Journal of Sinological Studies (ISSN 2180-4729), published by the Department of Chinese Studies, Universiti Malaya, is a peer-reviewed multi-lingual, mainly English and Chinese, and multi-disciplinary international journal that publishes research findings on classical Chinese Studies, in the areas of Chinese classics, history, philosophy and thought, literature, and religion. The journal has signed a Memorandum of Understanding and is currently in collaboration with the Journal of Confucian Philosophy and Culture published by Sungkyunkwan University, Korea.
Department of Chinese Studies, Universiti Malaya
作为古代小说研究者，我十分荣幸的可以为《汉学》组专辑稿件，此次的专辑 以“古代叙事研究”为主题，汇集多元研究视角与方法，呈现了古代叙事在不同文 本与语境中的生成机制与表现特征。古代叙事研究以中国传统文学中的叙事实践为 核心，关注史传、志怪、传奇、小说与戏曲等文本形态在叙事结构、人物建构及文 化意涵上的表现方式。此类研究不仅有助于深化对古代文学文体特征的认识，也能 进一步揭示叙事文本在历史记忆、价值观念与文化想象中的功能。尤其是中国古代 小说与戏曲蕴含极为丰富的文化与文献价值，既反映社会现实，亦保存思想、制度 与民间生活的重要线索，其学术意义不容忽视。本期内容分为“专辑”与“一般论 文”两大部分。“专辑”以古代叙事与文学研究为核心，收录多篇具有理论深度与 文本细读意识的研究成果。付善明〈唐传奇使用韵文的作用及原因探析〉从文体与 叙事功能出发，重新审视韵文在唐传奇中的运用意义；曾庆雨〈《金瓶梅词话》动 态性叙事的“现代意味”〉则以叙事时间与结构为切入点，探讨其文本所呈现的叙 事活力与超前性；王文君〈傅惜华《曲海总目提要拾遗》成书考述〉兼论新发现的 朱笔批校本《传奇汇考标目》，在文献考据层面具有重要学术价值；赵晴〈“梁祝” 戏在当代戏曲舞台的传播研究〉则关注经典戏曲母题在当代舞台中的再生产与传播 路径，展现传统戏曲在当代语境中的延续与转化。此外，本期也刊出两篇内容扎实、 议题多元的论文。陈国靖〈从“补史阙”到“有意虚构情节”〉一文，探讨《史记》 “疑以传疑”的叙事原则对汉魏六朝小说虚构观念的启发；邓诗樱〈从“剑”意象 出发的对照〉则通过元刊本与明本《王粲登楼》的文本比较，揭示意象书写在不同 时代语境中的审美差异与演变。此专辑得以顺利付梓，承蒙付善明、曾庆雨、王文 君、赵晴多位学者惠赐研究成果，能以研究进行思想与文学的相互激荡，愉悦且畅 快。谨此感谢所有作者与审稿学者对本刊的支持与信任，期望本期内容能为相关研 究提供有益参考，亦期待读者在阅读中有所启发。
Copyright (c) 2026 Journal of Sinological Studies 漢學研究學刊
从“剑”意象出发的对照： 谈元刊本与明本《王粲登楼》
This article examines the literary connotations of the "sword" as portrayed by literati in Tang poetry and explores how the Yuan dynasty zaju 杂剧 Wang Can Denglou 王粲登楼 incorporates the sword imagery into its dramatic creation. It further investigates how the play reflects Wang Can’s perspective on both literary and martial virtues. The research findings indicate that the sword imagery in the zaju largely derives from the historical anecdote of Feng Xuan 冯谖 plucking his sword. Wang Can frequently compares himself to figures like FengXuan and HanXin 韩信, albeit with different intentions, all serving Zheng Guangzu’s 郑光祖 purpose of shaping Wang Can’s ambitions as a military general. Historically, Wang Can was skilled in both literature and martial arts. The Yuan edition of the play aligns more closely with the historical image of Wang Can, filling the gap regarding his martial persona.The Gu Mingjia edition《古名家杂剧》, a Ming dynasty revision, retains most of the plot from the Yuan edition but alters, supplements, or omits certain sword-related elements, thereby influencing Zheng Guangzu’s portrayal of Wang Can. A comparison of the two versions reveals that the Yuan edition presents a richer depiction of Wang Can, with more intricate literary imagery. This contrast highlights how the Yuan edition’s dramatists portrayed Wang Can’s true character from their artistic perspective.As for the Ming period, the sword no longer served a military function or acted as a symbol of ambition; hence, the omission of “sword” in the Ming edition is understandable. This also offers a new perspective for understanding the text’s lack of artistic expressiveness.
从“补史阙”到“有意虚构情节”：《史记》“疑以 传疑”对汉魏六朝小说“虚构性”的启发
The primary reason for distinguishing pre-Tang fiction from later ones lies in the perception that the pre-Tang fiction was not yet " intentionally fictionalizing stories " and was essentially "recording hearsay", unlike the later literary forms that were consciously recognized as being "fictionalized" by the authors themselves. From historical records, it appears that people during the Six Dynasties resisted "fictionality", often holding fiction to the same standard of "truthfulness" as historical writings. Inspired by historical records, particularly the Records of the Grand Historian with its principle of "preserving doubt as doubt", the fictionists of the Han, Wei, and Six Dynasties fiction positioned their works that "fill historical gaps." This gradually led to the phenomena of "misrecorded accounts", "mixing fiction with reality" and "contradictory narratives", which somewhat obscured the fact that these works inherently contained "fictionality". Consequently, fictionists of the Han, Wei, and Six Dynasties began using multiple versions of similar motifs to craft relatively complete and systematic stories with increasingly intricate plot developments, gradually discovering through this process a move towards "intentional plot fictionalization".
