中正漢學研究最新文献

{"title":"中國古代「詩用」語境中的「多重性讀者」","authors":"顏崑陽 顏崑陽","doi":"10.53106/2306036020200600350001","DOIUrl":"https://doi.org/10.53106/2306036020200600350001","url":null,"abstract":"\u0000 「五四」以降，學者普遍抱持著「為藝術而藝術」的「純文學」觀念，以詮釋、批判中國古代文學。這全是新知識分子反儒家傳統之文化意識型態的投射，不合中國古代文學的「動態性歷史語境」。其實，中國古代士人階層的生活中，詩無所不在，乃是他們社會文化行為所使用既普遍又特殊的言語形式，可稱它為「詩用」；因此本人從而系統化的建構「中國詩用學」。本論文題為〈中國古代「詩用」語境中的「多重性讀者」〉，就是在這一「詩用學」的理論基礎上，深入而全面探討中國古代在「詩用」語境中的「多重性讀者」，以及由此所獲致的文本「意義詮釋」，尤其「作者本意」之詮釋如何可能?更是重要問題。這個論點可以對顯現當代很多學者詮釋古代詩歌，由於缺乏「動態性歷史語境」的觀念，往往將文本從此一語境抽離出來，只做靜態性的詮釋，故而誤以為當代讀者是唯一的讀者，完全不了解在漫長的文本傳播過程中，實歷經多重性的讀者；因此，文本意義的詮釋也被現當代學者所簡化了。\u0000 After the May-Fourth Movement, \"art for art’s sake\" was a \"pure literature\" concept popular among scholars who interpreted and criticized classic Chinese literature based on this idea. Such a phenomenon was purely an ideological projection of anti-Confucianism by the new intellects, which failed to comply with the \"dynamic historical linguistic context\" of ancient Chinese literature. In fact, poetry was ubiquitous in the daily life of ancient Chinese intellects. Poetry was the common but unique language form, dubbed as \"the use of poetry\" as used by literati in sociocultural settings. I, therefore, construct the \"the use of Chinese poetry theory\" systematically. It is on the basis of the \"use of poetry\" theory that \" ’Readers of plural identifications’ in the linguistic context of ’the use of poetry’ \" of the ancient Chinese discusses extensively and profoundly on the \"readers of plural identifications\" and the \"interpretation of meanings\" retrieved from the texts, particularly the possibility of the interpretation of the \"author’s true intention,\" which is the most important issue. The viewpoint may manifest the simplified interpretation of meanings by contemporary scholars due to their lack of the concept of \"dynamic historical linguistic context\"; as a result, contemporary scholars tend to estrange the text from its linguistic context and make static interpretations, mistaking contemporary readers as the only readers. They fail to understand that during the long process of dissemination, the texts have experienced readers of plural identifications.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"43 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":"116279422","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":"胡直心學的淵源與發展","authors":"陳佳銘 陳佳銘","doi":"10.53106/2306036020200600350004","DOIUrl":"https://doi.org/10.53106/2306036020200600350004","url":null,"abstract":"\u0000 胡直一生中追隨過歐陽南野與羅念菴兩位老師，這兩位老師的思想大有不同，前者能肯定良知的明覺、見在之意，後者卻重於收攝保聚之功。本文的目的就在於探究胡直的天則、靈覺、萬物一體、心造天地萬物和博文約禮等義理，以見他的思想較接近哪位老師。通過本文的討論，我們發現胡直的靈覺、心覺等說，幾乎完全看不到歸寂派的收攝、收斂的模式，反倒他是一種當下即是的逆覺型態，這就相當於「悟本體即工夫」。如此說來，他離開了歸寂派的「由工夫以悟本體」之模式，而是能直承於王陽明的良知之教。\u0000 Chih Hu, throughout his life, has followed two mentors, Nan-ye Ouyang and Hong-xian Luo, who showed different thoughts. The former recognized awareness and existence of conscience, whereas the latter emphasized the practice of convergence and retention of mind. This paper explores Chih Hu’s argumentation such as heavenly rule, spiritual awareness, all beings as unity, all beings created by mind and knowledge and rituals to recognize the mentor with similar thoughts. This paper suggests that Chih Hu’s spiritual awareness and philosophy of mind rarely reveal convergence model of tranquility school. However, he shows reflective awareness of the present. It is similar to \"comprehension of ontology as practice\". In other words, he deviated from \"comprehension of ontology by practice\" of tranquility school and succeeded philosophy of conscience of Yang-ming Wang. