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口誦心惟 : “文氣”説的聲音性與文本性, Qi Hu

嶺南學報 Lingnan Journal of Chinese Studies

在中國傳统文學批評中，“氣”是一個内藴豐富的概念，兼有作者才氣、語句辭氣、篇章氣勢等多層次的含義。本文從“聲音”的角度追溯“文氣”概念的濶源，認爲中國古典文論中的“氣”基本含義即是貫通“人”與“文”的語言聲氣。在文學主要媒介由聲音轉爲文字之後，“文氣”的概念也發生了隱喻化的轉向，被詮釋爲“擬生命體”的文章中内藴的氣力。後世文人一方面通過字法、句法、章法的講求，以細部批評探尋“氣盛則言之短長與聲之高下皆宜”的文字形態，另一方面也用誦讀的方式，不斷重構“文氣”的聲音本源。

In Chinese literary criticism, “qi” is a concept with multi-layered meanings, including the author’s talent, tone of sentence, the coherence of writing, etc. This article traces the origin of the concept of “wenqi” (qi in or of written texts), points out that the basic meaning of “qi” as a literary term is the sound of language. According to ancient Chinese concepts, the human body and speech sounds are both composed of qi. Therefore, qi naturally connects the speaker to the phonetic form of the text. This material connection between speaker and …

“義法”原委考 : 一個古文概念工具的“時間層”, Yin Lu

嶺南學報 Lingnan Journal of Chinese Studies

“義法”是清代學者方苞提出的一個古文概念，詞源見於先秦子書、《史記》以及漢代以降有關《春秋》書法、義例的討論，其意義源則是宋元明以來的文章法度之學。清初方苞激活“義法”一詞，賦予其表微、紀事、辨體等多層含義，使之區别於文法“意義群”中的其他親緣詞，實可謂“有爲而作”。康熙末《南山集》案的刺激，使方苞致力於索解司馬遷的盛世心曲，通過《史記》義法的闡釋，試探政治高壓下的隱微表達機制；同時代史學單向度的徵實風尚，更激發方苞在紀事義法中凸顯主觀真實。在方苞身後，桐城後學試圖以“聲氣”超越“義法”，將“義法”理解爲桐城古文結構中一個較粗的環節。古文圈外對於“義法”的理解則更趨寬泛。“義法”概念不斷衍變，多個“時間層”重疊層累，既有在無意識間沿襲前代文法之學的“古層”，又有在政、學具體語境中强烈波動的“表層”。

Yifa (substantive technique) is a literary critical concept proposed by the Qing scholar Fang Bao (1668 - 1749). The origins of this term can be traced back to pre-Qin philosophical texts, the Shiji (Historical Records), and Han dynasty discussions of the Chunqiu (Spring and Autumn Annals); the significance of the term, however, draws on and reacts against the standards of literary composition characteristic of the Song, Yuan, and Ming dynasties. These standards constitute a “meaning cluster”, against which Fang Bao distinguished substantive technique as a conceptual apparatus with which to confront the elite culture, scholastic paradigms, and literary style …

引言, Xinglu Zhou

嶺南學報 Lingnan Journal of Chinese Studies

文學理論幾乎是與文學同步産生的。自從有了文學，就有對文學的認知和解讀。中國文學理論是中華文明的重要組成部分，與中華文明一樣歷史悠久，源遠流長，是中華民族審美意識的精粹、人文精神的結晶、思想智慧的花朵。中國文學理論與源於歐洲文明的西方文論，各有其文化根基和發展路徑，各具特性，面目不同，也有相通甚至相同之處，都是人類文明的成果，值得共同分享，相互補充。

文德 : 中國文論尚德精神的理論基石, Xinglu Zhou

嶺南學報 Lingnan Journal of Chinese Studies

“文德”是中國文論之作家論的基點，貫穿數千年中國文論史，形成了尚德的中國文學傳统。“文人”在社會治理與文明傳承中擔任著重要的任務，因此對“文人”的道德品質有嚴格的要求，而文藝創作天然地崇尚超越規矩、擺脱束縛的精神自由，二者之間構成内在的衛突，於是衍生出“文人無行”的命題。傳统文學批評從正面强調“文德”，德爲主，文爲輔，主次鮮明。面對不同的社會文化現狀，基於不同的思想立場，對“文德”的理解不盡相同。或提倡士先器識而後文藝，或强調士人“不俗”的品格，或主張“性情之正”，以理正情，對情感的抒泄加以疏導和匡正。至明清時期標尚“志士”之詩文，心憂天下，關懷民瘼，個人情懷緊緊聯繫著社會苦難和時代劇變，傳统的“文德”論的内涵因時因地而發展變化，當前中國文論應該有新時代的“文德”論。

Literary Virtue is the basic point of the writer’s theory in Chinese literary theory. It runs through the history of Chinese literary theory for thousands of years and forms a Chinese literary tradition that advocates virtue. Literati played an important role in social governance and civilization inheritance. Therefore, there are particularly strict requirements for the moral quality of literati. Literary and artistic creation naturally advocates spiritual freedom that transcends rules and gets rid of constraints. The two constitute an inner conflict gave rise to the proposition that “literati lack morals”. Traditional literary criticism emphasizes Literary Virtue from the front, …

“文道觀”的理論内涵及其歷史演變, Ning Liu

嶺南學報 Lingnan Journal of Chinese Studies

“文道”是中國古代文論的核心範疇，“文道觀”關注文學的思想内涵與社會價值。先秦時期荀子提倡“宗經明道”，推重儒家經典對明道的重要意義。南朝劉勰《文心雕龍•原道》提出的“文原於道”强化了“文道觀”的本體論建構。唐宋古文家及其後繼者提倡“文以明道”，追求“文道並重”“文道合一”，在强調創作者主體自覺的基礎上，提倡“文”的明道意義。理學家提倡“文以載道”體現出“重道輕文”的理論傾向。20世紀後，園繞“文以載道”所展開的質疑與反思，推動了對傳统“文道觀”的抽象繼承。