“梁祝”戏在当代戏曲舞台的传播研究
As one of the Four Great Folktales of China, the legend of "Liang Shanbo and Zhu Yingtai" (Liang Zhu) has been beloved by audiences for thousands of years and adapted by numerous authors. It holds a pivotal position in the history of Chinese literature, folklore, and art. Furthermore, the operatic adaptations of "Liang Zhu" have been recreated across various traditional Chinese opera genres, all achieving remarkable success and acclaim. Its distinctive status in the history of Chinese opera is unparalleled. Therefore, it is essential to conduct a comprehensive sorting and examination of the operatic versions of "Liang Zhu"—a study that carries significant value for promoting the further development of these operas on the contemporary stage in the future.
傅惜华《曲海总目提要拾遗》成书考述 ——兼论新发现的傅芸子朱笔批校本 《传奇汇考标目》
Fu Xihua’s Extant Rare Traditional Chinese Opera Scripts Preserved in Japan completed in 1939.In this paper, Fu Xihua claimed that five years earlier, he had supplemented the Quhai zongmu tiyao on a manuscript of Chuanqi huikao collected by Kyoto University in Japan. The result of this supplementary work is two texts: Quhai zongmu tiyao shiyi and Quhai zongmu tiyao jiaokanji. A comprehensive review of Fu Xihua's existing relevant works reveals that he had not personally seen the Kyoto University version when compiling the supplements. The reason he was able to complete the supplementary work was due to the assistance of his elder brother Fu Yunzi, who had once taught at Kyoto University. When Fu Yunzi taught at Kyoto University, he transcribed dozens of opera synopses that were not included in Quhai zongmu tiyao, based on the hand-copied version of Chuanqi huikao collected by the university. Fu Xihua completed the organizing work of the supplements based on the documents transcribed by Fu Yunzi. The newly discovered Chuanqi huikao biaomu with Fu Yunzi’s annotations and revisions in red ink can prove that Fu Xihua’s supplementary work is closely related to Fu Yunzi. Based on this, it is also possible to examine the research process of scholars during the initial stage of Chinese opera studies.
《金瓶梅词话》动态性叙事的“现代意味”
Based on the analysis of the text, the relationship between the literary style and the characters, and the composition of the social environment of The Plum in the Golden Vase, this paper holds that the basic composition of the book can be divided into three parts: family, society,and officialdom. These three groups present a dynamic narrative situation in the text, which fully reflects the innovative characteristics of the text in the transition period from historical narrative to virtual narrative, and makes the work have its own "modern meaning" of the times. In the historical process of spreading, the novel's profound revelation of human nature blurs its "Modernity", and makes the work become a classic work that crosses time and space, does not have the limitations of historical change, and always maintains the "modern meaning".
唐传奇使用韵文的作用及原因探析
Tang legend in the integration of poetry and other verse is a major feature of Tang legend. The poetry themes integrated into the Tang legend are diverse, mainly five-character quatrains, five character verses and seven-character quatrains ; the most integrated into poetry in a single legend is Youxian Grottoes, and the most integrated into poetry in a legendary collection is Rriginal Poetry. The poetry in the legend of the Tang Dynasty plays a dual role of separation and integration. The highest realm of integration is to create the artistic conception of poetry in the legendary text. Tang poetry is the literature of the Tang Dynasty, which is the cultural background of the Tang legend with a large number of verses. The high poetry accomplishment of the Tang legend’s author and the prevalence of Wenjuan and Xingjuan are the subjective and objective reasons for the prosperity of the Tang legend verse. The Tang legend recipient is also an important reason for the literati with high cultural accomplishment.
由马来亚大学中文系出版的《汉学研究期刊》，自创刊以来今年已经迈入第十五个年头。作为一份刊登与汉学相关文章的学术期刊，自然必须承载传统经史子集内容的著作。另一方面，鉴于马来西亚的国情，本刊也刊登与“马华研究”有关的文章。这十五年来，承蒙各领域的专家学者赐稿，让本刊有机会收集深入探索前沿问题的文章，为汉学研究领域略尽绵力。 从2014年开始，《汉学研究学刊》从年刊转为半年刊，希望专家学者们不吝赐稿，以便本刊刊登更多高质量的研究成果，为推动汉学研究而共同努力。 本期的《汉学研究学刊》汇集探讨古代、近代、现代以及当代文学的文章，课题涵括古诗、戏曲、新文学、马华文学、歌词等。 《旧体式下的新面貌：鲍照乐府诗的承变》一文从“承继”与“新变”的角度探讨了南朝鲍参军如何赋予乐府诗以一种新风貌。《洛神与人神恋母题在戏曲中定型与演化》则从“洛神”与“人神恋”这对文学母题进行跨时代的追踪，内容先从溯源说起，接着谈及明清两代的戏曲，再到近代梅派京剧，视角新颖。《钱钟书〈围城〉的人性困境》通过小说主角的种种际遇道出其潜意识里的自卑情结，进而省思人性的困境。《“见证”的文本：〈我怎样在敌人的刺刀下生活〉的脉络化解读》从女性在政治意识形态影响下的视角，书写处于战争与革命中的女性如何显现实主义，并论证了女性在历史叙事中可见与不可见反思。《衔愁寻觅旧游踪：论南来文人许建吾歌词中的家国之思》论述了20世纪著名的现代诗人与歌词作家许建吾在歌词创作方面的多元面向，并集中讨论许建吾的歌词的创作养成，进而分析其旅居海外时的离散经验如何激发出歌词中的家国之思。 编者在此感谢所有审稿者以及作者们的支持，愿读者开卷有益。 严家建 2024年12月
Copyright (c) 2025 Journal of Sinological Studies 漢學研究學刊
