴氏受心學運動、文學復古及制藝風潮的影響，並補充其師承關係；第二章聚焦以「臆」解《詩》的理論建構，分析戴氏將莊子「天籟」說與「以意逆志」的理解論相融合，強調直覺體悟與主體想像，打破傳統美刺框架，顛覆傳統經學解《詩》框架；第三章通過分析戴氏對《詩經》的評點實踐，闡釋戴氏如何將前人理論融入詩歌審美分析中，提出「情與景會」的創作論，並重構情景關係，進一步揭示戴氏對清代情景觀的啟發；第四章通過分析戴氏總結的「格法」，解構詩歌內容，融合莊子超驗哲學與心學理論，建立以「虛」解詩的向度，推動《詩經》解讀從附會現實走向文學審美的轉向。

The Confucian Path To Utopia : Liao Ping’S Theory Of Great Harmony, 1897–1918, Jiahui Dong

Lingnan Theses (MPhil & PhD)

Seeing utopia as “the expression of the desire for a better way of being” and a term that encompasses both the meanings of “good place” and “no place,” this thesis examines the theoretical interaction between Western utopianism and the concept of great harmony, or Datong, which emerged from the study of ancient Chinese classics. It focuses on the late Qing to early Republican period through the case of Liao Ping (1852–1932), a new-text Confucian scholar from Sichuan province, China. As an eminent scholar, Liao was deeply exposed to and influenced by Western concepts and literature during the time of …