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"118 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":"132169337","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":"林譯《巴黎茶花女遺事》筆下的基督宗教：兼論林紓的畏天與鬼神論","authors":"馮志弘 馮志弘","doi":"10.53106/2306036020200600350006","DOIUrl":"https://doi.org/10.53106/2306036020200600350006","url":null,"abstract":"\u0000 本文析論林紓譯《巴黎茶花女遺事》筆下的信仰與宗教話語，以之比對《茶花女》原文宗教意涵，再聯繫林紓畏天與鬼神論，說明林紓《遺事》對基督宗教的詮釋和重塑，主要指出：《茶花女》原作與林譯均述及「天」與「上帝」，二者皆言「天意」與「天佑」，但林譯中的「天命」為原文所無，其「天從人願」渴求也與原作「爾旨得成」觀念相悖。《遺事》的「天」賞善罰惡，鑒察人心，但林譯卻刪去了許多原作的基督宗教隱喻，其贖罪思想與原作救贖觀並不相同。另一方面，也正由於林譯的重塑，《遺事》筆下基督宗教上帝（天）的形象和道德觀，與林紓本人「畏天循分」、天佑忠孝的觀念，因而變得相當貼近。林紓認為基督宗教的上帝為「善」，這一認識，是他即使視耶穌教為「迷信」，但在譯作中仍屢作介紹，並始終未曾敵視基督宗教的重要原因。\u0000 The religious discourse in Lin Shu’s Chinese translation of La Dame aux camélias is analysed and compared to the religious meanings conveyed in the original. The results are then connected to Lin’s theory on Heaven veneration and his reflection on ghosts and spirits, in order to explain how he interpreted and recreated Christianity. The major findings are that: Lin’s translation retains two terms from the source text, Heaven (tian) and God (Shangdi), both bearing the meanings of \"providence\" (tianyi) and \"Heaven’s blessings\" (tianyou). However, \"fate\" (tianming) is found to be the translator’s own additions. His translation also projects a wish for \"Heaven to have any Earthly wish fulfilled\" (tiancongrenyuan), which differs from the concept of \"let Thy will be done\" expressed in the original French work. The Heaven as depicted in the original and Lin’s translation also rewards the righteous, punishes the evil, searches the heart and examines the mind, but Lin’s translation does not preserve most of the religious metaphors, and presents an idea of redemption which is different from the concept of salvation in the original. Because of Lin’s rewriting, the Christian image of God and moral values reflected in his translation are close to his understanding of Heaven veneration (weitian) and belief that \"people embodying loyalty and filial piety will have divine blessings\" (tianyouzhongxiao). Even though Lin equates Christian faith with superstition, the Western religion is frequently introduced in his translations as he considered the Christian God to be of good nature. This is why he was never hostile to Christianity.\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":"127517603","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":"王夫之「詩史」說析辨","authors":"張歡歡","doi":"10.53106/2306036020200600350005","DOIUrl":"https://doi.org/10.53106/2306036020200600350005","url":null,"abstract":"\u0000 「詩史」說自唐代孟棨提出，繁衍出「敘事」、「實錄」、「忠君愛國」等內涵，多在肯定層面論說。至明清之際，王夫之的觀點頗為特出，他對「詩史」諸多內涵均加以批評，更在整體上否定此說。對抗史對詩的陵越，是船山在處理詩史關係時的根本主張，其言「詩道性情」，認為「史」不能代「詩」而言「性之情」。根本而言，王夫之出於人心危淺的儒者意識，賦予詩體以獨特意義，期望藉詩之力量導情復性，於詩之審美中尋求道德之潛力，這是他的詩歌理想；而「詩史」對此僅有破壞，而無建構，故其深惡此說。本文將分析王夫之對「詩史」部分內涵的批評，論述他於明清之際推崇「詩史」之歷史語境下的嚴峻批判態度由來，並闡述他所堅持的「詩」之獨特意義。\u0000 Since Meng Qi from the Tang Dynasty proposed the concept of \"Shishi\" (Poetry-History), multiple interpretations, most of them were on an affirmative level, had been created, such as \"narrate\", \"record as the author has witnessed \", \" loyal and patriotic \" etc. By the time of late Ming and early Qing Dynasties, Wang Fuzhi (1619-1692) ’s viewpoint stood out by criticized not only part of the interpretations but the whole concept of \"Shishi\". When dealing with the relation between \"history\" and \"poetry\", Wang Fuzhi’s fundamental proposition was to defy history’s violation of poetic form. Wang Fuzhi stressed that poetry should