A core term in traditional Chinese literary theory, wendao is concerned with the philosophical underpinnings of literature and its intellectual and social value. In the pre-Qin period, Xunzi promoted “Honoring the canon and illuminating the Way”, emphasizing the significance of the Confucian canon for understanding the fundamental principles of the world. The Southern Dynasties literary theorist Liu Xie, in his “Origination in the Way” chapter of the Wenxin diaolong, gives the idea that “Literature originates in the Way” an emphatic expression, solidifying an essential linkage between the term’s two components, wen (“literature,” “writing,” “embellishment”) and dao (“the Way”). …

“韻”範疇的衍化脉絡與“神韻説”的近世展開, Tijian Hou

嶺南學報 Lingnan Journal of Chinese Studies

“韻”從最開始表示聲音和諧的“聲韻”，轉而在魏晉時衍化爲評論人物、繪畫、詩文的涵括性術語，並與其他限定詞組合形成複合型概念，逐漸成爲中國文藝批評的重要範疇。宋人對“韻”作了全面系统的闡釋，並將其提升爲文學藝術的最高境界。尤其是范温在《潛溪詩眼》中以“有餘意之謂韻”和“韻者美之極”爲思想核心，建構了“韻”範疇相對完整的體系。爰至清代，王士旗吸收前人如司空圖、嚴羽、陸時雍等人的詩學資源，高舉“神韻説”的旗幟，成爲“韻”範疇在近世展開的最重要、最有影響力的形態。“韻”所追求的“取之象外，得於言表”的審美理想，不僅見於古代中國，也廣泛存在於其他文化語境中，應被視爲人類審美的一種共同取向。

The term “yun” originally referred to the harmony of sounds. During the Wei and Jin periods, it evolved into an inclusive term for evaluating people, paintings, and literary works. It combined with other qualifiers to form composite concepts and gradually became an important category in Chinese literary criticism. Song Dynasty scholars systematically explained “yun” and elevated it to the highest realm of literary art. Fan Wen, in particular, built a relatively complete system of the category of “yun” in his “Qianxi Poetry Eyes” with “yun as the lingering/extra meaning” and “yun as the ultimate beauty” as his core concepts. …

編寫"亡國"歷史記憶 : 徐鉉《吴王隴西公墓志銘》之興亡敘事與李煜論定, Xincheng Zhang

嶺南學報 Lingnan Journal of Chinese Studies

本文以墓志銘爲媒介，期以探析趙宋官方對待降君之態度，透視南唐降臣入宋後的處境與心態，進而側觀趙宋君臣如何回憶並編寫征服南唐的歷史記憶，以及如何詮釋被征服者的政治地位。本文鈎沉徐鉉受宋太宗命爲李煜撰墓志銘背後複雜緊張的政治背景，發現徐鉉在把握趙宋官方統一南唐的立場時，也存故主之義，使之同時具有特殊的文學與史學價值。徐鉉構建南唐國亡乃天命所歸的敘事模式，既淡化李煜亡國之君責任，又尊奉揄揚了趙宋承天受命的正統性。徐鉉還粉飾歷史情境中趙宋侵略的主動性，同時還將國覆責任推之於離間趙宋、南唐關係的吴越。而著重敘述南唐被代表正統的趙宋所併，也源於太宗朝對“太平”這一統治目標的追求。徐鉉在對李煜形象與功業進行蓋棺論定時，突顯李煜對内以古道馭民施行仁政，對外謹藩國之度；藉之促使降臣群體再次認同南唐被趙宋征服的歷史事實。徐鉉繼承“燕許”碑取實録的寫作要旨，客觀指出李煜治國時的弊端，也隱含反省規箴之意。在銘文中以騷體描述李煜既葬勒銘的過程，以典奥淒婉之風抒發哀悼；且運散入駢，顯出雄辭逸氣。徐鉉實對北宋文壇具深遠影響，以該文爲取徑重新審視徐鉉駢文價值，明晰北宋廟堂文章倡古道、守法度、重氣格的文學風尚實有源自宋初徐鉉之跡。

This paper examines tomb inscriptions as a medium to analyze the Zhao Song dynasty's official attitude toward defeated monarchs, specifically to illuminate the conditions and mindsets of Southern Tang officials after their submission to the Song dynasty. It further observes how the Zhao Song rulers and ministers recalled and constructed the historical memory of their conquest of Southern Tang and interpreted the political status of the conquered. The study delves into the complex and tense political background behind Xu Xuan's commission by Emperor Taizong of Song to compose the tomb inseription for Li Yu of the Southern Tang dynasty. …

新見哈佛大學燕京圖書館藏錢謙益《吾炙集》舊鈔本考論 : 兼談此集的編選與刊刻, Yang Xu

嶺南學報 Lingnan Journal of Chinese Studies

錢謙益所輯《吾炙集》作爲清初詩歌選集之重要一種，乾隆間雖曾遭禁毁，仍在清代産生了深遠影響。通過對相關序跋、題詞、評注的解讀，可知《吾炙集》的編選乃本乎真性情，標舉風雅，以見詩家之靈心。從錢氏評語亦可窺見其崇尚自然質樸、反對一味模擬復古的詩學主張，以及晚年對於幽憂衰頽的“亡國之音”的不滿情緒。《吾炙集》初以鈔本形式流傳，因遇文網，故秘而未刊，現存有光緒二十八年刊《怡蘭堂叢書》本、光緒三十三年刊《佚叢甲集》本、民國六年刊《虞山叢刻》本三種，各本跋文略述版本之由來，也存有若干疑點，《吾炙集》是否爲未成之書，所收詩家多寡，前人多謂尚待續考。新見哈佛大學燕京圖書館所藏舊鈔本，爲我們進一步研究提供了重要綫索，今蒐集辨析《吾炙集》刊本、鈔本，又考以相關詩文别集，可知傳世本《吾炙集》應非完帙，集中前二十家當是從錢氏原稿所出，而許友一家則並非原貌。另外，許友目下之末二首可能爲方文佚詩，而卷末評語亦非許友詩評，而是錢謙益評方文詩語。

