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The Construction And Reflection Of The Theoretical Knowledge System Of Chinese Literature And Art:Summary Of The 16th Annual Conference Of The Chinese Association For Theory Of Literature And Art, Qianpeng Gu

Theoretical Studies in Literature and Art

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Différance, Transparency And Truth: Jean-Luc Nancy On Beauty, Zhizhong Zhang

Theoretical Studies in Literature and Art

In God, Justice, Love, Beauty, Jean-Luc Nancy thoroughly elucidates his perspectives on beauty, extending beyond the confines of conventional epistemological aesthetics by introducing deconstructionism to the discourses on aesthetic issues. Specifically, Nancy reinterprets the legend of Narcissus, positioning its theme as the movement of beauty's self differentialspacing, and unveiling the différance inherent in beauty. However, as a generalized spacing movement, différance cannot highlight the singularity of beauty. Consequently, through an analysis of douard Manet's painting Reading, Nancy contends that beauty, as a motion of meaning that transcends signification, can only be represented as being of near-nothingness, that is, as a …

Dufrenne's Genetic Phenomenological Explanation Of “Affective A Priori”, Ziming Huang

Theoretical Studies in Literature and Art

The discussion on the nature of the affective in phenomenology can be traced back to the debate on the universality of the aesthetic affective in modern epistemological aesthetics. Dufrenne interpreted it from the perspective of genetic phenomenology and identified it as a problem of “affective a priori.” The “affective” is an object of feeling triggered by the work and constituted by the subject; and “a priori” is a means of preforming the object within the subject. As the constituent structure of the object, the affective a priori indicates the unity of the objective cosmological a priori and …

Rita Felski's Critique Of Contextualism: Taking Rem Koolhaas And Bruno Latour As A Clue, Lijun Su

Theoretical Studies in Literature and Art

With a special nested structure, Rita Felski follows and finalizes Rem Koolhaas and Bruno Latour's manifesto of “Context Stinks!” The three theorists of different disciplines such as architecture, sociology and literature take context as a conservative proposition. In response to the contextualist paradigm that is threatened by self-limitation, self-exclusion and generalization, Koolhaas creates space for innovation through the strategy of “bigness”, while Latour questions the theory of social entities, introducing non-human actors into a new coordinate system. Based on them, Felski tries to remold the future of literature within the framework of actor-network theory, in order to forestall text from …

Derrida's Theory Of Sovereignty—And His Criticism Of Robinson Crusoe, Jinlong Xiao

Theoretical Studies in Literature and Art

The 20th century has witnessed an unprecedented exploration and development of the concept of human essence in the Western theoretical community. In the early 20th century, Heidegger proposed that human essence was existence. Later, Foucault argued that human essence was power. By the end of the 20th century, Derrida clearly pointed out that human essence was neither pure existence as advocated by the existentialists, nor pure power, as claimed by the power theorists. Instead, it is something between existence and power: the “powerization” of existence, which Derrida termed “sovereignty.” The operating rhythm of sovereignty involves the autonomy of automation, specifically …

Atmosphere And Artistic Appeal (Qi Yun): An Unfinished Reflection On The Modern Interpretation Of “Artistic Appeal And Rhythmic Vitality” From The Perspective Of Atmosphere Aesthetics, Lei Li

Theoretical Studies in Literature and Art

Drawing from the traditional binary thinking of subject-object division and confrontation, the modern interpretation of “artistic appeal and rhythmic vitality” since the twentieth century considers it either as an aesthetic feature or the overall spirit of the artwork, or as the painter's inner harmony and resonance, failing to fully realize that the ideal effect of “artistic appeal and rhythmic vitality” can only be generated by the two-way communication and resonance between the creator and the object. In the light of the aesthetics of atmosphere, “artistic appeal” is a special category or an advanced state of atmosphere that arises from the …

A Study Of The Historical Formation Of The “Fengyao” Pattern And The “Touchun” Pattern In Five-Character Metrical Poetry, Zhao Zhang

Theoretical Studies in Literature and Art

Since the Song dynasty, the touchun pattern has referred to the five-character metrical poetry in which the antithesis is used in the first couplet rather than the second; the fengyao pattern has referred to those in which the antithesis is only used in the third couplet. These two patterns began to flourish in the works of Shen Quanqi and Song Zhiwen. During the High Tang dynasty, they were equated in number with the standard format of metrical poetry. It was not until the Dali era that they were finally confirmed as variant formats of five-character metrical poetry. This trend of …