express \"Xing\" (human nature) and \"Qing\" (feelings). The history’s violation of poetic form would undermine the expression of Qing and therefore weaken the power of it, which could enhance the cultivation of people and help brace up the national power. Once the history was emphasized egregiously in poetic form, the essence of poetry would be vandalized. Essentially, Wang Fuzhi endowed the poetic form of a unique meaning due to his consciousness of Confucianism. He hoped that the power of poetry would guide Qing to Xing. This was his poetic ideal to seek moral potential in the aesthetics of poetry. Therefore, he rebelled at the concept of \"Shishi\" which impeded destructively. This paper analyzes Wang Fuzhi’s criticism of \"Shishi\", discusses the reason for his unique critical attitude amid the atmosphere of this concept during the late Ming and early Qing and explains his interpretations of poetry.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"74 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":"121821081","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":"文雄韻鏡學中所見悉曇反音法之遺緒","authors":"曾若涵 曾若涵","doi":"10.53106/2306036020191200340005","DOIUrl":"https://doi.org/10.53106/2306036020191200340005","url":null,"abstract":"\u0000 中國歷代學術長期影響下，日本韻學中對於反切方法乃至《韻鏡》格位的解釋，具有從悉曇學轉向等韻學之傾向。此學術轉向的契機及途徑，與江戶時代的學術特色有關。據前人研究及筆者之觀察，漢學日本化在日本漢學史中具有穩固的基礎。其中，日本人將日本語的音系結構與中國歷代音韻理論相搭配，用以解釋經典訓詁與音義，此不僅與中國歷代音韻理論有關，還牽涉佛經解讀時的悉曇學，以及韻圖文人化之後的等韻學，然此學術轉向之發生，較中國學術史而言來得晚，其轉向的呈現方式，也與中國範式有所不同。\u0000據本文觀察，文雄反切法中所強調的助紐反切與韻圖反切表面看來雖是等韻化的結果，但仍有部分承襲自悉曇學的反音方法。如「假名助紐」雖應用了中國式唐人反切法中的助紐，但其假名助紐的口誦方式卻是承襲明覺以來悉曇反音法中的「五音」概念，即利用「五十音圖」來推理字音。至於「韻圖反切」雖是獨尊《韻鏡》的展現，但文雄把《韻鏡》高度經典化，使《韻鏡》具有跨時空的適用性，進而利用《韻鏡》來規範唐音，這種忽視歷史音變而對後起音韻進行規範的作法，乃是悉曇反音舊習。正因文雄的反切法中仍有悉曇學遺緒，故能理解日本韻學特殊之處，並藉此知曉江戶韻鏡學與明清等韻學殊途之一因。\u0000 Under the sustained influence of Chinese historical academics, the methods to get Chinese pronunciation while reading the Chinese literatures were changed in the Edo period, and the explanation of the form of rhyme book called “Yunjing” were also different from that in the Ming and Qing dynasty. In general, the traditional phonology turned the way from Siddhaṃ-based analysis to Yunjing-based analysis during the Edo period. Edo Japanese scholar, like Monnou(文雄), took Yunjing to construct the system of Japanese Kanji-on, including Go-on, Kan-on, and To-on, which can be one reason why the way of Siddhaṃ-based analysis had gone insignificant.\u0000However, throughout the Japanese traditional phonology, the Siddhaṃ-based ideas are still remained in some part of Yunjing study. We checked the Yunjing related documents of Monnou, and found some visible traces to show the Siddhaṃ ideas in those books. Therefore, the diversity between Japanese Yunjing explanations from Chinese Yunjing interpretations can also be appeared. \u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123618434","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":"「玄解」《世說》：以「桓公入峽」、「孫、褚論南北之學」為示例","authors":"吳冠宏 吳冠宏","doi":"10.53106/2306036020191200340002","DOIUrl":"https://doi.org/10.53106/2306036020191200340002","url":null,"abstract":"\u0000 胡曉明在序龔斌《世說新語校釋》時，提出「正解與通識如何可能」的問題，並以「得意忘言」作為通識的美學向度，此一進路已納玄入美而為《世說》的解讀展開思想層面上的拓深，但筆者尤期待可以進一步運用魏晉玄學兩端的辯證性思維，使《世說》與「玄學」之間形成更為密切的連結，基於這樣的反省，本文選取「桓公入峽」、「褚、孫論南北之學」作為玄解以開新的示例。\u0000筆者針對這兩章的文本與歷來解釋展開深入的考察及精讀，從《世說》兩種傳統解讀向度─史評與文賞之得失出發，進而另闢並賦予「玄解」一後設解讀的新進路，在此脈絡下的玄解，實有別於以往扣緊清談論題的玄學，而是重回《世說》裡具體生動的人物言行，去發現玄學與生活的相濟為美，並且透過歷來解釋的不同視域，積極回應我們當下的處境與問題，以掘發《世說》與時俱進的文化潛力。\u0000面對這本兼攝文史哲的偉大奇書，筆者力圖建構世說學「史評+文賞+玄解」三合一的詮釋學，自有其合理性與必要性，尤深盼經此融舊納新的努力，使詮釋學不必成為全然假手於西學的知識型態，亦能有助於爾後中國詮釋學的深植與拓展。