The Wu Zhi Collection, compiled by Qian Qianyi, is a significant anthology of early Qing poetry. Despite being banned during the Qianlong era, it had a profound impact throughout the Qing Dynasty. Analysis of the prefaces, postscripts, inscriptions, and commentaries associated with the collection reveals that its compilation was rooted in authenticity and genuinity, aiming to showcase elegant tastes and the spiritual essence of poets. Qian's own commentaries also reveal his preference for natural simplicity over slavish imitation of antiquity, as well as his late-life dissatisfaction with the "sounds of a lost nation" (wang Guo zhi yin …

塑造"中國" : 成康大分封與成周王畿區的空間整合, Xianchuang Ye

嶺南學報 Lingnan Journal of Chinese Studies

後世多將《詩經．北山》“溥天之下，莫非王土”視爲西周王朝美好政治願景，實際這句話真切反映出周人欲實現大一統的宏圖。而要達成這一政治鵠的，藉由分封制的推廣來重構新的“中心—四土”地理格局勢在必行。西周統治核心區爲《漢書．地理志》所言的“洛邑與宗周通封畿”，與西部宗周王畿的形成不同，東部的成周王畿區是周公東征以來軍政謀略運用下的塑造結果，突出展現在成康大分封時代異姓諸侯的徙封和姬姓子弟的新封中。商末周初異國楚、鄂原居中原要地，因其阻礙周人地盤擴張和核心區穩固，迫其南遷，而姻戚陳國的褒封因不合於成王封建佈局，亦徙封至南土。成王在令康叔徙封至衛以領有殷舊畿大部基礎上，再於中原新封邘、凡、共、柞、密諸姬姓國。康王更進一步將姜姓焦國遷出三門峽，另封以姬姓焦國來穩固兩畿之間，並將本居邢丘的邢國徙封至北土邢臺以抗戎，從而真正起到蕃屏功效。每一分封（含徙封）諸侯的背後，都體現周初統治者精心建構其地緣空間、優化國土結構的高超設計，最終令後世爲華夏代名詞的“中國”區域在成康時代基本奠定下來。

"Under the vast heaven, all is the king's land" a line from The Book of Songs "Beishan" has often been interpreted as an expression of the Western Zhou Dynasty's ideal political vision. However, this phrase more accurately reflects the Zhou people's ambition for great unification. To achieve this political goal, the promotion of the feudal enfeoffment system to restructure the new "center-periphery" geographical pattern was essential. The core ruling area of the Western Zhou was the region described in The Book of Han "Geography Records" as "Luoyi and Zongzhou's joint royal domain." Unlike the formation of the western Zongzhou …

直覺與境界 : 朱光潛對王國維境界說的詮釋及對話, Jian Zhang

嶺南學報 Lingnan Journal of Chinese Studies

王國維《人間詞話》雖吸收傳統詩學並以中國傳統的詩話形式寫成，卻深具現代美學的眼光。其境界説既是中國傳統文論的發展，也是中國現代美學的奠基。朱光潛以克羅齊的直覺説爲觀念框架將王國維的境界説納入其中，對其觀念作了進一步的詮釋與再造，使得境界成爲詩論體系中的核心範疇，亦使境界説轉化爲現代美學的基本範疇。朱光潛在吸收王國維境界説建立本人之詩學過程中，也與王氏形成了詮釋與對話關係。王國維論詞有隔與不隔之説，朱光潛對王氏的理解與詮釋究竟隔與不隔？實成一有趣的學術史問題。從王國維到朱光潛都融會中西文論與美學而自成其説，呈現出晚清到民國期間學術轉型的重要面向。

Although written in "poetry talk" form developed in traditional Chinese poetry criticism, Wang Guowei's The Ci Poetry Talk of the World introduces a perspective of modern aesthetics and establishes his theory of "Inscape." After Wang Guowei, Zhu Guangqian adopted Croce's theory of intuition as a broad conceptual framework to rethink and transform Wang's theory into a broader aesthetic paradigm. His sustained dialogue with Wang raises an interesting question of an interplay between lucidity and opaqueness concerning his expositions on Wang's critical insights. The rise of Wang's and Zhu's theories betoken the profound transition of Chinese intellectual thought during the …

明代《冬官》未亡說新論 : 以明代何喬新《周禮集注》為討論中心, Tak Wah Leung

嶺南學報 Lingnan Journal of Chinese Studies

明代治《周禮》者衆多，著作且豐，然後人對明代《周禮》學卻並不重視，如《四庫全書》於“周禮”一類只收三種明人著作，即柯尚遷《周禮全經釋原》、王應電《周禮傳》及王志長《周禮注疏删翼》；《四庫全書簡明目録》更於《周禮注疏删翼提要》中言“以有明一代，三禮幾成絶學，故姑存以備家數”，可見四庫館臣對明代《周禮》學著作極爲輕視，甚至深詆由宋至明《冬官》未亡説之討論。這些論述影響及至現代，至今仍有不少學者承續《提要》的立場，批評明代補亡研究，以致鮮有學者探討相關著作。有見及此，本文擬深入探討《周禮·冬官》補亡的現象，嘗試描述由宋、元至明代中期《冬官》未亡説發展之脈絡，其後再重點討論明代何喬新《周禮集注》之《冬官》未亡研究的特點。因《集注》系統整理宋、元的補亡觀點，且簡明地訓釋《周禮》原文，並常借經文發揮《周禮》大義，引起了明代《周禮》學者廣泛的重視，因而本文亦會討論《集注》對明代《周禮》學之影響，從而略補前人研究之未足。