钱钟书(1910年—1998年)的《围城》反映了人类的“无毛两足动物的基本根性”，象征一种人性的困境。这是一种人性科学的表达方式，蕴含人性心理学与哲学的理性成分。钱钟书通过当中人物尤其是主人公方鸿渐的各种人事应对与其潜意识，暴露出他如何因心理上的自卑情结与不安全感，从而陷入欲望、现实与良心的无尽纠结与彷徨当中。其实，这是人们普遍具有的心理常态，更是一般人类普遍面对的一种人性困境。本文将征引弗洛伊德的自我心理学与阿德勒的个体心理学理论，探讨钱钟书对《围城》主人公方鸿渐的心理揭示，通过对其自卑情结的分析来挖掘其心灵对安全感的诉求，进而省思人性的困境。 Zhongshu Qian (1910–1998) in his novel Fortress Besieged (1910–1998) reflects what he describes as “Basic nature of hairless, two-legged animals”, symbolizing a fundamental dilemma of human nature. This represents a scientific expression of human nature, imbued with rational elements of psychological and philosophical insight. Through the characters—especially the protagonist Fang Hongjian—and his various responses to social situations, along with his subconscious impulses, Zhongshu Qian reveals how Fang becomes entangled in an endless struggle between desire, reality, and conscience, driven by a deep-seated inferiority complex and a pervasive sense of insecurity. In fact, this psychological state is common among individuals and reflects a universal human predicament. Drawing on Freud’s ego psychology and Adler’s individual psychology, this paper explores Zhongshu Qian’s psychological portrayal of Fang Hongjian in Fortress Besieged, analyzing his inferiority complex in order to uncover his soul’s longing for security, and ultimately to reflect on the broader dilemma of human nature.
衔愁寻觅旧游踪：论南来文人许建吾 歌词中的家国之思
许建吾（1903—1987）是20世纪著名的现代诗人与歌词作家。一生漂泊的生命轨迹，南京、香港、新马及台湾等地都遗留着他对当地音乐文教的贡献，而歌词承载着许建吾在不同地域之间的心境变化。许建吾的歌词创作具有多元面向，从军歌战词到抒情艺术歌曲皆有涉猎。然而，许建吾至今较少受到学界关注，现有研究多止于其生平事迹与作品的搜集整理，且相关论述长期以来主要来自音乐界，文学领域对其歌词的探讨仍属阙如。有鉴于此，本文尝试以许建吾的歌词为研究材料，首先探讨其在中国国内所受军中文艺环境下的创作养成；继而分析其旅居海外时南来北往的离散经验如何影响其思想基调，藉此呈现许建吾作为“南来文人”在动荡年代中的家国之思。 The study focuses on the lyrics of Hsu Chien Wu (1903-1987), a famous modern poet and lyricist in the 20th century. Throughout his wandering life, he made enduring contributions to local music, literature, and education in cities such as Nanjing, Hong Kong, Singapore, Malaysia, and Taiwan. His lyrics serve as an expressive medium that captures the emotional shifts he experienced across these diverse geographical and political landscapes. Hsu’s lyric creations are marked by their stylistic diversity, ranging from martial anthems to lyrical art songs. However, Hsu has received limited scholarly attention. Existing research has largely focused on biographical documentation and the collection of works, with most discussions originating from the field of music studies, while literary analyses of his lyrics remain scarce. In light of this gap, this paper focuses on Hsu’s lyrics as primary material. It first examines how his early creative development was shaped by the military literary environment in China, and then analyzes how his diasporic experiences during his time abroad informed the ideological tone of his works, aiming to reveal Hsu Chien Wu’s thoughts of home and country as a “Southbound Literatus” in the turbulent years.
“见证”的文本：《我怎样在敌人的刺刀下生活》的脉络化解读
《圣经．约伯记》里有一句话：“我是惟一一个逃出来向你报信的人”。《我怎样在敌人的刺刀下生活》一文里，报信人没有报出自己的名字来历，却说了一个抗争的故事，成了记忆、历史和时代的“证言”。这是赵戎编《新马华文文学大系》（1971）散文集，陈大为和锺怡雯编的《马华散文史读本 1957-2007》（2007）一书，皆收录此文之因。“在阐述故事从何而来这个问题之前，必须先回答他是什么这个问题。”[1]作为文学里难得一见的女性抗战经历和题材，抗日的事迹是如何被叙述的？文章发表于何处，作者表达了怎样的意识型态与意图，经由什么成员阅读与想象，凝聚共同体意识？历史可能依据政权需求筛选过去，文学作为修复记忆的功能，有时候也会参与意识形态的建构，如此又如何以文证史？而女性被动地卷入战争，她的参与和表述，除了见证之外，是否也是时代和党派下的宏大叙事？本论文从失记的角度切入，探讨文本的再现机制，以及历史、文学、女性的可见与不可见。 In the Book of Job from the Bible, there is a line that reads: "I alone have escaped to tell you." In the essay "How I Lived Under the Enemy's Bayonets", the messenger who delivers the story reveals neither name nor origin, yet conveys a tale of resistance that becomes a testimony of memory, history, and its time. This is why the piece was included in The Anthology of New Malaysian Chinese Literature (1971) edited by Zhao Rong, and later in A Reader in Malaysian Chinese Prose 1957–2007 edited by Chan Tah Wei and Chong Yee Voon (2007). “Before we can say where a story comes from, we must first ask what it is.” This essay—structured around a rare account of a woman’s experience during wartime—raises key questions: How is the anti-Japanese resistance narrated when framed through a female perspective? Where was the essay first published, and what ideological stance or intention does the author convey? Through whose reading and imagination did it help forge a sense of community consciousness? History may be filtered through the needs of state power, and while literature often serves the function of restoring memory, it can also participate in the construction of ideology. In such a dynamic, how can literature serve as testimony to history? Moreover, when women are passively drawn into war, is their participation and articulation merely testimonial, or does it also serve as part of the grand narrative shaped by party and epoch? This paper takes the perspective of erasure and forgetting as its point of departure to explore the representational mechanisms of the text, as well as the visibility and invisibility of history, literature, and women.