\u0000 When writing a preface to Gong Bin’s Shishou Xinyu Jiao Shi, Hu Xiaoming put forward the question of “how a correct interpretation and a general understanding can go hand in hand”. He based his aesthetic pursuit of a general understanding on deyi wang yan, an approach that has already adopted both aesthetic and metaphysical perspectives from which to interpret Shishuo. However, the present author particularly endeavors to utilize the dialectical thinking prevalent in Wei-Jin metaphysics, hoping to bring a closer link between Shishuo and metaphysics. This article addresses this issue by using as its examples “Huangong ruxia” and “Sun’s and Chu’s Commentaries on Nanbeixue”\u0000The present researcher conducts an in-depth investigation into and an intensive reading of the two key texts. The analysis starts from the two traditional interpretations of Shishuo – the history and the literary appreciation of the work – and it then renders a Wei-Jin metaphysical interpretation with a meta perspective. Different from the metaphysical discourse, the new approach situates reading in the context of Shishuo by paying equal attention to Wei-Jin metaphysics and life at that time. Through the multifaceted lenses afforded by different historical periods, this project actively seeks to respond to our current situation and problems, in order to explore the rich cultural potential of Shishuo, which accumulates with time.\u0000In the face of this great literary, historical and philosophical classic, the author attempts to develop a hermeneutic approach that combines history commentaries, literary appreciations, and Wei-Jin metaphysics. As such, hermeneutics does not have to rely on the Western knowledge of the subject but is being developing from within the study of Chinese literature.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128486790","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》編纂對孔子學說的形成及詮釋的影響","authors":"李貴生 李貴生","doi":"10.53106/2306036020191200340001","DOIUrl":"https://doi.org/10.53106/2306036020191200340001","url":null,"abstract":"\u0000 過去兩千多年以來，《論語》一直被公認為是研究孔子最原始和最重要的材料。《論語》這種高度的「透明性」很容易令人忽略了它自身的文本性質，「《論語》中的孔子」與「歷史上的孔子」幾乎可以劃上等號。然而隨著近數十年出土文獻的發現，《論語》的中心地位漸漸動搖起來，其文本敘述的性質亦開始受到關注。從詮釋的角度看，今本《論語》多少滲透著編者對孔子的理解，因為編纂的過程不免對孔子學說有所別擇與剪裁，呈現出編者企圖建構的孔子學說。除此之外，《論語》箴言式的引錄形式亦令書中所述孔子話語出現獨特的意義轉化，制約及引導著後世學者對該書的解讀。鑒於這方面的問題尚未得到充分的討論，本文擬通過《論語》與其他傳世及出土文獻中相似記述的比較，從敘事詳略、學術觀念和論述重點等細微異同的分析中，闡明《論語》以輯記編纂的方式所建構的孔學特徵，並且探討這種文體所衍生的各種詮釋效果。\u0000 Throughout the past two thousand years, the Analects is unanimously regarded as the most original and essential materials for the studies of Confucius. The extreme transparency of the Analects tends to conceal the textual nature of its own, which almost makes the “textual Confucius” in the Analects identical to the “historic Confucius”. However, since the discovery of many unearthed documents in the last few decades, the central status of the Analects has been shaken and its textual and narrative attributes has drawn much more attention. From a hermeneutical point of view, the present Analects inevitably reflects the editors’ understanding of Confucius’ doctrines because they could selectively extract related materials in the compilation process, and thus construct their own Confucian doctrines. Furthermore, the aphoristic style of extraction tacitly altered the meaning of Confucius’ discourses, which restricted and guided scholars of the later generations in interpreting the book. Given that these issues are not yet fully addressed, this article will compare similar narratives arising in the Analects and other present or unearthed documents. Through the analysis of the subtle similarities and differences among them, which includes the length of narratives, its academic ideas and the themes in the discussion, the article will illustrate how the compilation of the Analects shaped the characteristics of Confucian doctrines, and examine the interpretative significances derived from such kind of genre.