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西遊的文化政治：從兩部遊記看蒙元正統論的生成, Ming Tak Ted Hui

嶺南學報 Lingnan Journal of Chinese Studies

南宋末年，偏安一隅的宋室曾多次向鄰國派遣使節，讓他們考察外國的軍政制度與文化風俗，藉此訂定邊政，防範外族侵擾。這些使者所撰述的遊記大都有實際的功能。相對來説，全真教道士李志常 (1193—1256) 所編撰的《長春真人西遊記》更能展現當時文化與政治之間糾纏不清的關係。李志常的這部遊記記錄了自己追隨老師丘處機 (1148—1227) 西行到中亞訪問成吉思汗 (1162—1227) 的旅程。他一方面要申明全真教在文化上的權威，另一方面卻又必須考慮當時蒙古已統領華北地區，擁有統治的實際權力。本文即嘗試先闡明《長春真人西遊記》的敘事策略，説明李志常如何在承認蒙古的統治之餘，展示自己在文化上比蒙古人更優越。本文接着從全真教的遊記轉到耶律楚材 (1190—1244) 所撰的《西遊錄》。耶律楚材扈從成吉思汗出兵西域，其遊記不但有意識地回應了全真教的記錄，同時又挪用了全真教的修辭，既申明了蒙元帝國攻佔中亞的理據，同時也模糊了蒙古人與漢人的分野。透過比對兩部遊記的異同，追乘其修辭的影響，本文嘗試闡明這些作品早已爲蒙元的正統論奠下基礎。

Before the Mongol conquest in 1279, numerous envoys were sent from the Southern Song court to its neighboring states. Their purpose was to evaluate and tame foreign territories and alien peoples and thereby reduce their threat to Song culture, and the travelogues resulting from these journeys were often “utilitarian” in style. The Record of the Perfected Master Changchun’s Journey to the West (Changchun zhenren xiyou ji), however, deserves special attention for its nuanced handling of a complex cultural-political power dynamics. Its compiler, Li Zhichang, was a leader in the Quanzhen …

書信中的君王形象與心理戰 : 拓跋燾 (408—452) 的國書和他的南方讀者, Lu Kou

嶺南學報 Lingnan Journal of Chinese Studies

公元五世紀上半葉，北魏 (386—534) 王朝逐漸统一中國北部，成爲與南朝劉宋 (420—479) 政權相對峙的勁敵。隨著軍事對抗和外交互動的逐漸頻繁，雙方也實施和利用多種文化與政治策略以在權力與正統的爭奪中獲勝。本文討論北魏君主拓跋燾 (408—452，423—452在位) 在南北朝軍事對峙的關鍵時刻發送給南朝的國書以及書信中帝王的自我呈現。學界對北朝文學的某種共識認爲北人文章在語言風格上的簡單，反映了北方質樸的民風與民族特色。筆者則將拓跋燾書信的討論置於宫廷創作、外交策略以及歷史敘述的語境中，認爲拓跋燾書信語言的“簡單”是北朝宫廷特意營造與選擇的修辭術。該修辭策略塑造了與南方截然相反的帝王形象，同時影響預期讀者對當時軍事與政治形勢的判斷。之後，史學家沈約 (441—513) 將拓跋燾的書信嵌於《宋書》的歷史敘事中。語境的變化改變文本的意義，爲後來讀者提供了新的闡釋框架。

The Northern Wei dynasty (386 - 534) unified north China in the fifth century CE and stood as a powerful rival to the Liu Song dynasty (42 - 479) in the south. As military campaigns and diplomatic exchange between the two dynasties became more frequent, both courts strove to deploy a variety of strategies to prevail in the competitions of political authority and legitimacy. This article examines the northern emperor Tuoba Tao’s (408 - 452，r. 423 - 452 ) self-represen-tation in his letters delivered to the southern audience at the height …