旧体式下的新面貌：鲍照乐府诗的承变
鲍照（约414-466）最为人称道的是其拟、代乐府诗，尤以《拟行路难》最为学界所关注。此组诗沿用旧有曲题，同时亦运用时人视为“体小而俗”的七言、杂言体进行创作，并且开创隔句用韵的方式，成功开辟出富有抒情张力的新体式，对文学体式的革新与发展具积极意义。然，值得一提的是，与《拟行路难》同属乐府诗范畴的“代”乐府，占现存诗作的多数，却较少被深入探究。论者多聚焦于其抒情特质及题名“代”之意涵，虽其内容大多承续汉魏以来游子思妇、香草美人等主题，然若从“文体”角度观之，实可窥见其对乐府传统体式的承接与创变。是以，本文将鲍照所有乐府诗纳入考察范围，尝试以“承继”与“新变”为研究视角，探讨其在体式层面对传统体裁、题材与体貌的赓续与转化，并进一步揭示其所构建的另一种乐府体式风貌。 Bao Zhao (CE 414-466) is best known for his imitative (Ni) and persona (Dai) yuefu poems, with scholarly attention primarily focused on the Ni Xinglu Nan (Imitation of “The Lament of the Road”). These poems retain traditional yuefu titles while adopting poetic forms—such as seven-syllable and mixed-meter lines—often seen by contemporaries as “minor” or “vulgar.” Bao Zhao’s use of alternate-line rhyming, instead of rhyming every line, introduced a new style of heightened lyrical tension. These innovations significantly advanced the development of literary form in early medieval China. Although the Dai yuefu poems make up the bulk of Bao Zhao’s extant yuefu, they have received relatively little scholarly attention. Existing scholarship largely centers on their lyrical features or on readings of dai (persona) as a mode of “speaking on behalf of another,” often emphasizing inherited Han and Wei motifs such as the absent traveler, the longing woman, and the fragrant beauty. Yet viewed through the lens of literary form, these poems reveal a dynamic interplay of continuity and innovation within the yuefu tradition. This article examines the full corpus of Bao Zhao’s yuefu through the dual lens of inheritance and innovation, tracing his engagement with traditional forms, themes, and styles, and his transformation of them into a distinct yuefu mode. In doing so, it sheds light on his role in reshaping the formal horizons of the yuefu poetry tradition.
洛神与人神恋母题在戏曲中定型与演化
洛神自先秦起便是文学作品中不可方物的神女形象，她既是楚辞中无具体形象描绘的寄托之物，又是辞赋里翩若惊鸿的“斯水之神”，还是戏曲中甄后神魂化的洛水之神，经历了不断的传承和演变。从明杂剧《洛水悲》到清杂剧《凌波影》，再到梅派京剧《洛神》，宓妃与曹植间的爱情故事延续了人神恋母题的框架和文旨传统，不断塑造人物、细化情节、创新表演，使洛神的中心意象和人神恋母题在戏曲中得以定型与延续。戏曲中人神恋的描写常体现出当时关于性别等级与婚姻规范的社会讨论，一方面体现出超越现实束缚的浪漫想象，另一方面也暗含对突破既定社会秩序的焦虑。 Since the pre-Qin period, the goddess Luoshen has been portrayed as an ethereal and transcendent figure in Chinese literature. In the Chuci, she embodies abstract longing without a concrete form; in Han rhapsodies, she emerges as the goddess of the Luo River, “graceful as a startled swan”; and in traditional drama, she becomes the deified spirit of Empress Zhen. Her image has been continually reinterpreted through works like the Ming zaju Luoshui Bei, the Qing zaju Lingbo Ying, and the Mei school Peking opera Luoshen, all of which preserve the romantic narrative between the goddess Fufei and Cao Zhi. These performances refine characterization, expand plotlines, and innovate theatrical techniques, reinforcing Luoshen’s imagery and the motif of human-divine love. Such romances reflect both idealized transcendence of worldly constraints and implicit anxieties about disrupting social and moral norms, making the human-divine romance a means of aesthetic expression and a lens for negotiating sociocultural tensions.
