Chinese literature and history

This article explores the literary genre of Buddhist bell inscriptions in Song Dynasty China and discusses them in the broader context of Song ‘bell culture.’ These inscriptions were written to commemorate the casting of a temple bell – an event of major significance for both the temple and the surrounding community – and therefore tended to be commissioned from famous writers and influential officials. Close reading of these inscriptions reveals that the prevailing image of Buddhist bells was shaped by both Song academic interest in bells as the preferred musical instruments of ancient rulers and a firm belief that tolling bells helped to advance Buddhist teaching. Some authors even insisted that the bell itself embodied the Buddhist principle of emptiness.

"Wen zhi" (Form and Content) is a term widely used in traditional Chinese literary criticism. Informed by Occidental literary studies, modern Chinese scholars specialising in literary theories, Chinese literary criticism, the dynastic history of literature, and even the history of literary ideas often tend to interpret the term, which is found in the Analects and other classical texts, as a duality of textual “form” and “content.” Such an understanding inaccurately presumed that there was a fixed and single meaning within "wen zhi", which not only misinterprets the ancient texts but also underestimates the complex journey in which the term has undergone in the field of literary criticism. By analysing various textual resources from the Pre-Qin to the Six Dynasties, this article attempts to delineate the genealogy of "wen zhi" and demonstrate how this terminology, which originated in the Analects, has traversed the realms of political etiquette, human morality, polemic expositions, historical writings, Buddhist scripture translation, and ultimately become a paramount idea in Chinese literary criticism. The genealogy of "wen zhi" reveals a complex and discontinuous array of meanings associated with it, which vary across different texts and contexts. As such, it defies simple categorization as the antithesis of form and content.

「文質」是中國傳統文學批評常見的用語。受到西方文學研究的影響，現代從事文學理論、中國文學批評史、斷代文學史，以至文學觀念史研究的學者，經常把這組術語直接理解為文本「形式」與「內容」的對立，並以此解讀《論語》及其他古籍原文。這類說法誤以為文質有固定單一的意義，不但錯誤詮釋古代典籍，還忽略了文質進入文學批評範疇的曲折歷程。有見及此，本文試圖綜合先秦至六朝各種文獻材料，辨析文質的系譜，縷述這個術語如何從《論語》出發，穿越禮儀制度、道德人格、說理文字、歷史書寫、佛經翻譯等領域，最終成為中國文學批評的重要觀念。此一誕生過程揭示文質的涵義充滿各種不連續性，會因應上下文義而出現不同的變化，不能機械化地解讀為形式和內容。

The same sex phenomenon has existed in ancient China all the time and has the characteristics of The Times. When it developed to the Ming Dynasty, especially in the middle and late Period of the Ming Dynasty, it once became a kind of ethos. To discuss such phenomenon, we should first be clear about the concept and scope of the term. According to the American Psychological Association (APA), Homosexuality is romantic attraction, sexual attraction, or sexual behavior between members of the same sex or gender. It "also refers to a person's sense of identity-based on those attractions, related behaviors, and membership in a community of others who share those attractions. Although same-sex intimacy or sexual relationships as a phenomenon have been recorded throughout Chinese history, there was no clear concept of Homosexuality in ancient China. Also, there was no clear distinction between homosexual identity and homosexual behaviors. It is widely believed that the term "Tong Xing 2 MING DYNASTY: A TURNING POINT IN THE HISTORY OF SAM-SEX PHENOMENON IN CHINA Ai"(同性爱) was first used to refer to homosexuality during the May 4th Movement in the 1920s, under the influence of western scientific discourse.

In this introductory chapter of the book Between History and Philosophy, Paul van Els and Sarah A. Queen discuss characteristic features of early Chinese anecdotes. They first outline a more general understanding of anecdotes, based on scholarly literature that focuses predominantly on anecdotes in German, English, and other European languages. Then, they analyze how anecdotes in the Chinese tradition correspond to, and differ from, the more general understanding of anecdotes.

Chen Yinke's research focuses on ancient and modern, as well as Chinese and foreign scholarship. Throughout his tenure as a professor in the Tsinghua University Departments of Chinese and History starting in 1931, he was constantly concerned with the exegesis of literary works. During his late years, he even categorized his related research exclusively into the studies of classical and contemporary allusion and developed a unique critical framework. His emphasis on allusion directly opposed the voices against the use of allusion that arose at the outset of the New Culture Movement. In advocating his “Eight-Don’ts-ism” against allusion, Hu Shi frequently quoted Chen Sanli’s poems as negative examples. Qian Xuantong even placed allusion as the antithesis of vernacular Chinese and urged the complete repudiation of all allusions. Despite their diminishing use in vernacular Chinese, however, allusion still had its place in the field of literary theory. During the early 1930s, Qian Zhongshu, a gifted student in the Department of Foreign Languages of Tsinghua University, still emphasized the positive sides of allusion. Nevertheless, Chen Yinke’s emphasis on allusion in his research was still considered a revolt against the general trend at the time.
In consideration of this particular background, this paper investigates how Chen Yinke reestablished the value of allusion in the fields of literary creation and practical criticism through the interpretation of classical and contemporary allusion. It starts with integrating Chen Yinke’s studies of allusion into the context of literary criticism and reorganizes and reconstructs the formation process, conceptual significance and evaluation framework of his methods. Then the common theoretical assumptions underlying both classical and contemporary allusion are delineated from the perspective of literary and practical criticism so as to deepen our understanding of the allusive criticism. In the last section, this paper provides an objective assessment of the shortcomings and limitations of Chen Yinke’s research methods. It also evaluates the validity of Chen Yinke’s arguments against the challenges and criticisms of allusion popularized by the May Fourth Movement.

