中正漢學研究最新文献

{"title":"楊德昌的殉道英雄與歷史反思：重看《牯嶺街少年殺人事件》","authors":"謝世宗 謝世宗","doi":"10.53106/2306036020201200360007","DOIUrl":"https://doi.org/10.53106/2306036020201200360007","url":null,"abstract":"\u0000 楊德昌的《牯嶺街少年殺人事件》（1991）由於研究材料取得上的困難，二十五年來的研究論文仍然相當有限。不同於形式分析、女性主義、後殖民理論與心理分析的角度，本文以新批評的細讀與敘事學的方法，釐清電影如何透過角色的類比與對比，包含政治的現實主義者、道德的理想主義者與勢利的弄權者之間的妥協與衝突，在舞臺上架構出一齣殉道者的道德悲劇。其次，透過《牯嶺街》作為一部歷史電影，脈絡化上述的人物角色與道德衝突，探討1960年代的國家機器如何形塑了一群道德的理想主義者，而他們理想主義又為何必然與整個時代產生矛盾與衝突。\u0000 Due to its inconvenient access, Edward Yang’s masterpiece A Brighter Summer Day, for the past twenty five years, has ellicited very few research articles. To make a contribution to this premature scholarship, this article focuses on the subject matter of the film and employes the method of narratology to argue that through the devices of similarity and contrast, Yang presents an ambitious moral tragedy on the cinematic stage where the heros attempt to realize their moral ideals even at the cost of their inclinations, self-interests and lives. Viewing the film as Yang’s historical reflection on the 1960s, the article then unravel the ways by which the state apparatuse interpellates some individuals into moral subjects and explicate why these moral idealists are doomed to confront and conflict with the millieu. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132340005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"朝鮮女訓書的歷史發展與視覺教化意涵","authors":"成珉京 成珉京, 林侑毅 林侑毅","doi":"10.53106/2306036020201200360002","DOIUrl":"https://doi.org/10.53106/2306036020201200360002","url":null,"abstract":"\u0000 本文分別就朝鮮前期與後期考察朝鮮時代女訓書的歷史發展及針對女性之視覺教化的情形，並試圖闡明其意義。從朝鮮前期到中期，乃至於近代初期，「教化」與「鑑戒」的定型是以圖像表現女性的主要前提之一。教化與鑑戒在將女性形象表現於圖像上發揮關鍵作用，其緊密的關聯性提醒吾人必須研究視覺圖像在以女性為教化對象時發揮的功能與意義。朝鮮時代女訓書以及針對女性之視覺教化，在朝鮮初期以王室主導的賢妃與身體犧牲型烈女形象為主；在此基礎上，朝鮮後期轉向以士大夫為主導，加入更多貼近日常生活的內容。朝鮮後期將日常生活中必須恪遵的規範，以日常生活中隨處可見的屏風形式呈現，這種視覺教化必須以婚後居住型態普遍由婦處制轉變為夫處制的夫家生活為前提。換言之，此一現象呈現了朝鮮後期父權家長制高度發展的一個指標。\u0000 This paper examines the historical development of Confucian Women’s classics[女訓書] in the Joseon Dynasty and the aspects of visual correction for women in the early and late Joseon periods, and explores their meaning. Enlightenment and sensation were one of the main premise of expressing women in paintings from Joseon Dynasty to mid-term through early modern times. Enlightenment and sensation were acting on the basis of allowing women to be settled as icons, and the closeness reminds us of the need to consider the role and meaning of visual image in enlightenment. In the early Joseon Dynasty, the Confucian Women’s classics and visual edification for women were mainly based on the statue of the Hyun-bi[賢妃] led by the royal family and a physically sacrificed female figure. In addition to this, in the latter part of the Joseon Dynasty, more closely related contents were added to the daily life, as the Sadaebu[士大夫] became the center. Visualization in the form of a folding screen that can be seen in everyday life focuses on the contents that can be performed in married life in the home of the husband’s parents in the late Joseon Dynasty. In other words, this change is an indicator of the patriarchy advanced in the late Joseon Dynasty.