《汉学研究》为马来亚大学中文系赓续创系以来学术传统命脉的期刊，既涵摄中文系文史哲研究，亦愿迎向现代化学术进程与现世变化中各种中文学术的未來挑战。《汉学研究》不吝于跨界与跨学科的时代语境中思索传统汉学生命力的新发，愿与当代议题衔接、反思与开拓，并且与国际汉学与中文学界共同参与当代学术的建构。 由此，从此期开始，每期《汉学期刊》将设置各种学术专辑，以专辑特约方式邀约各领域中杰出学者与青年学人主持专辑策划与构思，面向海内外征稿，推出多样态的汉学方向研究成果。此期专辑邀请重庆师范大学讲师舒子芩共同构思，聚焦于中文经典、早期文献与传统汉文化的探索，推出四篇认真严谨撰写的论文，分别是由河北大学张丽对《述异记》的文献流传及其版本的考察，西北师范大学文学院程雪与王志翔针对《山海经》中的神话人物帝俊进行研究的《帝俊考——基于早期文献与图像的思考》，韶关学院的高佩英从汉人文化中的牛马传说记载来呈现汉文化中的动物形象与民俗文化进行考察，以及博特拉大学外文系中文学程的张倩倩与徐威雄对于《说文解字》中的《诗经》进行考述。此四篇研究成果皆衔接传统与现代的思考，展现出汉学研究的本位。此外，本期亦收录台湾成功大学人文社科中心博士后研究院林明发对于小说家王安忆的《伤心太平洋》中父亲的南洋经历进行剖析，指出其再现家族历史的意义所在。并且，还收录了山西师范大学李奎与李瑶对于马来西亚早期华文小说家李西浪所撰写的《蛮花惨果》中的人物、语言体式 展开探讨，强调小说中的特殊的南洋地域特色所承载的马来亚社会的印记。此期所收录的多篇论文，皆展现了汉学与南洋的多方互动、对话，具重要的意义。 《汉学研究》秉持严谨的学术立场，採取两位盲审制度，向国内与国际优秀学者与青年学人广为邀稿，期待各方精湛的学术成果，得以通由此学术平台进行有效的联结与交流。
Copyright (c) 2024 Journal of Sinological Studies 漢學研究學刊
南洋华人遭遇的文学书写 —《蛮花惨果》的艺术探析
《蛮花惨果》是中国南来作家李西浪早期的小说创作。小说以马来亚社会三个不同社会阶级的人物为中心展开故事，展现了当时马来亚社会的经济、文化、医疗、教育状况，揭示了当时存在的一些社会问题；三个人物形象各异，展现了“士”“工”“商”三个不同社会阶级的人们的生存状况以及其面临的困境，是不同阶级百姓的缩影；在创作艺术层面，小说虽然仍沿袭着中国传统的小说创作的语言体式，但是在字体行间都洋溢着浓厚的南洋地域特色，是南迁华人在融入马来亚社会的印记，对于我们了解当时马来亚社会人们的生存状况有重要意义。 Manhua Canghuo (Wild Flowers and Tragic Fruits) is an early novel by Li Xilang, a Chinese writer who migrated from China. The novel unfolds the story with characters from three different social classes in Malayan society as the core plot, showing the economic, cultural, medical and educational conditions of Malayan society at that time, and revealing some social problems that existed at that time. Three characters have different images, showing the living conditions and difficulties faced by people from three different social classes of "scholars", "workers" and "merchants", which are microcosms of people from different classes. In terms of creative art, although the novel still follows the language style of traditional Chinese novel creation, the fonts and lines are full of strong Nanyang regional characteristics, which is the mark of the Chinese who migrated from China to integrate into Malayan society, and is of great significance for us to understand the living conditions of people in Malayan society at that time.
段玉裁是杰出的经学家，也是著名的语言文字学家，在中国经学史、语言文字学史上都具有特别重要之地位。在他众多研究著作中，《说文解字注》是成书时间最晚、研究成果结晶的一部。《诗经》是段玉裁《说文解字注》中引用内容数量最多的古代典籍，《诗经》与《说文解字注》关系密切非常。在《说文解字注》中，段玉裁引用《诗经》内容，有时为了证明自己的观点，仅仅单个字的注释内容少则引用1 篇，多则5 篇、8篇或者更多数量的不同《诗经》篇目内容来辅证。我们发现段氏引用《诗经》内容主要是用来解释字的本义；有时校订字义的讹误，间或证明字的引申义；又或证明字的假借义。 Duan Yucai was an outstanding Confucian scholar and a renowned linguist, holding a particularly important place in the history of Confucian studies and linguistics in China. Among his numerous research works, Annotations on the Shuowen Jiezi was the latest and the most accurate, also was the most authoritative result of his research efforts. In the Annotations on the Shuowen Jiezi, Duan Yucai extensively quoted content from The Book of Songs, which is the ancient text with the most references in his annotations. The relationship between The Book of Songs and the Annotations on the Shuowen Jiezi is very close. In the Annotations on the Shuowen Jiezi, Duan Yucai extensively makes references content to The Book of Songs. At times, he uses content from one or more different poems within The Book of Songs to support his arguments. This ranges from citing just one poem to referencing five, eight, or even more poems to provide evidences for his points. This article finds that Duan's use of The Book of Songs content primarily serves the following purposes: explaining the original meaning of a character, correcting errors in character meanings, occasionally demonstrating the extended meanings of characters, or illustrating the borrowed meanings of characters.
