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The Dissolution Of Dualism And The Reflective Nature Of The "Contestation Between The Tang And The Song Poetry" In The Qing Dynasty, Yunyun Tang

Theoretical Studies in Literature and Art

The "contestation between the Tang and the Song poetry" in the Qing dynasty is commonly viewed dualistically as a rivalry between the pro-Tang poetry group and the pro-Song poetry group. However, the said contestation was not an dispute over learning from the Tang poetry or the Song poetry in poetry writing practice, because their theoretical footings of the two groups do not cover the same ground to form a dualist opposition. At the core of the contestation are the dispute over the value of the Song poetry, and the discussions of traditional poetical concepts such as "poetry expressing ideals," temperament …

The Idea About Writing To "Convery The Truth" Of The Aixuan School In The Southern Song Period And Its Cultural Significance, Tianxi Zheng

Theoretical Studies in Literature and Art

The four generations of the epigones of the Aixuan School in the Southern Song dynasty laid equal emphases on wen and dao, the artistic and ideological aspects of literature. The importance of human nature rose to prominence in this process, and finally obtained the same position as the ideological requirement for writing to "convey the truth". The increasing focus on the nature of literature was a projection of the secularization of Neo-Confucianism from the Southern Song period. Despite the Neo-Confucian repression of literature, it was a special phenomenon that the Aixuan School insisted on its belief in literature and continued …

The Significance Of "Sense Of Beauty" In Eighteenth-Century British Aesthetics, Jialian Li, Yunfeng Lei

Theoretical Studies in Literature and Art

Centering on "sense of beauty," the inner sense theory developed by Shaftesbury and Hutcheson is highly significant to eighteenth-century British aesthetics. However, due to linguistic and cultural differences, these two concepts have not been well received by the Chinese intelligentsia. By focusing on "sense of beauty," this paper aims to delineate the concept's development in eighteenth-century British aesthetics and evaluate its academic significance in the history of Western aesthetics, with the purpose of supporting the theoretical construction of contemporary Chinese aesthetics.

The Soma Dimension Of Kant's Aesthetics And Its Significance For Ecoaesthetics, Xiangzhan Cheng

Theoretical Studies in Literature and Art

Kant's aesthetics is typical for its "mind-representation". Mind uses all kinds of cognitive faculties to represent the object as a representation through synthesis, and then the object is given subjectivity through representation. Thus the taste in mind makes aesthetic judgments by connecting the representation with the subject's feeling. Kant, however, has not elaborated on and clarified the relationship between feeling and taste, thus making his aesthetics mainly "a science of judgment" that is rational rather than "a science of feeling" that is perceptual. However, Kant also proposes "taste of the senses" against "taste of reflection" and occasionally mentions such sense …

Why Is K. A Land Surveyor?, Yanbing Zeng

Theoretical Studies in Literature and Art

In Franz Kafka's novel The Castle, the protagonist K. claims that he is a land surveyor by profession. However, K. has no land to survey, which undermines the certainty of K.'s profession. Why, then, did Kafka choose this ancient profession for his protagonist? The uncertainty of K.'s identity, the paper claims, implies that K. is in essence an explorer of existence. Thus, Kafka was a pioneer of existentialist writers. Giorgio Agamben argues that the protagonist K. gets the name from kardo, an old instrument for land surveying. The land surveyor's work is to establish and to break boundaries — not …

A Study Of The American Boxer Indemnity Scholarship Program And Its Influence On Chinese Education: Taking Shandong Students As An Example, Pengxiu Sun

Seton Hall University Dissertations and Theses (ETDs)

The American Boxer Indemnity Scholarship Program (ABISP) was one of the most important events in the modern Chinese history of overseas education. This thesis focuses on the group of Shandong students which has representative characteristics of the whole American Boxer Indemnity Scholarship Program (ABISP) students to provide descriptive data for the influence on Chinese higher education through the achievements of Shandong students in the American Boxer Indemnity Scholarship Program (ABISP) in higher education. Through tracking the forty-two Shandong ABISP students, the thesis shows the establishment of Tsinghua University and ABISP students’ study and life in Tsinghua and the United States. …

Effective Strategies For Integrating Stem Education Into Chinese Language Classroom, Sophie Wang, Christine Zhang

Faculty Publications & Research

1. What is STEM?

-How can it be integrated into the current language curriculum?

2. Why STEM?

-Trend of offering the Mandarin course at K-12 schools

3. Chinese Curriculum & STEM-focused topics

-The STEM-focused topics incorporated at IMSA

4. Teaching strategies

-Lesson design, use of authentic materials, activities

禮莫大於聖王 : 論《荀子》對「禮」概念的擴充與轉化, Wai Yi Yau

Lingnan Theses (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 (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。

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。

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。

“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 …

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 …

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 …

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 …

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 …

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 …

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 …

《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 …