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128992334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"廣東省大埔縣高陂鎮與湖寮鎮客家話小稱詞調查研究","authors":"鄭明中 鄭明中","doi":"10.53106/2306036020201200360005","DOIUrl":"https://doi.org/10.53106/2306036020201200360005","url":null,"abstract":"\u0000 本研究調查廣東省大埔縣湖寮鎮與高陂鎮客家話小稱詞（綴/調），採用依調類分類的152個客家話常用單音節詞根語素做為調查字表，每個鎮選取兩位發音人調查，調查結果總結如下：（一）湖寮與高陂客家話小稱詞均以詞根語素後接小稱詞綴的方式呈現，小稱詞綴為[(t)ə31]。當小稱詞綴前的詞根語素為[-m, -n, -ŋ, -p, -t, -k]等輔音結尾時，小稱詞綴為[mə31, nə31, ŋə31, pə31, tə31, kə31]。當詞根語素以[a]結尾時，高陂鎮與湖寮鎮小稱詞綴使用[lə31]，高陂鎮烏槎村則使用[ə31]。（二）高陂客家話有[35]及[55]兩個出現於詞根語素的連讀變調（均非本調），前者出現於陰平調字，後者則出現於去聲調字。湖寮客家話只有一個出現於陰平調字詞根語素的連讀變調[55]（亦非本調）。湖寮與高陂客家話上聲調字與入聲調字均透過後接小稱詞綴來形成小稱詞，詞根語素無連讀變調產生。（三）湖寮客家話陰入調詞根語素後接小稱詞綴時有[tə31]或[tə55]兩種形式，這種自由變異顯示出小稱詞綴形態演變的過渡階段。（四）就整個音系而言，高陂客家話讀為[am, ap]韻者，湖寮客家話則讀為[aŋ, ak]韻，且只出現於韻核為[a]時，這種變化與發音簡化、元音舌位高度、鼻音發音位置前後，以及漢語方言韻尾演變有關。（五）大埔縣小稱詞綴的形態演變過程為[tə55] → [(t)ə55/31] → [(t)ə31]。最後，本研究將高陂與湖寮客家話小稱詞的調查結果與東勢客家話小稱詞的相關研究相互連結，企圖為東勢客家話小稱調的來源提供更合理的解釋。\u0000 This study targeted to investigate the diminutives of Hakka dialects spoken in Gaopi and Huliao townships in Dapu County, Guangdong. The word list used for the fieldwork survey included 152 common monosyllabic stems. Two speech informants in each township joined the study. They were asked to read the lexical tones, the sandhi tones, and the diminutives in their own dialects. The results are summarized as follows. First, diminutives are formed in the two townships by stems plus diminutive suffixes [(t)ə31]. When stems end with [-m, -n, -ŋ, -p, -t, -k], diminutive suffixes will surface as [mə31, nə31, ŋə31, pə31, tə31, kə31]. When stems end with [a], the diminutive suffix emerges as [lə31]. Second, two sandhi tones [35/55] occur in Gaopi Hakka, but only one sandhi tone [55] occurs in Huliao Hakka. Both [35] and [55] are not lexical tones in these two Hakka dialects. Third, two diminutive suffixes are used to form diminutives for Yinru stems in Huliao Hakka, and such free variation shows a transitional stage between diminutive suffixes. Fourth, [am, ap] rimes in Gaopi are systematically changed to [aŋ, ak] rimes in Huliao. This change may result from ease of articulation, vowel height, place of nasals, and coda development in Chinese dialects. Fifth, diminutive suffixes in Dapu Hakka undergoes a series of changing stages, that is, [tə55]→[(t)ə55/31]→[(t)ə31]. Finally, this study links the results to the diminutives in Dongshi Hakka, and attempts to offer reasonable explanations for the origin of the diminutive tones in Dongshi Hakka.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128074857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"當代新儒家對陸象山學說的比較研究","authors":"游騰達 游騰達","doi":"10.53106/2306036020201200360006","DOIUrl":"https://doi.org/10.53106/2306036020201200360006","url":null,"abstract":"\u0000 本文藉由當代新儒家們對「陸九淵」學說的研究分析，展示徐復觀、唐君毅，牟宗三這三位代表人物不同的研究方法與儒學觀點。\u0000徐先生著重將研究對象回歸歷史情境進行考察，試圖掘發其思想的邏輯結構，呈現由義利之辨的思想闡析落實至客觀面的政治思想之研究。\u0000唐先生以哲學發展史的脈絡探討象山的學說，並結合個人生命體驗的觀點，認為發明本心當包含自信本心與剝落障蔽之正、反兩面的整體性工夫。