《述异记》作者归属不一，约以宋为界，以隋唐《志》书为记载的《述异记》，将作者归为祖冲之。宋时，祖冲之、任昉两种作者情况并称，但任昉之名已渐趋盛。宋庆历4 年临安太庙经籍铺尹家刊行本促成了任本的进一步流通。宋本本身情况不一，有全本与脱本之别，明程荣《汉魏丛书》本、明商濬《稗海》本、明胡文焕《格致丛书》本、晚清徐乃昌《随庵徐氏丛书》本等以不同的底本为基础，形成了2 卷本系统中的四个系统，这些书籍的刊刻，又造成了后世流行版本中存在的大量差异。其中商濬《稗海》本因底本选择精良，又参校了邢参抄本，版式雅致、校勘精审的风貌，而被内府所藏，从而进入《四库全书》的系统中去。 There are different opinions on the authorship of Shuyi Ji (Records of Strange Things). It was mentioned in the Books of Sui and Tang, attributed to Zu Chongzhi. In the Song Dynasty, Zu Chongzhi and Ren Fang were both mentioned, but Ren Fang's role gradually became more popular. The edition published by Yinjia, the scripture shop of Taimiao in Lin'an in the year 1044 promoted the further circulation of Ren's edition. The Song editions themselves are different, with complete editions and incomplete editions. The editions in the Han and Wei Collection by ChengRong of the Ming Dynasty, Baihai by Shang Jun of the Ming Dynasty, Gezhi Collection by Hu Wenhuan of the Ming Dynasty, and Sui'an Xushi Collection by Xu Naichang of the late Qing Dynasty are based on different sources, forming four systems in the two-volume system. The publication of these books has caused a large number of differences in the popular versions in later generations. Among them, Shang Jun's Baihai was collected by the imperial palace because of its excellent selection of the original text and its collation with Xing Can's copy, and its elegant layout and meticulous proofreading, thus becomes one of the collections of the Siku Quanshu (The Complete Books of the Four Repositories).
《伤心太平洋》：从父亲的南洋经历看海外华人的 爱国情怀与文化认同
王安忆（1954－）的家族历史源自南洋，约在1880-1890 年间由曾祖母带着祖父从福建同安移民新加坡。这段历史在她的父亲王啸平（1919-2003）时期才逐渐显现。对于这段历史的陌生感与在中国社会中的身份困境，促使王安忆在创作中探寻自我与家族的根源。她的作品如《小鲍庄》（1985）和〈我的来历〉（1985）以“我从哪里来”为主题，反映了中国文坛的寻根文学思潮。寻根文学是对文革后文化精神的修复，而王安忆的《伤心太平洋》（1993）通过描写父亲的南洋经历，展现了家族历史的层层回溯，也反映了中国现代史的变迁。王安忆在《伤心太平洋》中将父亲的形象既作为历史的真实反映，又作为虚构的创作素材来展示，实现了对家族历史记忆的再现。本文尝试探讨《伤心太平洋》中父亲南洋形象的塑造，研究其对海外华人爱国情怀及对中国的集体想象的影响，并通过理论视角深入理解父亲形象的历史意义。 Wang Anyi (1954 – ) traces her family history back to Nanyang, where her great-grandmother brought her grandfather from Tong'an, Fujian to Singapore between 1880 and 1890. This history only began to take shape during the time of her father, Wang Xiaoping (1919–2003). The unfamiliarity with this historical background and the identity issues she faced in Chinese society inspired Wang to explore her own and her family's origins in her literary works. Her novels such as Little Bao Village (1985) and the short story My Origins (1985) center on the theme of "Where do I come from?", reflecting the Chinese literary trend of “ root-seeking ” literature. This trend represents a cultural and spiritual restoration following the Cultural Revolution. Wang’s Sadness for the Pacific (1993) uses her father’s Nanyang experiences to depict a layered exploration of family history and changes in modern Chinese history. Wang in Sadness for the Pacific presents her father's image as both a true historical reflection and a fictional creation, achieving a reconstruction of family historical memory. This paper explores the depiction of the father’s Nanyang experiences in Sadness for the Pacific, examining its influence on overseas Chinese patriotism and collective imagination towards China, and offers a theoretical perspective to understand the historical significance of the father’s image.
传统汉人文化中的牛马形象与传说初探
牛和马是传统汉人社会中除了犬之外，对于人类帮助最多的动物。牛在农事上的帮助，让人们生活安定，社会能稳定发展；而马则是最重要的运输兽力来源，除了协助人类运送物资外，更是保家卫国的战争中最重要的动物。此外，受到传统社会“吃米拜田头，吃果子拜树头”道德观的影响，为了感谢牛马对于人类的付出，牛老了，人们会为其寻找安置地点，称之为老牛之家；牛走了，人们也会将牛埋藏，形成“牛冢”，对待家牛就像对待家人一样的爱护；另外也有设立马神庙来感谢马神的传说。故本文透过探讨传统汉人文化中牛、马相关的传说记载来呈现汉人社会中的牛马动物形象与民俗文化。 Cattle and horses are animals that have provided the most assistance to humans in traditional Han Chinese society, aside from dogs. The help of cattle in agricultural work has ensured stable livelihoods and contributed to the steady development of society. Horses, on the other hand, have been the most important source of transportation and military power. They have assisted humans not only in transporting goods but also played a crucial role in defending the country during times of war. In addition, influenced by the traditional moral concept of "respecting the land when eating rice and respecting trees when eating fruits," people showed gratitude to cattle and horses for their contributions. When cattle grow old, people find a place for them to live out their days, known as the "home for old cattle." When cattle pass away, people bury them and create " cattle graves." Caring for domesticated cattle is akin to caring for family members. Furthermore, there are legends of establishing temples dedicated to horse deities to express gratitude to them. Therefore, this article presents the images of cattle and horses in Han Chinese society and the associated folk culture through exploring recorded legends and stories related to them in traditional Han Chinese culture.