A New Explanation Of The Connotation And Poetic Significance Of “Poetry Springs From Emotions And Hence Reads Beautifully” In Rhapsody On Literature, Yanfeng Cai, Xiaoli Wei

Theoretical Studies in Literature and Art

Traditionally, “poetry springs from emotions and hence reads beautifully” in Rhapsody on Literature has been interpreted primarily within the poetic context of expressing emotions and aspirations, often overlooking the broader connotation of “emotion” and the logical relationship between “springing from emotions” (yuanqing) and “beautiful” (qimi). Two key concepts are essential in understanding of this sentence. The first is “emotions”, which has been widely used to denote an objective state, essence, and reality since the pre-Qin era. Recognizing the objective meaning of “emotion” is crucial for a correct understanding of the poetic connotation of “springing from emotions”. …

New Changes In The Theater Ecology In The Late-Qing Shanghai: A Study Based On Wang Guifen's Contract Payment Lawsuit, Chunning Zhao

Theoretical Studies in Literature and Art

Contract payment lawsuits discussed in this paper were disputes over rights and interests arising from the operation of modern xiqu (Chinese opera). During Wang Guifen's performances in Shanghai, he was involved in such lawsuits with quite a few theaters, including Xin Dangui, Tianxian, Liuchun, Tianfu, and Guixian. The practice of inviting and recruiting famous actors with high contract payments was a common form of commercial competition in Shanghai's theaters, and it was also the direct cause of job-hopping by well-known actors and their involvement in legal disputes. The high contract payments intensified malicious competition between theaters, hindered the healthy development …

A Semiotic Interpretation Of Landscape Painting And Its Limitations: A Focus On Duan Lian, Yiqing Liu, Zhijie Sun

Theoretical Studies in Literature and Art

Duan Lian has offered a semiotic interpretation of the history of landscape painting. He argues that the formation, development, divergence and decline of landscape painting are all conveyed through the form of images. This constitutes an interaction of image symbols from form to concept, providing new perspectives and paradigms for the study of landscape painting and semiotics. However, regarding the transcendence of landscape painting, we contend that Duan Lian's semiotic interpretation of landscape painting cannot fully capture its intrinsic aesthetics and spirit, as this approach may lead to an underestimation and weakening of the artistic essence of landscape painting. Semiotics, …

Education For The Average Person And The Celestial-Human Strategy In Ancient Poetry Education: Pedagogical Choices In The Context Of The Li-Du And Su-Huang Debates, Shugong Zhao

Theoretical Studies in Literature and Art

As early as the Wei and Jin dynasties, Chinese literary culture developed a marked adulation of genius. Yet, poetry education took a distinct approach, which favored models not solely based on genius. In discussions contrasting Li Bai and Du Fu, Li Bai was esteemed for his rare natural gift, while Du Fu was valued for his profound intellectual insight. Similarly, in the Su-Huang debates, Su Shi was praised for innate talent, while Huang Tingjian was noted for his disciplined scholarship. Despite these distinctions, poetry education consistently recommended emulating figures like Du Fu and Huang Tingjian. This choice reflects the ancient …

“The Poetics Of Graphite Stone Paintings” And The Quality Of Modern Scholars' Paintings: Wu Changshuo And Pan Tianshou As Examples, Zhongyi Xia

Theoretical Studies in Literature and Art

To identify why only “the poetics of graphite stone paintings” in Wu Changshuo and Pan Tianshou's works deserve to be referred to as representative of “modern scholars' paintings,” several issues need clarification. First, what is the boundary between “paintings by scholars” and “paintings by literati?” Second, how does one identify Wu's “stubborn stone” not only as a kind of “scholarly painting,” but also as “modern?” Third, how does one recognize Pan's “massive rock” as a “scholarly painting” worthy of being called “modern?” The response is as follows. Firstly, “scholarly painting” is rooted in tranquility and introverted in the self-sanctity of …

On “Posthumanism”, Martin Crowley

Theoretical Studies in Literature and Art

The label “posthumanism” identifies neither a doctrine, nor an intellectual or analytical approach with a defining set of protocols. Rather, we may take “posthumanism” as a term loosely applied to a range of contributions and approaches, on the basis of a generally under-specified collection of sympathies and commitments. Approximately stated, these sympathies and commitments would entail the claim that — with due allowance for historical variation — the category of “the human” has long played a key role at the centre of Western thought; that this role has included serving to justify the promotion of human beings above other forms …