\u0000牟先生則著眼於象山「非分解」的言說特點，更採取比較哲學的研析觀點，指出其學說不僅是道德的自律型態，又具有超越的無限心之義涵。\u0000綜上所述，得具體地看到徐、唐、牟三人雖同以陸王心學為依歸，但他們的研究方法有別，對儒學的根源性理解殊異，是以對象山的研究呈現豐富的多樣面貌。掌握這些觀點與方法，當可作為傳統儒學之當代新詮的重要借鏡。\u0000 This essay discusses Lu Xiang-shan’s doctrines researched by 3 representatives of contemporary Neo-Confucianism, Hsu Fu-kuan, Tang Chun-I and Mo Tsung-san.Although the 3 research are all based on Lu-Wang’s theory of mind, they understand Lu Xiang-shan’ s thinking in different ways.The main reason is that their methods and angles are different, which are history of thought, history of philosophy and comparative philosophy.In addition, their interpretations of Confucianism are also different.Once we understand this, we can study this issue further. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130829932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"來自「東方」的聲音圖景：江文也作品的異國情調與民族追尋","authors":"張琬琳 張琬琳","doi":"10.53106/2306036020201200360003","DOIUrl":"https://doi.org/10.53106/2306036020201200360003","url":null,"abstract":"\u0000 二十世紀初，在國際間崛起的各國勢力，加速了各民族內部自我整頓與反省的動力，東方音樂家學習西方音樂，也試圖以西方音樂的樂制，來整建自我民族內部的音樂紋理。\u0000東方音樂家欲望著西方，希冀能登上國際音樂舞臺；西方樂壇也期待從東方音樂家那裡，聽見西方人能夠「聽得懂」的「東方聲音」。在東 / 西方彼此期待、渴望之間，音樂本身被賦予極大的感官寓意，對西方人而言，帶有異國情調的音樂，尤其能夠吸引他們的目光；對於東方音樂家而言，這些「東方」的元素，卻是取自於不同民族風土的獨特聲音。\u0000本文聚焦臺灣近代音樂家江文也，以近年來新出版的傳記、日記和音樂作品全集，以及本論文作者近年於歐洲搜集的史料為分析佐證，探討江文也「屬於自己 / 東方的聲音」創作，如何引發西方樂壇對於「東方聲音」的想像。\u0000 The early twentieth century was a century that had the two global-scale World Wars between world powers across continents and oceans. Rising nationalism and increasing national awareness became a major political issue in general society. Eastern musicians reflected on the issue and diligently learned Western music system to get a remarkable grasp of it. Because they knew well the so-called Oriental music sounds must be rooted in the Western music theory to be able to compete among nations by international standards. On one hand, Eastern musicians desired to be seen and rival upon the world stage; on the other hand, Western musicians looked forward to hearing pure Oriental music sounds from the East. However, for Taiwanese composer Jiang, Wen-Ye, the Oriental music sounds are not the ones of a traditional and exotic concept. Traditionally, the Oriental music sounds derive its flavor from the pentatonic scale and use traditional Chinese musical instruments to play. It is under such circumstances Jiang, Wen-Ye compose beautiful musical forms that embody his love and respectful duty to the Taiwanese motherland throughout frequent international music events and competitions.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130973161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"建構婦女道德空間：《列女傳》圖像在東亞漢文化圈的傳衍","authors":"錢南秀 錢南秀","doi":"10.53106/2306036020201200360001","DOIUrl":"https://doi.org/10.53106/2306036020201200360001","url":null,"abstract":"\u0000 由漢代儒家學者劉向（前77–前6）開創的《列女傳》文體，其始便圖文並置。故本文所謂傳衍，便具圖文兩重意義，兩者均經歷了時間上的傳承與空間上的播延，其間因與不同時空語境的交纏互動，而有相應形式、載體、內涵等變遷。本文擬對劉向《列女傳》傳世兩千餘年間在東亞漢文化圈的傳衍過程，作一初步勾勒。首先概括漢唐之間、印刷術發明之前，《列女傳》圖像經由圍屏、壁畫、石刻和卷軸的形式流傳；次論宋明印刷術普及後，圖像如何進入《列女傳》木刻版本。