帝俊考 ——基于早期文献与图像的思考
作为中国早期神话中的重要神灵，帝俊在《山海经》中多次出现，展现着非凡的神性。但是，相较于学术界对三皇五帝等神话人物的研究，帝俊神话历来并没有得到研究者的过多关注。早期文献表明，帝俊不仅在中国上古神灵体系中具有重要的地位，且有诸多相关神话传世。有学者认为《山海经》中有关帝俊的记载出自汉代或汉代以后，还有学者曾考证过帝俊与帝喾、帝舜的关系，但至今皆未成为定论。帝俊的原型究竟指什么？与帝俊相关的文本是汉代或汉代以后才产生的吗？结合传世文献和考古材料，能够对帝俊神话有进一步的认识。 As an important deity in early Chinese mythology, Di Jun appears many times in the Classic of Mountains and Seas, showing extraordinary divinity. However, However, compared with the academic researches done on mythological figures such as the Three Sovereigns and Five Emperors, the myth of Di Jun has never received much attention from researchers. Early literature shows that Di Jun not only holds an important position in the ancient Chinese deity system, but also has many related myths handed down. Some scholars believe that the records about Di Jun in the Classic of Mountains and Seas came from the Han Dynasty or after the Han Dynasty. Some scholars have investigated the relationship between Di Jun and Emperor Ku and Emperor Shun, but no conclusion has been reached so far. What exactly does the prototype of Di Jun mean? Did the texts relate to Di Jun come into being during or after the Han Dynasty? Combined with handed down documents and archaeological materials, we can have a further understanding of the myth of Di Jun.
Folk Custom and Ideological Reform - On the Reform Movement of Funeral Customs in the Chinese Community in Malay(sia)
Confucianism emphasizes "serving the living with courtesy; burying the dead with courtesy and offering sacrifices with courtesy". In the early days, the Chinese community regarded grand funerals and lavish burials as filial piety, and anything less than that was considered unfilial or impolite. Intellectuals during the 1890s, in addition to flaunting Western scientific spirit and innovative ideas, also held high the banner of Confucianism: Lim Boon Keng advocated cutting braids, quitting smoking, and abolishing bad customs in weddings and funerals, while Wu Lien-teh proposed in his autobiography: "In addition, weddings and funerals, festivals and grand celebrations are all a waste of money. We must further abolish or change those ancient and meaningless customs and habits". In fact, the local Chinese community has experienced three reform movements of Chinese funeral customs, which can basically be divided into three periods: in 1936, the Xingzhou Fujian Association responded to the Kuomintang's "Improved Funeral Ceremony Regulations"; in 1952, the Malayan Guangdong Association Federation's "Hometown Associations Improve Overseas Chinese Wedding and Funeral Ceremony Savings Plan"; and the Chinese Thought Reform Movement proposed by the Federation of Chinese Associations in the 1980s. For a long time, there have been constant voices of doubt and reform within the Chinese community in Malaysia regarding traditional funeral ceremonies. These historical facts record people’s criticism of the extravagant funeral ceremonies at that time. In addition to sorting out these three reform movements, this article will also explore the impact of these movements on today’s Chinese funeral ceremonies.
《华文小学适用佛学》课本寓言故事 的文学特点与佛教教育文化传统
Fables are a literary genre that contains moral education, satirical connotations, and warning contents. The textbook Buddhism for Chinese Primary Schools compiled by Master Jin Ming contains many fables. These fables often contain Buddhist concepts of cause and effect, Buddhist teachings, and convey the profound meaning of Buddhism. The fables in the textbook are adapted from stories recorded in Buddhist scriptures or stories spread among Chinese and Indian folk. The purpose of compiling Buddhist textbooks using fables is like the education of the Buddha, using fables to educate the people about Buddhism. This can be said to be the cultural tradition of Buddhist education. Fables are not only rich in literary colour and value, but also play an educational role. This is also the value of fables. This article explores the literary characteristics of the fables in the textbook Buddhism for Chinese Primary Schools so as to understand the cultural tradition and effectiveness of Buddhist education in the fables used in the textbook.
Copyright (c) 2023 Journal of Sinological Studies 漢學研究學刊
Western psychology has reaffirmed the importance of consciousness and opened up a bridge for mutual exchange between Chinese and Western cultures. While drawing on the revaluation of the value of modern Western psychology, the thoughts of Laozi and Zhuangzi can also reflect the transcendence and diversity of Taoism in consciousness. The thoughts of Laozi and Zhuangzi established the philosophical thinking of the theory of cultivation and the concept of realm in the pre-Qin period. These theories are dominated by "Tao" and "Virtue". Western psychology lacks the exploration of the natural world and classifies it as a category of natural science. At the same time, it does not have a holistic understanding and realisation of "Tao", which has caused limitations and defects. Although transpersonal psychology has absorbed various new concepts of Eastern philosophy, it has not been properly integrated, mainly because the knowledge system of "understanding Tao" and "showing virtue" has not been perfected. This article believes that the thoughts of Laozi and Zhuangzi can make up for these defects.
Based on the Wang Yang-ming QuanJi（《王阳明全集》）published by Shanghai Classics Publishing House（上海古籍出版社）in 2011, this paper studies the rhyme features of Wang Yang-ming’s guti shi（古体诗，old style poem）and jinti shi（近体诗, new style poem）respectively. There are 188 verses and 227 stanzas in Wang Yang-ming’s own guti shi, which can be divided into 16 Rhyme Groups. Compared with the GuangYun （《广韵》）, this Rhyme Groups has been simplified. The prominent features are as follows: Zhi Rhyme Group rhymed with Yu Rhyme Group in Yinsheng Rhyme（阴声韵），finals have been merged in Yangsheng Rhyme（阳声韵）and in Rusheng Rhyme（入声韵）. There are 313 verses in Wang Yangming’s own jinti shi which can be divided into 27 Rhyme Groups. This paper holds that jinti shi reflects actual speech by means of jieyun（借韵）and chuyun（出韵）. The degree to which Wang Yangming’s jinti shi that follows the official rhyme is 89.5%, and the one that reflects the actual sound is 10.5%.