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"306 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133848600","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":"傅斯年圖書館藏黃嘉善本《古今書刻》研究","authors":"謝文華 謝文華","doi":"10.53106/2306036020191200340004","DOIUrl":"https://doi.org/10.53106/2306036020191200340004","url":null,"abstract":"\u0000 今日所見明代周弘祖《古今書刻》，為清末版刻家葉德輝依據日人島田翰所藏明刊本影刻而成，百餘年來，已成為學界通行研究之本。由於周氏記載內容相對簡略，其中不乏舛誤之處，在無他本可資校對情況下，導致其書在學術應用上頗受侷限。\u0000典藏中央研究院傅斯年圖書館之黃嘉善刻本《古今書刻》，乃是一部稀見版本，也是目前所知的海內外孤本，自民國17年（1928）首度著錄至今，學界對其書所知甚少。黃嘉善本刊刻於明代晚期，根據周弘祖《古今書刻》進行增補校正，也是相對完善的版本。將此本與葉德輝刻本相互參照，除了著錄書籍數量之差異，也因二個版本之時間差異，意外提供部分研究議題之論辯證據，進而提升該書在文獻目錄學上的應用價值。\u0000本文透過相關文獻全面檢視，針對黃嘉善本版式樣貌與藍印本特性進行概說，並大略勾勒其書流傳至傅斯年圖書館之輾轉歷程。再者，藉由辯證考誤，將有助釐清其版本系統及所錄諸書之來源。最後，結合其他史料綜合考察，開拓《古今書刻》嶄新研究面向，以充分發揮其書在版本目錄學上之應有功能。\u0000 An Index of Ancient and Contemporary Books and Stone Tablets (Gu Jin Shu Ke, also named Book Inscribed) was designed by Zhou Heung-Zu in Ming Dynasty and became the popular version. Ye De-Hui obtained this book from Japan in late Qing Dynasty and soon after reprinted this book that was based upon its original format. Because this version was still simple and had some error, so it brought some limition in academic applications. In addition to Ye De-Hui version, another rare edition inscribed by Huang Jia-Shan (Huang version for short) kept at Fu Ssu-Nien Library. Academic circles did’t reconnized this version not yet from 1928. Huang version was engraved in late Ming Dyansty. The version supplemented and regulated according to Zhou Heung-Zu’ version. This essay will collate and compare these two versions. At the same time, this essay will study the difference which the amount and history between these two versions. Furthermore, this essay will examine related documents comprehensively and outline the the propagation of Huang Jia-Sha’s version. On the basis of study, we can clarify the source of these differect version systems. At last, this essay will combined with other historical materials to expand research value of An Index of Ancient and Contemporary Books and Stone Tablets.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115945135","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":"文化記憶的追尋與再現：以「故宮文學家」作品中的「北溝故宮」書寫為主","authors":"羅秀美 羅秀美","doi":"10.53106/2306036020191200340006","DOIUrl":"https://doi.org/10.53106/2306036020191200340006","url":null,"abstract":"\u0000 1949年後北京故宮輾轉播遷至臺灣，落腳於臺中霧峰北溝(1950-1965)十六年。守護者莊嚴全家也落腳於此，此地乃當時臺中最重要的文化及旅遊勝地。然1965年北溝故宮北遷後，空餘庫房山洞供人憑弔。當時曾出現一批「故宮文學家」，他們與「北溝故宮」有或深或淺的關係，曾留下相關記憶的書寫，這些文本正是本論文考察的對象。職是，本論文以文化空間與文學記憶為論述概念，首論偏安北溝的「回憶空間」，莊嚴父子大半生與故宮文物流離至北溝所構建的回憶空間。其次則論在此文化空間的文人對傳統文化的傳承，即孔德成與臺靜農等人至北溝故宮清點文物的記憶。第三則論及個體記憶的再現，以臺靜農與林文月、凌叔華與蘇雪林的北溝旅行為主。第四則論及集體記憶中的文化旅遊勝地，兼論齊邦媛的英譯暨陪訪史。透過以上討論，可在集體的歷史大敘述外，呈現個體的文學記憶，豐富北溝故宮之文化記憶。