而明代大量《列女傳》及仿作的刻印發行，又影響激發了朝鮮與日本仿作的出現。因卷帙浩繁，斷難求全，惟冀能就目前筆者所蒐集的有限資料，考察比勘，以期理解不同社會、政治、文化、經濟等語境對於婦女道德空間建構及其圖文表述所生影響。\u0000 The genre of the Biographies of Exemplary Women, initiated by the Han Confucian Scholar Liu Xiang （77–6 BCE）, consisted of the texts and illustrations from the very beginning. Thus, a study of its transmission and transformation in the Sinosphere requires examination of both. Throughout the two thousand years, this genre has gone through constant changes of forms, media, and connotations in its interactions with different spatial and temporal contexts. This article intends to summarize this process, first on its evolution through painting screens, murals, stone carvings, and hand scrolls from the Han to the Tang, and then its woodblock versions after the invention of the printing technique in the Song. The spread of the illustrated Ming editions of the Biographies of Exemplary Women into Korea and Japan further inspired its imitative works in these areas. Through a comparative study of excavated materials, this article expects to understand how the sociopolitical, cultural, and economic environments influenced the textual and imagery construction of women’s moral space in the Sinosphere.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"272 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133853388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"「翦」字新詮：兼說卜辭「鬳小臣、小妾」","authors":"張宇衛 張宇衛","doi":"10.53106/2306036020201200360004","DOIUrl":"https://doi.org/10.53106/2306036020201200360004","url":null,"abstract":"\u0000 卜辭 （《合》6342）、 （《合》6834）字，目前以釋「捷」、「翦」、「截」為主，各有學者贊同並進行申說。文中藉由文例探討「 」字的語言結構，以確立其動詞屬性，進而嘗試從「 」字形左上的留存「木」筆畫談起，重新思索此字取「戈翦木」作為造字的背後意涵，以及何以用於戰爭軍事之中。藉由意象的建構歸納出「翦」與先民思維間的聯繫，進而探討在此字背後延伸出的相關字詞，如周鳳五依據「櫱」為伐木之餘，解釋「獻（櫱）民」是用以表示遺民身份，即以此配合「翦」字的考釋，揭示先民藉由植物狀態比喻國家的形態。文中亦藉由後世平行的例子進行比較，以「滅」字的產生以及其延伸出相關字形與「翦」做出對比。\u0000 The characters (piece 6342) and (piece 6834) have been primarily interpreted as \"Jie\",\"Jian\" or \"Jie\" in a majority of literature. After investigating the usage of , this article explores its language composition, thereby establishing its verbal property. Starting from the strokes of \"wood\" at the upper left of the character , this article seeks to reconsider the connotation of \"cutting wood with a dagger-axe\" behind its coinage, and address the question as to why this word was used in describing warfare. By virtue of image construction, this article induces the connections between the character \"Jian\" and our ancestor’s thinking, thereby investigating its derivatives. Based on the character \"Xian\" interpreted as the detritus of logging, for example, Feng-Wu Zhou argued that the term \"Xian people\" refers to adherents of a former dynasty. By reference to the textual interpretation of the character \"Jian\", Feng-Wu Zhou revealed that our ancestors invoked the metaphor of plants to represent the state. This article also performs a comparative analysis of parallel examples of the later times, contrasting the character \"Jian\" with the coinage of the character \"Mie\" and its derivatives.