The Invention Of Tradition: From Ancient “Articles” To May Fourth “Literature” — A Concurrent Explanation Of The Connotation Of “Chinese Literary Theory”, Xu Xu

Theoretical Studies in Literature and Art

This article focuses on the relationship between literary views and article studies of May Fourth scholars from the perspective of hermeneutics, in order to re-explain the connotation of “Chinese literary theory” and consider the construction of a Chinese literary theory discourse system. Rooted in interpretations of the interplay between literature and dao, May Fourth scholars reshaped the traditional framework, shifting the focus to the relationship between literature and humanity, through the integration of ideals and dao. Their commitment to broad, applied literary views led to a progression from a simple division between cultural traits and literary function to a more …

Think Piece: New South Korean Framework For Conceptualizing Nonkoreans?: Taehanoegugin And The Politics Of National Boundary-Making, Min Joo Lee

Asia Pacific Perspectives

Taehanoegugin is a newly coined Korean term that gained popularity around 2018 when a television program of the same name began airing on one of the Korean cable networks. It is a mixture of two independent and preexisting terms: the first part of the word, Taehan (대한), refers to the Republic of Korea; the latter part of the term, Oegugin (외국인), means foreigner. Hence, translated, the term means the Republic of Korean-foreigners. The term gained popularity enough to be adopted by other television entertainment programs and a sector of the government. What can we make of the term’s popularity? Does …

Terminating Pregnancies In Boccaccio, Anne C. Leone

Languages, Literatures, and Linguistics - All Scholarship

Analyzing examples from the Decameron (1349-51), De mulieribus claris (1361), and the Corbaccio (1365), I argue that Boccaccio (1313-75) demonstrates an awareness of theological, legal and medical opinions on abortion and contraception at the time. However, he is more attuned to the practical concerns of pregnancy than are many of his contemporaries. Acknowledging the variety of situations facing pregnant people and some parts of their lived experience that were ignored by many religious and legal authorities, Boccaccio highlights a disconnection between theory and practice, and thereby raises questions about the limits of abstract knowledge in the face of practical concerns.

Billiken As Transcultural Object From American Mascot To Japanese Pop Deity, M.W. Shores

Asia Pacific Perspectives

This article examines Billiken’s transcultural journey from American novelty mascot (1908) to cultural icon, illuminating early twentieth-century Pacific exchange networks and patterns of cultural adaptation. Drawing on American and Japanese archives, it demonstrates how this commercial figure, born from Progressive Era optimism and incorporating Japanese (and Orientalist) design elements, was transformed within Japanese religious and cultural frameworks. The study analyzes Billiken’s metamorphosis from “good luck” commodity to quasi-religious icon, particularly in Osaka’s Shinsekai district, where strategic marketing drove his its late twentieth-century revival after decades of obscurity. While largely forgotten in America and elsewhere, Billiken’s endurance in Osaka challenges narratives …

The Batiandi Li Family, Xifu

Zea E-Books Collection

The novel tells the story of six generations of the Li family over the course of nearly a century and a half, a legendary saga. The protagonists of the Li family in various historical stages of the book are searching for their own identity and the position of the family on the road of life. Sometimes they seize opportunities and create temporary brilliance for the benefit and glory of the family, while at other times they submit to fate and follow the tide of history, content to live ordinary lives like common people.

In 1832 the second brother of the …

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 …

Decomposition And Excavation Of War Memories And Massacres In Na Hong-Jin’S The Wailing, Grace Jung

BCES: Faculty Publications

This chapter examines Korean filmmaker Na Hong-jin’s The Wailing (2016) as an allegory of South Korea’s unresolved colonial and Cold War traumas, arguing that the film’s deliberate ambiguity, cacophony, and generic instability reflect the difficulty of recovering histories of violence that have been suppressed, erased, or inadequately mourned. While scholarship on South Korean zombie cinema has frequently interpreted the zombie through neoliberal capitalism, economic crisis, contagion, and social alienation, this chapter locates the Korean zombie within a longer history of civil war, massacres, sexual violence, and authoritarian state repression. Drawing on Heonik Kwon’s concept of Cold War “decomposition,” the zombie …

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 …