\u0000 After 1949, the Palace Museum from Beijing relocated to Taiwan and settled in Beigou北溝 of Taichung (1950-1965) for 16 years. Zhuang Yan莊嚴 and his family who guard the Palace Museum in Beigou北溝故宮 is also setteled here, this place also was the most important cultural tourist attraction in Taichung.However, after the Palace Museum in Beigou北溝故宮 moved northward in 1965, the empty warehouse caves in this area were for people to hang. At that time, a group of \" the Palace Museum writers故宮文學家\" appeared. They had a deep or shallow relationship with the \" the Palace Museum in Beigou北溝故宮\",they had left relevant memory writing,these texts are the objects of this paper. In this paper, the concept of cultural space and literary memory is discussed in this dissertation. Firstly, discussion is about the “memory space” in Beigou北溝,the memory space constructed by the Zhuang Yan莊嚴 father and son for most of his life and the Palace Museum 故宮’s cultural relics moved to Beigou北溝. Secondly, it discusses the inheritance of traditional culture by the literati in this cultural space, that is, the memory of Kung Te-Cheng孔德成 and Tai Jing-nong臺靜農 and others to the Palace Museum in Beigou北溝故宮 to count the cultural relics. Thirdly, on the reappearance of personal memory, mainly on the the Palace Museum in Beigou北溝故宮 trip of Tai Jing-nong臺靜農 and Lin Wen-yue林文月, Ling Shu-hua凌叔華and Su Xue-lin蘇雪林. Fourthly, the cultural tourism resort in the collective memory, as well as the history of Qi Bang-yuan’s齊邦媛English translation and accompanying visits. Through the above-mentioned discussion, the individual’s literary memory can be presented in addition to the collective grand historical narrative, especially enrich the cultural memory of the Palace Museum in Beigou北溝故宮.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121938852","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":"宋人詠寫王荊公之主題形象與修辭探論","authors":"鍾志偉 鍾志偉","doi":"10.53106/2306036020191200340003","DOIUrl":"https://doi.org/10.53106/2306036020191200340003","url":null,"abstract":"\u0000 歷代評價王荊公，兼有毀譽，尤以史傳、筆記、小說最多，建構起荊公立體形象。然而，詩歌亦屬王荊公故事詠寫系統主要體裁之一，至今無專文探討。本文借用詠史懷古詩之研究方法，觀察詩人對荊公之人物論定，回到形象聚訟之始，勾勒宋詩中之荊公形象與主體。可以發現詩中呈現宰相忠業及宋亡罪人之迥異面向。其次，歸納分析詠寫荊公之慣用素材與主題思想，如營造挽歌氛圍與世態炎涼之感慨；速寫讀書堂與嘲弄新學；關注書畫題詠與追慕風神等，最後探討宋人詠寫荊公之詩學設計，一則見詩人慣以一多對立及時空伸縮為篇章構思，有助興發感慨；二則融入荊公詩字句，翻新原典，借彼抒己。總此，讓荊公形象顯影在宋詩上，為荊公之歷史評騭提供初始依據。\u0000 The evaluations of past generations on Sir Wang Jing, mostly in historical biographies, jottings, and short stories, lead to both positive and negative comments and have established a three-dimensional image of Sir Jing. However, there is yet no monograph on poetry, which is also one of the important genres in the writing system of stories about Sir Wang Jing. This article attempts to explore the discussions of figures in history-themed poems and to return to the beginning of the arguments on Sir Jing’s image and depict the image of him portrayed in Song poems. First, it discovers the polarized identity, as a prime minister with loyalty or a guilty person causing the ruin of the Song dynasty. Second, it organizes and analyzes the common materials and theme thoughts in writings about Sir Jing, such as creating atmosphere of elegies around tombs and shrines and fickleness of the world, sketching the reading hall and mocking new learning, and paying attention to inscriptions of calligraphic works and paintings and admiration for the past manner. Finally, it probes into the rhetoric of Song people’s writings about Sir Jing. For example, the structure design of opposition between one and many and expansion and contraction of time-space helps to highlight the effect of sighs with emotions. To give another example, the adjusted use of the words of Sir Jing’s poems adds new meanings to their original meanings. To sum up, this article exhibits vividly on paper the Sir Jing in Song poems and provides a reference for studies on the image of Sir Wang Jing shaped by history.\u0000 \u0000","PeriodicalId":243831,"journal":{"name":"中正漢學研究","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123480652","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}