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132076756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"筆談：同文異音下的東亞文化交流","authors":"藍日昌 藍日昌","doi":"10.53106/2306036020200600350007","DOIUrl":"https://doi.org/10.53106/2306036020200600350007","url":null,"abstract":"\u0000 近代所謂漢字文化圈者，意謂在東亞區域之內諸國受中國文化之影響，舉凡儒學、佛教及技術等，皆由中國而向外傳至日、韓、琉及越南等，東亞諸國的文化交流的媒介自然是以漢字為主。\u0000東亞交流雖自六朝開始，但當時並無官方語音的觀念，因此交流之時自以當時主流發音為主，而主流發音則隨政治、經濟形勢而變。六朝時以南方吳音為主流，唐時以河洛及西北方音為主流，南宋時則以蘇杭音為主流。\u0000書寫文字雖同，但音調則有差異，這對其他諸國而言，也是有所困擾，音調雖有變化，但書寫則不變，筆談即是東亞交流中溝通的媒介。\u0000明太祖所建立起朝貢制度，政治及經濟來往熱絡，朝鮮作為明朝與日本的紐帶，明、朝之間的燕行使與朝、日之間的通信使，交往之時大體透過筆談溝通。甚至越南與琉球、日本交往之時亦復透過筆談溝通。\u0000筆談之事，少見於唐宋，入明則筆談的記錄頻率轉增，然則筆談出現的頻率則證諸東亞交流的狀況及文化交流的盛景，其事雖簡，其義則甚重大。\u0000 The so-called Chinese cultural circle in modern times means that all countries in the East Asian region are influenced by Chinese culture, and all Confucianism, Buddhism, and technology have been spread from China to Japan, South Korea, Vietnam, and Vietnam, and other countries in East Asia. The medium of cultural exchange is naturally based on Chinese characters.\u0000Although the East Asia exchange started from the Six Dynasties, there was no concept of official speech at that time. Therefore, the main stream of pronunciation was mainly from the time when the exchange was made, and the mainstream pronunciation changed with the political and economic situation. At the time of the Six Dynasties, Wu Yin was the mainstream in the South. In the Tang Dynasty, Heluo and Northwestern were the mainstream. In the Southern Song Dynasty, the Su Hang sound was the mainstream.\u0000Although the written words are the same, but the tones are different, this is also a nuisance to other countries. Although the tone changes, the writing remains the same. The pen talk is the medium of communication in East Asian communication.\u0000Ming Taizu established the tributary system, political and economic exchanges, North Korea as the ties between the Ming Dynasty and Japan, the Yan Dynasty between the Ming Dynasty and the DPRK to exercise communication with the DPRK and Japan, when the exchanges are generally communicated through the pen. Even when Vietnam communicates with Ryukyu and Japan, it communicates through pen talks.\u0000The things in pen talk are rare in the Tang and Song dynasties. The frequency of writing records in Ming Ming’s writings has increased. However, the frequency of conversations in writing has confirmed the status of exchanges in East Asia and the grand scene of cultural exchanges. Although the matter is simple, its significance is very significant.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129597321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"《唐宋叢書》之版本淵源及編纂手法考論","authors":"賴信宏 賴信宏","doi":"10.53106/2306036020200600350003","DOIUrl":"https://doi.org/10.53106/2306036020200600350003","url":null,"abstract":"\u0000 清代以來對《唐宋叢書》的評價存在許多歧異，特別是真偽本的分判，背後隱含著書坊在板片轉移後的重新編排。《唐宋叢書》現存有兩種傳本：一為繁本，收編全帙為主，根據目錄所收為88種，實際收書為90種，其中有兩本目錄缺載，另外《異林》一書，總括四種書，若採計之，則有93種之多。一為簡本，書名頁作「經德堂藏板」，所收多為重編《說郛》舊版，內容雖與繁本重疊，然多抽換或新增節錄之本。