During the Ming dynasty, the study of The Rites of Zhou flourished with numerous scholars and an abundance of works; however, later scholars, including those involved with the compilation of the Complete Library in the Four Branches of Literature, did not place significant emphasis on these studies. For instance, among the works categorized under "Rites of Zhou," only three from the Ming authors were included: Ke Shangqian's Complete Explanations of the Rites of Zhou, Wang Yingdian's Commentary on the Rites of Zhou, and Wang Zhichang's Annotated and Abridged Rites of Zhou. The Concise Catalogue of …

清代雍乾時期書院的思想鉗制功用, Enhai Lei, Jing Tian

嶺南學報 Lingnan Journal of Chinese Studies

清代書院的數量爲歷代之最，然而在高壓文化政策背景下，世宗、高宗兩代帝王發展書院教育的主要目的其實是將書院改變爲官辦性質，從而使其成爲朝廷鉗制文士思想、監控其言行的平台和工具，目的是以愚民化的方法來增强君主專制權力。兩代帝王先後通過增加提督學政的監察權，提高山長束脩及生員膏火銀，嚴格月課考核，改科舉策論文爲試帖詩，提倡程式化的八股文寫作，廣泛而深入地宣講《聖諭廣訓》等方式，實現對廣大士子思想的鉗制與禁錮。就其實質而論，乃建州落後的奴隸制宗法體系之金字塔式的主奴關係爲其根本，假借儒家倫理觀念爲其外衣，形成社會思想控制的嚴密體系，爲居於頂端之皇權服務。這一系列的措施雖獲得了王朝的一時穩定，但是極大地損害士風和學風，爲晚清的貧弱狀況埋下了禍根，也嚴重地阻止了中國社會近代化的進程。

During the Yongzheng and Qianlong reigns of the Qing Dynasty, the number of academies reached an unprecedented level. However, within the context of stringent cultural policies, the primary objective of these emperors was to transform these academies into state-run institutions, thereby turning them into tools for the imperial court to control the thoughts and monitor the behaviors of scholars. This strategy aimed to strengthen monarchical absolutism through the method of keeping the populace unenlightened. The measures implemented included increasing the supervisory powers of the educational commissioners, raising the financial support for academy heads and students, instituting rigorous monthly academic …

宋玉"負俗"與《文心雕龍•雜文》立篇之義, Yanyan Shen, Yunhe Xu

嶺南學報 Lingnan Journal of Chinese Studies

“負俗”是劉勰對宋玉的評價，也是其設置的解讀對問一體的重要語境。負俗意即與世俗相違而遭受譏議，負俗者則多爲含才高士，他們不媚俗、不合衆，往往能做出超越俗衆的卓越成就。宋玉負俗不僅體現在其爲人與世不諧，亦體現在其負俗、抗俗的文學創作當中，具體言之，則是開創對問一體、關注世俗題材、創作導向諧趣化以及敘述虚構化、戲劇化。此外，在劉勰列舉的七體、連珠及創作者本人身上，也可見出其含才負俗的鮮明特徵，説明在劉勰的思想意識中，負俗是作家可貴的爲人品質與文學品格，而雜文則是文人含才負俗的綜合體現，是其以遊戲心態創作、表現文人情志、展示文學技藝的文類。認識雜文的特徵，劉勰所謂“負俗”無疑是一個重要的基點。

The term "contrarianism" (fusu 負俗) is Liu Xie's description of Song Yu, and it is also a crucial context for his theory of interpretation through the unity of question and answer. Contrarianism means opposing worldly norms and often facing criticism as a result. Contrarians are often talented scholars who neither pander to popular tastes nor conform to the majority and often achieve exceptional success. Song Yu's contrarianism is not only evident in his personal discordance with societal norms but also manifests in his literary works, which are characterized by innovative dialogic structures, a focus on secular themes, an …

尊體與復古 : "詞樂恢復"視域下的清初自度曲現象, Jia-Yun Yu

嶺南學報 Lingnan Journal of Chinese Studies

清初自度曲的興盛，既是針對明人自度曲的俗陋率意所做出的修正，同時也是清人重視音聲之學，主張以“詞樂復古”爲尊體的路徑展現。本文以清初詞樂恢復的風氣爲背景基礎，觀察清初自度曲現象的形成背景、發展概況與創作特徵。清初文人批評明人混淆詞曲，多爲妄作，嘗試通過自度曲重新建立詞與音樂的連結。由“上附風騷”爲論，清人之尊體除將詞體的起源追溯自詩騷外，自度曲的製作、製曲樂器，乃至於對姜、張自度曲的讚賞，皆是“繼聲音之秘響”的自我作古表現。接著以雲間詞人與西陵詞人兩個文人群體爲例，其間交遊唱和的自度曲作品，除凝結文人群體認同外，亦直接有助於自度曲的流傳，達到了“用廣新聲”的作用。要之，清初文人所謂詞樂恢復，是將詞體重新納入合樂而歌，合律而作的音樂文學傳統。惟在康熙晚期譜律之學確立與其後浙西詞學的盛行影响之下，自度曲的創作亦隨之衰微。

The flourishing of self-composed tunes in the early Qing dynasty was both a correction to the perceived vulgarity and capriciousness of Ming-dynasty compositions and a demonstration of the Qing scholars' emphasis on the study of sound, advocating for a "revival of lyrics and music" (ci yue fugu 詞樂復古) as a revered practice. This paper builds on this observation and explores the context of early Qing self-composed tunes' emergence, developmental overview, and creative characteristics from the perspective of the " revival of lyrics and music." Early Qing literati critiqued the Ming predecessors ' confusion of lyrics and music, largely …