陳寅恪博涉古今中外學術，然而自1931年擔任清華大學中文系及歷史系「合聘教授」以來，詩文箋釋一直是他念茲在茲的研究課題，晩年更以今典、古典兩類考釋總結相關研究，發展出一套獨特的批評架構。他對典故的重視與新文化運動以來各種反對用典的聲音正是背道而馳，胡適的「八不主義」提倡不用典，並且屢以陳三立的作品為反面教材，錢玄同更把用典與白話文對立起來，主張全盤摒棄典故。然而典故在白話文中的消退，不等於它在文學理論層面上的失敗，出身外文系的錢鍾書在1930年代便仍多次強調典故的作用。在這種背景下，陳寅恪對典故的重視實有濃厚的翻案意味。
本文正是循此思路著眼，考察陳寅恪如何通過對今典與古典的詮釋，重新確立典故在文學創作和實際批評中的價值。文章首先把陳寅恪的典故研究安置在文學批評的脈絡，全面整理和重構這種方法的形成過程、觀念義蘊和評鑑架構；繼而從文學理論及實際批評的角度闡明今典與古典考釋的共同學術預設，深化大家對典故批評的瞭解；最後會對這套方法的漏洞和詮釋局限作出客觀的評析，反思陳寅恪的論述是否足以回應五四以來有關用典的批評。

本文以《海公案》71回案例的罪案發生地爲觀察，梳理罪案地點與判官海瑞之關係，並校對明清善本書、現當代電腦排印本對罪案地點的錯置現象。文中指出：《海公案》對71回案例的罪案地點，是以第56回爲分界，採用「先浙江，後南京」的序位結構，呼應著海瑞官職升遷的歷程。此序位的結構特色，爲《海公案》創造「一種功能和意義的標誌，一種只憑其位置，不需用語言說明，而比起用語言說明更爲重要的功能和意義的標誌。」其次，運用上述的觀察，校對明清善本書、現當代電腦排印本對罪案地點的錯置現象。這些錯置現象的發生，主因是原善本刊刻錯誤所造成，致使各時期出版之《海公案》發生「誤讀」罪案地點的狀況。例如第17、26回的「紹興府東陽縣」、「處州府嚴水縣」，兩回故事的罪案地點與史料記載相違。權衡全書71回案例的地點安排，此等筆誤不僅突顯編纂者的疏忽，同時也彰顯《海公案》對罪案地點的經營策略。

藉由重讀《海公案》罪案地點的安排，這些被隱藏於文本之中的隻言片語，不再僅是毫不起眼的文本訊息。它們的存在，不單爲我們展示海瑞仕途升遷與《海公案》的關係，同時亦能成爲檢驗工具，針對現當代刊印本《海公案》進行比對、勘誤，以還原《海公案》的真正面貌。

關鍵字︰《海公案》、周曰校、罪案地點、浙江、南京

虛無黨小說在晚清經由翻譯輸入中國，內容經常描寫虛無黨成員與專制政府對抗，盛極一時。陳冷血（陳景韓，1878-1965）、周瘦鵑（周祖福，1895-1968）等作家都曾從事翻譯或創作虛無黨小說。中國當時所見的虛無黨翻譯小說，多出版於英國，通過日本翻譯，被譯介到中國。換言之，虛無黨小說實際上通過了兩種語言的翻譯，才成為當時中國人所能見到的文本。本文以英國葛威廉所作的虛無黨小說Strange Tales of a Nihilist為考察對象，探討原文與日文（松居松葉翻譯）、中文（陳冷血翻譯）之間的細節與變化。本文分為四個部分，一、介紹「虛無黨」與「虛無黨小說」在中國的出現與流行；二、以文獻史料為基礎，考察Strange Tales of a Nihilist 的出版、刊行狀況，並簡述譯者所依據的版本內容；三、就Strange Tales of a Nihilist 的內容以及英、日、中文三種翻譯進行比較；四、探討當Strange Tales of a Nihilist在不同語境之下如何適應社會的讀者，以及翻譯所呈現出的「在地化干預」。

This writing project hopes to explore (Ikenobō 池坊) Ikebana's 生け花 aesthetic principles including its conception of space and time to analyze its religious/philosophical underpinning. To historicize and contextualize the analysis, this project draws on some of the major Ikebana works and textbooks for practitioners to explicate the basic principles and the history of their development. It will then examine some of the early modern Chinese texts on flower arrangements to suggest possible philosophical/religious exchanges between the two cultures. It will move on to discuss how such "rigid" forms of Ikebana allow for spontaneous expression of individual Ikebana practitioners, which contribute to its enduring popularity in contemporary Japan and abroad.