二種皆增列漢魏20種，故知該書編輯延續《廣漢魏叢書》而來。前人不明繁、簡二本有同名異實之別，故滋生淆亂。本文試圖比對二本編排之差異，說明二本編排上的延續性與特殊性，並考察所收各書的版本價值，以供近人利用《唐宋叢書》之參考。\u0000 The reviews and evaluations of Tang Song Congshu (The Collectanea of the Tang and Song Dynasties) have diverged considerably since the Qing Dynasty, particularly the differentiation between the authentic and spurious versions, which concerned the publishers’ rearrangement of the slips. There have been two versions of Tang Song Congshu passed down to date. The first is the complete version, a comprehensive compilation of 90 kinds of book among which two titles were missing in its table of contents, or 93 kinds if the four books included in Yilin is considered. The second is the abridged version. Most of its copies contained the term “Jingde Pavilion Collection” in its title. Reorganizing the early version of Shuofu, the abridged version replaced some books and added some shortened ones although its contents overlapped with the complete version. Both versions contained 20 kinds of books published during the Han and Wei Dynasties, from which we may infer that Tang Song Congshu was compiled by reference to Guang Han-Wei Congshu. Previously, scholars were unaware of the difference in contents between the two versions, hence widespread confusion. This article seeks to explain the continuity and peculiarity of the two versions by comparing their respective arrangements of contents and assessing the value of the books they included, thereby providing an alternative source of reference for scholars who are interested in Tang Song Congshu.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"285 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129653390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"《論語》中以「身」體德的詮釋與觀察","authors":"陳靜容 陳靜容","doi":"10.53106/2306036020200600350002","DOIUrl":"https://doi.org/10.53106/2306036020200600350002","url":null,"abstract":"\u0000 儒家對於道德之意會，常常溢出於言語所能表述的範圍；道德言說，也不一定能夠準確拋擲可辨識的行動意義。在這樣的侷限中，儒學作為一門實踐哲學、生命哲學，若由文獻中抽絲剝繭，則勢必可掘發出儒家道德意義具體展示的重要媒介或管道。\u0000本文旨在掘發《論語》中的「身體」並非僅是與「心靈」相對的「肉體」，而是活生生的、感覺靈敏的、動態的人類身體，它存在於物質空間、社會空間中，還存在於它自身感知、行動和反思的努力空間中。此「身」通過「隱蔽與感知」、「轉化」、「隱喻代言」與「展演」等四種方式，強化道德實踐之必然性；且「身」可作為「禮」的展演場域，兼容禮「意」與禮「儀」的鋪陳展示，建構「以『身』體德」的儒家道德感知模式。\u0000 As the third part of \"A Study on the Medium of Morality in the Analects of Confucius Series\", this study aims to show that although the body functions are not directly emphasized and the body is not viewed as the base of self-awakening in the Analects of Confucius, the transformation of the body’s senses, actions or experiences is employed to highlight the necessity of practicing morality. Moreover, the \"body\" is regarded as the display field of \"propriety\", involving the development and exhibition of the \"meaning\" and \"practices\" of propriety, while constructing the sensory mode of morality on \"experiencing morality through the body\".\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"263 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123356840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}