多重他者 : 太平天國戰争時期的身份政治, Huan Jin

嶺南學報 Lingnan Journal of Chinese Studies

在太平天國戰争 (1851—1864) 期間及其結束後，“他者”這一概念被用來煽動與表述暴力，並且在這一過程中獲得了多種意義。本文集中於十九世紀與太平天國相關的話語與表述，來探討“他者”這一概念所藴藏的政治、道德以及文化内涵。首先，通過討論太平天國和清政府的政治宣傳，作者探究這兩個敵對政權如何各自構建其政治敵人。對於太平天國的身份建設而言，宗教與政治敵人的確立尤爲重要。其次，作者關注介於現實與想像之間的筆記小説中處於政治與社會邊緣的人物。這些人物穿越政治邊界，也因此在太平天國與清政府話語中所規定的“我們”與“他者”之外形成了“第三類别”。這些短篇故事中的作者對這些邊緣角色做出道德評價，因而將他們置於另一種與“他者”相關的敘事規範之中。最後，在奇幻與想像的疆域裏，企圖建構與調整政治與道德“他者”的努力被撤底質疑。總體而言，本文以在太平天國戰争之中及其結束後所産生的文學與文化爲對象，探討“他者”這一概念的多義性與有效性。

During and after the Taiping Civil War (1851 - 1864), the notion of the Other was implicated in the provocation and mediation of violence and, as a result, acquired a multitude of new meanings and manifestations. Focusing on the discourse surrounding the Taiping War, this article explores the multiple political, moral, and cultural implications embedded in the idea of otherness. Unpacking the propaganda discourse of both the Taiping rebels and the Qing government, the author investigates the making of the political enemy by opposing regimes. In particular, the construction of a religious and political enemy is vital …

《桃花扇》西遊記 : 從《容美紀遊》看明清之際西南土司的認同政治與文化經營, Siao-Chen Hu

嶺南學報 Lingnan Journal of Chinese Studies

本文探討明清之際西南地區土司如何長期經營文化與文學傳承，一方面親近主流的漢人儒家文化，一方面保有其本土特質。土司透過多樣的文學活動來“展演”文化，從而鬆動了漢與非漢的界線。論文的核心文本是清初文人顧彩所作的日記體遊記《容美紀遊》。

This article explores how chieftains on the southwest periphery during the Ming-Qing transition conducted long-term plans to formulate cultural and literary heritages that had an affinity with Han Chinese mainstream culture but also retained indigenous qualities. The author demonstrates that the boundaries between Han and non-Han peoples became more negotiable with the enterprising efforts of chieftains to “perform” civilization by way of literary activities. The discussion centers on Rongmei jiyou (My Travel to Rongmei), a travelogue in diary form by early Qing scholars and playwright Gu Cai.

流放、邊界、他者 : 方孝標《東征雜詠》探析, Lawrence Yim

嶺南學報 Lingnan Journal of Chinese Studies

清初流放東北的事件，規模之大、牽涉之廣史無前例，涉及歷史、政治、文化、文學種種方面。不少流人在戍所仍寫作不輟，他們的詩文作品大有研究的價值。本文探論方孝標 (1618—1696) 在赴寧古塔途中所作之組詩《東征雜詠》，其内容、情感、語言異常引人入勝。本文著眼於下列問題：流人難以言喻的精神、心理狀況是如何經由文本的文學、美學機制而得以反映、再現的? 流放世界的間隙性“閾限”(liminality) 與流放文字本身的“閾限”是怎樣的一種依存關係？我們又可以怎樣從歷史、哲學、文學的角度去理解、描述這種“居間性”(inbetweenness)? 這些提問有助我們理解“流人作爲詩人”或“詩人變作流人”的方孝標的形象與聲音。我們也將看到，流人在異域的山川風物中，在文化與語言的差異中，在精神與肉體的卑辱經驗中，以及在迷惘困惑的自我主體性中，必然會遇上一個“他者”(other)。

Exile to Manchuria in the early Qing ( 1644 - 1912) is a peculiar historical, political, and cultural phenomenon whose scale and scope is unprecedented in pre-modern Chinese history. Among the exiles were some very accomplished writers who continued to write in the places of banishment, and their treatment of the trope of exile and exilic experiences in poems and prose writings is worthy of serious study. This paper is a study of the exilic writings of the especially important yet understudied poet Fang Xiaobiao (1618 — 1696), who in the wake of the …