根據《世説新語》某條疏證晋、齊、楚區域之學術、文化記憶與分歧, Chunhong Wang

嶺南學報 Lingnan Journal of Chinese Studies

文化絶非一成不變的，此在時間和空間之兩端，俱可體會中國文化與時俱進，它在各個時代分别借用不同區域的文化資源，而匯總起來就形成整體的中國文化。中國古代任何時期士人或政治人物都具有兩面性，他既是傳統的，又是現實的，所謂傳統就指他受某種區域或學派的思想學術之熏染，所謂現實乃指其人現實處境中的具體反應，而此種人生際遇下的現實表現又必然與其文化傳承存在著某種關聯，或者説其人所受文化觀念之影響又鮮活地體現在其人生應對之間，尤其面臨巨大挑戰時候，其言行舉止必然與其人知識結構、學術積累及思想意識保持一定程度的契合，而《世説新語·言語》某條所記述王坦之、伏滔和習鑿齒三者之間的對話，恰好牽涉三晋、齊地與荆楚的歷史文化之歧異和衝突，而此三者又與秦、漢、魏晋三個時代依稀有著對應關係，所以既是時間的流轉，又屬空間理念之此消彼長，由此入手，揭示此三地文化歷史之記憶與分歧，亦涉獵中國文化版圖之犖犖大端，或藉以呈現朝代更替間的必然性邏輯，而此種分析和研究也既屬歷史的推流溯源，又可一窺接受文化路徑依賴的王、伏、習三者之不同的現實處境和内心世界。

Chinese culture advances by drawing cultural resources from different regions at different times, which come together to constitute its totality. Scholars and officials in ancient times were both traditional and realistic: the former meaning that they were influenced by the scholarship of a certain region or school of thought; the latter referring to their responses to their immediate realities. In life’s twists and turns, the choices they made were necessarily linked to cultural lineage or reflected the influence of cultural ideas vividly, and their writings and behaviors were in sync with their knowledge structures, intellectual cultivations, and ideologies, especially …

鍾會讒殺嵇康公案的再審視——對《世説新語》史料的分梳, Shulin Zhong

嶺南學報 Lingnan Journal of Chinese Studies

以鍾會爲個案，探討《世説新語》獨特的編撰體例、編撰思想及其對歷史人物的獨到品鑒與書寫，體現出不同於《三國志》《晋書》等史籍而自成一家之言的可貴價值。在以往研究中，鍾會被誤認爲進讒言而誅殺嵇康，成爲嵇康之死的直接推動者，被後世披以惡名，今以《世説新語》對鍾會的幾則記載爲例，參驗以其他典籍，可知鍾會之惡名實多爲誤解或誤讀。我們以“了解之同情”，重回歷史現場，以《世説新語》文本記載爲基點，對鍾會生平及行事，細加考索，可以了解到鍾會才學過人，“不是什麽不知義理的武人”（吕思勉語），其行事舉止、社會聲譽，總體而言，皆有令名，《世説新語》所載大抵契合當時實況。而後世對鍾會所責之惡名，宜有所釐正。

This article reinvestigates the case of Zhong Hui slandering Ji Kang and discusses A New Account of Tales of the World’s unique compilation style and philosophy and its appreciation and representation of historical figures, which illustrate its stand-alone value different from that of Annals of the Three Kingdoms and Book of Jin. Previous research has argued that Zhong Hui’s slander was the direct cause of Ji Kang’s death and has drawn critiques to the former. This article reads the records about Zhong Hui in A New Account of Tales of the World with references to other classical …

《堯山堂外紀》雜纂成書方法考略, Jingyi Cao

嶺南學報 Lingnan Journal of Chinese Studies

明人蔣一葵編纂《堯山堂外紀》一百卷，以人爲綱，輯録詩歌作品及其本事，體量龐大，取材獨特，唯全不注出處，無從得知其材料來源，瞭解其成書方法。《堯山堂外紀》事實上輯録了《歸田詩話》、《西湖遊覽志》、《西湖遊覽志餘》、《留青日札》等詩話、筆記、雜記類文獻，並通過抹除原著者的個人風格，改變原史料的叙事重點，統合諸書的不同體例等策略完成了對諸種文獻的利用。同時，蔣一葵曾箋釋李攀龍《唐詩選》，此書很可能也曾被與《堯山堂外紀》相互參照編纂。蔣一葵對《堯山堂外紀》的編纂有著明確的去取原則與體例自覺，即堅持以人爲中心、以文學掌故爲主要内容。他統一了不同文獻的不同風格，這使此書雖然出自諸書雜纂，卻具備極高的鎔裁性。《堯山堂外紀》的編纂代表了明代流行的文學文獻彙編方式，展示了其背後的工作方法與原則。

Ming-dynasty scholar Jiang Yikui 蔣一葵 compiled the Supplementary Records Compiled in the Yaoshan Study 堯山堂外紀 in one hundred volumes. Organized primarily around individual figures, this compilation encompassed a vast collection of poems and anecdotes. Notably, the sources of these select materials were not provided, rendering it challenging to discern their origins or understand the methodologies adopted in the compilation. Supplementary Records compiled in the Yaoshan Study records from varied genres of literary sources, such as Returning to the Farm: Remarks on Poetry 歸田詩話, Records of the West Lake Tour 西湖遊覽志, Additional Records of the West Lake Tour 西湖遊覽志餘, and …

明代注杜對朱熹賦比興結構解《詩》法的繼承與改造, Xiaotong Xu

嶺南學報 Lingnan Journal of Chinese Studies

談到明清詩歌結構分析理論，學界或著眼於起承轉合的研究，或集中討論時文作法與詩歌結構分析法的相互影響，還未注意到宋代朱熹的賦比興結構解《詩》法同樣是明清詩歌結構分析的重要來源。明人借鑒朱熹解三百篇的模式來注釋詩歌，雖被四庫館臣批爲“至每篇仿《集傳》，注興也賦也比也字，尤多所牽合矣”，但細究其體例卻不乏可取之處，在某種意義上，甚至可稱爲動態的意脈解詩法之開端。以明代注杜本爲例，探討明人在詩歌結構分析上對朱熹賦比興結構解《詩》法的繼承與改造，及其對清代解杜詩的影響，能夠豐富明清結構解詩發展的不同維度。