Zhao Yi, in the 19th and 20th volumes of "Records of the Twenty-two Historiographies" evaluates the rise and fall of the Tang Dynasty, applying the idea that "Wei Zheng was not the only remonstrator during the Zhenguan Period" as the centrepiece. By discussing the relationship between remonstrators and Emperor Taizong during the Zhenguan period, we can observe the open political atmosphere of that time, where dissenting opinions were welcomed. "Zhenguan" was the second reign title of the Tang Dynasty, lasting for a total of twenty-three years. However, through the analysis in this article, it is evident that Zhao Yi's term "Zhenguan Zhong" does not encompass the entire Zhenguan period; rather, it tends to refer to the early to mid-Zhenguan era. Zhao Yi provides examples of fifteen individuals to illustrate that during the Zhenguan period, there were more than just Wei Zheng as remonstrators. Among them were Xue Shou, Sun Fujia, Ma Zhou, and others. Some of them were generously rewarded, some partially rewarded, and some received no rewards at all. Additionally, there were instances where Emperor Taizong heeded their advice despite being angry. Although this passage discusses Wei Zheng and fifteen other remonstrators, Zhao Yi's primary praise is directed towards Emperor Taizong's ability to accept counsel.
In ancient times, the term “wenzhang” literally means “articles”, could be applied to refer to patterns used to decorate the surface of objects. The "Twelve Articles" in this article refer to the twelve decorative patterns on the crown and imperial robes. As the most important component of the crown and robes, the twelve articles vividly express the different connotations of Chinese aesthetic culture, especially imperial culture in different periods in a symbolic way, which is mainly divided into the "Totem Period" and the "Bi De" Period. In different periods, the use of the twelve articles has also changed, from a symbol of supernatural power closely related to religious concepts to a symbol that highlights their identity and rights and distinguishes between the upper and lower classes. This article explores the aesthetic culture of the twelve articles, traces back to the origin of the twelve articles, examines the evolution path of their use and connotation, and helps us to deeply understand the aesthetic implications and cultural connotations of the twelve articles.
Book Review: Outline of the Studies of Chu Ci in Europe and America by Chen Liang.
A Comparison between Zhuangzi and Krishnamurti from Philosophical Hermeneutics Approach
Although the thought systems of Zhuangzi and Krishnamurti are not completely consistent, they have comparable similarities. In the chaotic times in which they lived, both philosophers did not strive to establish a certain kind of nationalism, but instead advocated introspection and externalisation of human life and spirit, and pointed out another way with their own practice. This article attempts to use Gadamer's philosophical hermeneutics as a theoretical basis to detect that the cognition of Zhuangzi and Krishnamurti finally returned to the center of practical philosophy. Therefore, taking these two philosophers as a comparative study has its significance of super-time and space interaction. The results of the comparison can be roughly summarised into the following points: 1. The mission of the times and the influence of the environment; 2. Time and life and death as the door to perceive the universe; 3. The awakening of wisdom and the good use of science and technology; 4. Krishnamurti's language and Zhuangzi's meaning are re-understood.
Copyright (c) 2020 Journal of Sinological Studies 漢學研究學刊
黎紫书与法蒂玛·布素 小说中的性别伦理
黎紫书和法蒂玛因自身的女性身份，小说常流露出女性关怀，却又因各自族群文化差异而对性别议题有不同的见解。她们作品反映了父权社会文化下女性的境遇，以直接声援女性或反向解构父权的方式表达追求性别平等之理念。然而，若将两者的性别意识并置作比较，之间的差异与矛盾便显而易见——性别平等之理念是否绝对平等，以及性别平权发展空间的宽窄？关于性别的伦理与限制，本文以“身体与形象”、“性别期待与精神追求”以及“性与罪愆”三个面向作论述，以探究黎紫书与法蒂玛性别意识里的性别伦理观。 Li Zishu and Fatimah Busu are both indigenous writers of Malaysia. Their literary writings reveal a sense of concern over women due to their own female identity, but at the same time show different points of view towards gender issues due to their respective ethnic cultures. Their writings reflect the situation of women living in patriarchal social culture, and express the idea of pursuing gender equality by directly expressing their stands, or diametrically deconstructing patriarchy in their works. When juxtaposing their gender consciousness, the distinction and contradiction between them would be obvious, in which this comparison would lead to the questions: Is the idea of gender equality pursuing absolution? Also, what is the space for the idea to grow? Regarding the gender ethics and constraints, this essay is aimed to find out the gender ethics in the gender consciousness of Li Zishu and Fatimah Busu from three perspectives, which are “body and image”, “gender expectation and spiritual pursuit” and “sex and sin”.
浅析民国忆语中的女性形象 ——以《寄心琐语》胡淑娟为例
Memory breaks the practice of rarely marriage in classical literature. As a literati in the late Ming and early Qing dynasties, Yu Shimei’s Jixinsuoyu is a good work of "giving couple" in the memory work. The study of this work can make up for the gap in the field of memory and provide a new breakthrough for the research of amnesia. The article focuses on analysing the characters of the author's wife Hu Shujuan, discussing her life, virtue, talent, and the reshaping of a new flesh and blood and thoughtful woman image. Through in-depth exploration of the Jixinsuoyu, the true friendship between husband and wife in the work can be felt. From the aspects of the experiences and the author's memory, we shall have a better understand its literary value and research significance.