女夷救忠臣 : 《血影石》中的性别、疆界與華夷辯證, Chiung-Yun E. Liu

嶺南學報 Lingnan Journal of Chinese Studies

清初蘇州派劇作家朱佐朝《血影石》傳奇，敘寫八百媳婦國跨海向中國興兵,拯救明初“靖難”忠臣之家。本文由此出發，考察晚明清初文學敘寫華夷互動，當中内/外、自我/他者之間的關係如何安排，史地知識之實與建構想像之虚，彼此如何交錯轉换。本文首先將《血影石》與晚明小説《英烈傳》及《西洋記》對照分析，以見晚明清初小説戲曲中，華夷關係想像内涵的異同變化。其次聚焦《血影石》，分析劇作家如何在性别、華夷、政治錯综的場域中，調度轉化陰/陽、中原/異域、野蠻/文明符號，使原處從屬地位的“女”、“夷”得到角色動能，成爲救援行動的關鍵力量，並自海洋邊緣，以八百媳婦國爲中心，重構出另一套世界地理秩序，與中華視野下的華夷觀相抗衡。

In the seventeenth-century chuanqi play Xieying shi 血影石 (The Rock with Shadows of Blood), the tributary state of the Ming Empire, Babai xifu guo 八百媳婦國 (Lanna Kingdom, primarily in modem Northern Thailand) leads a joint fleet of the states in the southern and western oceans to “correct” the moral failings of the Ming Empire in China. After the civil war, the victorious Yongle Emperor usurps the throne from his young nephew, the Jianwen Emperor, executes the latter’s loyal ministers and persecutes their families. This play raises the questions as to what defines Yi (the foreign barbarian) as opposed to …

“龍城飛將”與古詩中地名, Ming Yang

嶺南學報 Lingnan Journal of Chinese Studies

唐代詩人王昌齡名作《出塞》中“龍城飛將”之語，應理解爲横行萬里、轉戰絶域的大將，不應理解爲專指漢代的“飛將軍”李廣。“飛將”“龍城”都是泛指。將原本專指邊塞某地的名稱虚泛化，作爲一種詞藻使用，是南朝以來詩文創作裏的常見現象。不僅涉及邊塞的作品，一般詩作中也可以見到類似情況，詩人們以泛用地名的手段，表達感受，營造氣氛，而不顧地名的實際所指。

The words of “flying General of dragon city” (龍城飛將) in the famous work Going out of the frontier (《出塞》) by Wang Changling of the Tang Dynasty should be understood as a general who traveled thousands of miles and turned to fight in a remote area, not to refer to Li Guang, the “flying general” (飛將軍) of the Han Dynasty. Both of “Flying general” (飛將軍) and“dragon city” (龍城) are general terms. It has been a common phenomenon in poetry since the Southern Dynasties that the name originally specifically refers to a certain place in the frontier fortress is used as …

《讀書聲》與清初社群的界限, Ariel Fox

嶺南學報 Lingnan Journal of Chinese Studies

本文透過傳奇《讀書聲》中出現的奇異生物，探索了帝國晚期的中國對於非人他者的想像。全劇行至中段，元初書生宋儒發現自己被抛棄在一座遥遠的荒島上。在那裏，他被一隻人熊救起並與之結爲伴侣，這是一隻勇猛卻又充滿善意的類熊生物。儘管兩者的結合時日不長，但是藉由婚姻，邊緣化角色被置於中心位置（既是故事的、又是帝國的中心），這樣的情節在全劇爲數不多，因而具有重要意義：此外，待到結局之時，書生與船夫之女和蒙古官員之女雙雙成婚。然而，當這樣的雙重婚姻爲有效跨越文人與商人、漢人與蠻夷之間的差異提供了可能，人熊的悲劇命運卻又消弭了任何跨越人獸界綫的機會。換言之，随著商人和蒙古人成爲新的社會群體的一部分，人熊卻標誌着一條必需的界限。劇中，正是這條界限使得社會與民族的他者擺脱了低賤與野蠻的標籤。與此同時，新社群對於人熊的排斥也並非無憂；通過顛覆傳奇普遍對完整性的强調，《讀書聲》戲劇性地展示了清初秩序重建所必經的分裂與排斥。

This article explores the late imperial imagination of the nonhuman other by way of a curious creature that appears in the southern drama Dushu sheng. Midway through the play, set in the early years of the Yuan dynasty, the young literatus protagonist is abandoned on a remote island, where he is rescued by a renxiong, a fierce yet empathetic bear-like creature that takes him as its mate. Though short-lived, their union is one of several in the play in which marginal characters are brought into the (narrative and imperial) center through marriage: by the end of the …

“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 …

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 …

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 …

《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 …

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 …

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 …

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 …

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 …

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 …

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 …

“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 …

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 …