When discussing the theories of structural analysis of Ming and Qing poetry, scholars have either focused on the progression from introduction to climax or the mutual influence between prose techniques and poetry structural analysis. However, the Song-dynasty influence of Zhu Xi’s method of analyzing poetry based on narrative, analogy, and association has been overlooked, even though it also serves as a significant source for structural analysis of poetry in the Ming and Qing dynasties. Although Ming scholars borrowed Zhu Xi’s model to annotate poetry and were criticized by the officials of the Complete Library of the Four Treasuries 四庫全書 …

“説”“語”結合與《世説新語》的文體學考察, Zhongsheng Wu

嶺南學報 Lingnan Journal of Chinese Studies

關於《世説新語》的文體特質，歷來争論不休。實際上，《世説新語》既有“説”的傳統特質，又有“語”的固有品格，是“説”“語”的結合體。從“説”體來説，《世説新語》既傳承了經傳文字的奇巧，又繼承了史傳文字的故事性，還有論述文字的“斷辭”之美；從“語”體來説，《世説新語》具有語録、口語化、簡潔性等特徵。“説”“語”結合，使《世説新語》在文體特徵上，語奇顯機鋒、問答出辯才、對答有斷辭、對比出雅趣、言簡有情節，給人耳目一新之感。

Ceaseless debates have been conducted over the stylistic features of A New Account of Tales of the World, which combines the characteristics of shuo 説 (telling) and yu 語 (language). In terms of shuo, A New Account of Tales of the World inherited the ingenuity of Confucian classics, the narrative character of historical writings, and the rhetoric of argumentative essays. Concerning yu, it has the characteristics of quotation, colloquialism, and conciseness. The combination of shuo and yu infused A New Account of Tales of the World with refreshing stylistic features such as sharp and witty speeches, …

秦穆公稱霸西戎與《左傳》比事見義之書法, Kao Ping Zhang

嶺南學報 Lingnan Journal of Chinese Studies

孔子作《春秋》，筆削之去取從違，比事之先後措置，屬辭之修飾連綴，皆脈注綺交於“丘竊取之”之義。《左傳》以歷史叙事解經，或先經、後經，或依經、錯經，是所謂言有序。《春秋》《左傳》，相互表裏，事義更相發明，故學者多考據《左傳》事實，以推求《春秋》“都不説破”之微辭隱義。排比編次而叙事，言之有序以顯義，《春秋》《左傳》比事以觀義，準此。今以《左傳》叙《秦穆公遂霸西戎》之本末爲研究材料，論其叙事之義法有四：曰語叙，曰提叙，曰對叙，曰搭叙。然後知《史記·太史公自序》所謂“述故事，整齊其世傳”，在凸顯如何書之“述”。可見先後位次之“叙”（序），時措從宜之“法”，即是中國傳統叙事學之亮點與核心。與西方叙事學相較，會當有别。

In the Spring and Autumn Annals 春秋 compiled by Confucius, his unique views manifest in his adding or removing words, his sequencing of events, and his connecting the words to their contexts. The Commentary of Zuo 左傳 interpreted the Spring and Autumn Annals in an orderly sequence of historical narratives written either before or after, either in accordance with or in contrast to the latter. The Spring and Autumn Annals and the Commentary of Zuo elucidate each other’s essence and clarify each other’s meaning. Therefore, scholars have used the historical records in the Commentary of Zuo to analyze the …

宗周政典的名實之轉 : 從《訓典》到《書》, Pei Zhao

嶺南學報 Lingnan Journal of Chinese Studies

傳世典籍中多見“古訓”、“大訓”、“訓典”，前人以其“神話多而史實少，與宋以來的評話體例相似”，爲後世“小説”之祖，核以實例，所論偏頗。通過梳理有限的早期記載，我們能夠發現，就其功能而論，宗周代代傳承的《訓典》（彙編），可謂最早的《書》類文獻；就其“實”而言，稱名逐漸被《書》、《書》的具體篇名和類名（《夏書》、《商書》、《周書》）所替代。换言之，《書》類文獻彙編形態的名與實發生過一次變化。由《訓典》而成了《書》。這一轉换，同《書》學授受形態由依重口耳向口耳與竹帛並行之轉换正相關。就《國語·周語上》所載從穆王到幽王的十數條推測，《書》從《訓典》系統中獨立出來當在厲王以後，最晚至宣幽之際已經存在。值得注意的是，《書》代替了《訓典》的主要功能後，因其制度慣性以及“訓”之國别屬性，諸國“修其《訓典》”的活動依舊存在。

“Ancient teachings,” “grand teachings,” and “instructional teachings” frequently appear in the extant classical texts. Previous scholars have noted their resemblance to the narrative style prevalent from the Song dynasty onward, often laden with myths and sparse in historical facts, dubbing them the precursor of later “novels.” Such interpretations, based mainly on specific examples, seem biased. Through a meticulous examination of early records, we discern that, in terms of their function, the “instructional teachings” (compilations) passed down through the Zhou dynasty can be deemed as the earliest “book” type documents. As for their tangible existence, these titles were gradually superseded …

程炎震生平及其校證《世説新語》的成績, Xinglu Zhou

嶺南學報 Lingnan Journal of Chinese Studies

程炎震是近代研究《世説新語》的重要學者，但是至今對他的生平知之甚少。本文從國家圖書館發掘出程炎震的詩集和好友寫的傳記，據此梳理程炎震的一生。程炎震的《世説新語》手批本保存在國家圖書館，通過對該手批本的研究，可知他廣采《世説》衆本和各種相關文獻作校勘，訂正文字，致力於考證年代，辨别事件虚實，有助于讀者貼切理解文意，有時還能發現劉孝標注具有“隱糾其謬”的用意。他的校證成果對近現代研究者産生了重要的影響。

Cheng Yanzhen 程炎震 was an important yet little-known scholar of A New Account of Tales of the World in modem times. This article explores Cheng’s life through his poetry and his biography authored by his friends, re-discovered in the National Library. Through studying Cheng’s annotations of A New Account of Tales of the World kept in the National Library, this article shows that Cheng consulted various versions of A New Account of Tales of the World and relevant documents for collation, correcting characters, dating events, and telling true stories from false tales. Cheng’s works should help readers understand the …

魏晋士人“樂喪”考論, Lierong Yang

嶺南學報 Lingnan Journal of Chinese Studies

《世説·任誕篇》載桓子野、袁山松、張湛等好挽歌，劉孝標注引《譙子法訓》，謂樂喪非古制，而孝標疑未能決。譙周之説是。《樂記》所謂“樂者樂也”，表現以安樂之聲爲正的雅樂觀念，在制度上與此相應的是凶禮不用樂，因此在正禮上不存在樂喪。春秋以降，正禮漸衰，樂喪作爲俗禮興於民間，在此推動下，至漢武朝定爲官禮，古制遂廢。與此同時，雅樂衰而新聲興，尚悲之風行於上下，雅樂觀念逐漸被打破。在此趣味中，挽歌漸與喪禮相分，成爲表現哀情的形式，一方面是挽詩的産生，另一方面就是魏晋士人的“樂喪”。而漢末以來，世極迍邅，魏晋士人於深情之外，又别有一種感傷氣質，乃承春秋以來尚悲之風，將其憂生之嗟，一寓於挽歌。劉義慶録其事於“任誕”之門，以名士風流視之，則不免以“樂喪”爲曠達，僅得其迹耳。魏晋“樂喪”之風緣於雅樂觀念的突破，對於以悲爲美的文學傳統的形成也是有推進之功的。

In the “Free and Unrestrained” chapter of A New Account of Tales of the World, there is a record about Huang Ziye 桓子野, Yuan Shansong 袁山松, and Zhang Zhan 張湛 who were interested in elegies. In his annotation of Qiaozi faxun 譙子法訓 (The Principles of Qiaozi), Liu Xiaobiao 劉孝標 doubts Qiao Zhou’s 譙周 assertion and notes elegiac funerals were not part of the ancient institution. The “Record of Music” of Book of Rites notes “the term ‘music’ is derived from the word ‘joy,’” which expresses the concept of yayue 雅樂 (elegant music) that confirms the legitimacy of the …

前言, Chunhong Wang

嶺南學報 Lingnan Journal of Chinese Studies

2022年11月5日，嶺南大學文學院中文系舉辦“《嶺南學報》復刊學術會議之十暨《世説新語》文獻主題國際高層論壇”，由於受疫情影響，故採取視頻會議方式，在綫上召開此次盛會。九位與會學者從文獻學視角，對《世説新語》一書各抒己見，會議取得豐碩成果。在《嶺南學報》主編蔡宗齊教授主持下，擘畫將這些論文以《世説新語》研究專輯形式推向學界。

清初聖裔詞人的聲律思想及其學術淵源——從《紅萼軒詞牌》的詞譜性質談起, Linfu Wang

嶺南學報 Lingnan Journal of Chinese Studies

《紅萼軒詞牌》既是非常精美、實用的詞譜，同時也能夠當作酒牌使用，是一部能反映孔傳鐸、孔傳志等聖裔詞人聲律思想的著作。“詞即詩也”是聖裔群體詞學理念的核心。孔傳鐸等人主張宜於實用的誦讀，反對當時詞壇盛行的聲律復古之風，通過權衡律拗關係的方式實現了爲孤調定律，具有地域特色。聖裔群體强調詞也應具備詩的社會功能，其詞學活動在地域範圍内産生了深遠影響，也與當世南北詞壇有不少聯係，是學術史上不能忽視的一環。

Red Sepals Collection of Lyrics 紅萼軒詞牌 is a delicate and practical literary book, but can also be used in a drinking game. This work reflects the thought of prosody of Confucian descendants like Kong Chuanduo and Kong Chuanzhi. The principle — lyrics are poems — lies at the heart of the Confucian descendants’ community’s thought of lyrics. Advocates like Kong Chuanduo emphasized the practical recitation of lyrics and opposed the prevalent trend of prosodic revival in the lyricists’ circles of their time. They achieved a regional uniqueness in setting the tunes for individual melodies by carefully considering the nuances …

《世説新語》中的時代文學圖景, Yunliang Wang

嶺南學報 Lingnan Journal of Chinese Studies

與魏晋時清談盛行的局面相應，文學創作中也出現了口語興盛的現象；因出於公開展演的情境需要，文學創作對於迅捷的要求大爲增加。在文本傳播過程中，名流人士的話語起著不可估量的作用；由於當時以手抄本爲文章物質載體，讀者對作品的接受回饋，往往可以讓作者隨之更定，文本流動也是傳播中的常見現象。魏晋時期的文學接受，讀者更注重閲讀中個性的契合，强調情感的共鳴，當日發達的藝術形式，也爲時人的文學接受提供了多種可能，使他們可以通過繪畫、書法等不同藝術達到對文學的多維解讀。

Literary writing thrived on orality in response to the popularity of pure intellectual conversations in the Wei and Jin dynasties. Its immediacy was prominently emphasized to satisfy the contextual needs of public performance. Famous literary figures’ sayings were immeasurably important in the circulation of texts. Because texts were primarily materialized and circulated as handwritten manuscripts, authors often revised readers’ feedback as they wished. On the part of literary reception, readers valued whether they felt their personalities matched the authors’ and whether they felt sympathetic in reading literary works. The thriving aesthetic format at the time provided readers with possibilities …

劉孝標《世説注》所引文獻引文略考, Jiancheng Zhao

嶺南學報 Lingnan Journal of Chinese Studies

劉孝標《世説注》徵引浩博，極爲後世所推。其對引文的處理係以《世説》本文爲依歸，視注釋需要而有所去取，因此多數情況引文與引書原文並不完全一致，可以視爲“間接引用”。具體而言，劉孝標注徵引文獻，不是簡單地採録原文，其對引文的處理具有概括性、跳躍式的特點，即以概括的方法進行提煉加工，跳躍無關部分以選取與《世説》有關之内容，二者常結合使用。這些處理方法能够使其注釋重點突出、簡明扼要，具有針對性，避免了拖遝、冗長的毛病。有時也因此而導致引文的脱漏、不確切，甚至錯誤。劉孝標注引文與所引文獻原文時有差異，有些具有校勘價值；又有出於傳世文獻之外者，有些具有輯考傳世典籍佚篇（文）之重要價值；劉孝標注所引文獻，未必皆來自引書原書，相關考察有助於對其引書來源問題的研究。

Liu Xiaobiao’s copious citations in his lauded annotation of A New Account of Tales of the World were based on the texts of the masterpiece and were selected only when needed, and therefore the cited text and the original text often differed. They could be considered indirect citations. Liu handled the citations by summarizing the cited text and skipping irrelevant details and often combined these two methods, which made his annotations concise on the one hand and sometimes resulted in omissions, inaccuracies, and mistakes on the other. The difference between the cited and the original show the academic value …

夢、隱喻與思想 : 從意象基模解析《列子·周穆王篇》之夢寓及篇章意旨, Yin-Ching Chen

嶺南學報 Lingnan Journal of Chinese Studies

《列子·周穆王篇》共收録八則寓言，對於人類各種精神現象，如催眠、白日夢、失憶、錯覺、神智錯亂等心理現象皆有精彩著墨，内容涵括夢的實證經驗及宗教哲思諸面向，意涵繁複多元，值得深入探討。本文以當代西方“概念隱喻”的新視角及“意象基模”的解析架構，結合中國傳統文本研究之成果，解析《列子·周穆王篇》的八則寓言及篇章意旨。盼藉由概念隱喻理論具象化、系統化的解析方式，釐清“夢經驗”、“隱喻語言”與“道家思想”三者之間盤根錯節的關聯；並盼藉由會通中西的研究方法和視角，探索中西思維模式之異同，促進深度的文化交流與會通。

The Chapter of King Mu in the Liezi is composed of eight fantastic stories, centered on the themes of hypnosis, daydream, amnesia, illusion, and mental disorders. These stories conceive profound meanings which comprises religious and philosophical ideas, as well as real accounts of dreams. This article analyzes the stories and themes of the Chapter of King Mu by means of contemporary Western theories of “conceptual metaphor” and “image schema” and with reference to traditional Chinese research literature. It aims to clarify the relationship of the dream experience, metaphorical language, and Daoist thought. Further, it seeks to explore and compare …

對話與競争 : 嘉靖前期官刻古文選本的多重面向, Yi Zhang

嶺南學報 Lingnan Journal of Chinese Studies

一般認爲，具備官刻性質的古文選本，其内容與思想理應與國家官方所建設的文風與學風保持一致。在明代前中期的科舉文化背景下，官刻古文選本的産生，往往是作爲配合國家官學教育體系而存在的。然而，受到弘、正之際“文學復古”思潮與嘉靖年間版刻業復興的雙重影響，這一時期的文學風氣與思想傾向呈現出對於傳統程朱“正學”的某種背離，當然亦不乏堅守程朱之學的聲音存在。這些不同的思想動向皆反映在當時士人們所編刻的具備官方背景的古文選本之中，本文便以王三省《古文類選》、崔銑《文苑春秋》、顧璘《文端》三部古文選本爲考察對象，來探究其在同一個“場域”内所形成的對話與競争關係。而這種“對話”與“競争”關係，正折射出其與國家官學教育體系、編纂者自身的意圖及時代文風之間的複雜互動，也呈現出其與前代官刻古文選本不一樣的特徵。

It is generally believed that the content and ideas of government-publishing guwen anthologies should be consistent with the literary and academic styles established by the state. In the context of the imperial examination culture of the first and middle Ming dynasties, government-publishing anthologies of guwen were often produced as a complement to the state-level education system. However, the influence of the “archaist movement” at the time of Hongzhi and Zhengde, and the revival of the engraving industry during the Jiajing period, the literary style and ideological tendencies of this period showed a certain departure from the traditional Cheng-Zhu orthodoxy. …

玄學與才藻 : 《世説新語》“空洞無物”事義詳説, Ning Luo

嶺南學報 Lingnan Journal of Chinese Studies

《世説新語·排調》有一則記載王導與周顗的問答，周顗使用了“空洞無物”一語，今人受現代成語的影響，對此語原有的玄學意藴缺少感受和認識，僅簡單將其理解爲空無所有，這是不够準確的。空同或空洞的本意爲渾然一體、混沌未分，早期道家和宇宙論常用來形容大道的窈冥茫昧之狀，以及天地未分時混然一氣之狀，而到魏晋之時，空洞演變成爲一個頗具玄學色彩的詞彙。王弼注《老子》使用空洞一詞，一方面延續了該詞的混沌一氣的意思，一方面也賦予了它空虚無物的意思。“無物”和“容”也是來自老莊和玄學的思想。知道這些詞彙和概念的玄學背景以及魏晋的政治文化，結合周顗、王導等人的品性、行事以及其他故事就可以知道，周顗創造的“空洞無物”一語含有豐富的玄學意藴，正透露出他的玄學和才藻。

In the “Taunting and Teasing” chapter of A New Account of Tales of the World, there is a record about the conversation between Wang Dao 王導 and Zhou Yi 周顗, in which the latter uses the expression — kongdong wuwu 空洞 無物. With the influence of modern Chinese idioms, contemporary readers lack the perception and understanding of kongdong wuwu’s metaphysical connotation and simply interpret it as hollowness, which is inaccurate. Kongtong 空同 or kongdong 空洞 meant unity in the undivided state of primal chaos, as used in early Daoist cosmology to describe the dimness and obscurity of …