-
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
Publication date： 2025-06
Special Article Shifting Discourses on “Ru” in Modern China: A Paradigm Shift
Beginning from discussing the separation of lixue (理學) and daoxue (道學) from rulin zhuan (儒林傳) in Chinese dynastic histories, this paper discusses the shifting discourses on “Ru” in late imperial China and attempts to reexamine existing scholarship by revealing the key factors leading to the paradigm shift of Ruism in late imperial China. Base on the term rulin (儒林), the author considers “ru” to be a social class composed of literati who influenced history through their collective self-awareness as well as their way to define zhi (知,knowledge). The crisis of Ruism of the late Ming period was due to the fact that intellectual pursuance turned to be superficial and fragmented discussions of li (理, reason) instead of substantial integration of cross-disciplinary knowledge. The new paradigm of Qing Ruism essentially benefited from the flaws of the late Ming Ruism, moving away from empty discussions of li and revitalizing the integration of knowledge across multiple disciplines and levels.
Page：
1-58
Keywords：
Ruism, philosophy, philology, late Imperial China, paradigm shift
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
This study takes the similarities and differences between two textual versions of Du Guji’s Zhong Ji Xu as a starting point to examine the process of compiling Li Hua’s collected works. The findings suggest that Li Hua’s collected works underwent two stages of organization, both during his lifetime and posthumously, ultimately forming the structure of Former Collection, Middle Collection, and Later Collection. Furthermore, this paper uses information provided by Wenyuan Yinghua, particularly its critical apparatus, to elucidate thecirculation and publication of Li Hua’s collected works during the Song dynasty. It concludes that the three collections, which were compiled during the Tang dynasty, continued to circulate in the Jiangnan region until the Southern Song dynasty, where it was ultimately crystallized in print. Finally, through a simple textual comparison, this paper investigates the source texts of the Siku Quanshu and Quantangwen editions of Li Hua’s collected works. The study concludes that the Quantangwen edition, meticulously recompiled from Song anthologies― particularly facsimile manuscripts of Wenyuan Yinghua―ranks among the mostauthoritative and refined extant versions of Li Hua’s works.
Page：
59-92
Keywords：
Li Hua, Wenyuan Yinghua (Finest Blossoms in the Garden of Literature), Wencui, Siku Quanshu, Quantangwen
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
The Ming and Qing dynasties were once regarded by some scholars as the second stage of the “Contention of a Hundred Schools of Thought” in the developmental history of Chinese academia. During this time, intellectual confrontations among Confucianism, Daoism, and Buddhism were accompanied by the introduction of European science and theology, bringing new theoretical perspectives to China. This was reflected in Book of Changes studies (Yi 易學) of the period, which featured three distinct approaches: the “naturalistic Yi”emphasizing the heavenly way, the “humanistic Yi” emphasizing the human way, and the “theological Yi” introduced by missionaries, which centered on the way of God. Given that previous scholars often put their focus on the former two interpretations while neglecting the formation, evolution, and influence of the“theological Yi.” This paper, through presenting how missionaries understand and interpret the Book of Changes, argues a theological superiority orientation in their works.
By analyzing the interpretations of Matteo Ricci, Alvaro Semedo, Martino Martini, Alfonso Vagnoni, Joachim Bouvet, and Joseph de Prémare, it becomes evident that missionary perspectives on the Book of Changes underwent a transition from initial rejection to eventual acceptance. The missionaries of the late Ming period rejected the Book of Changes primarily because the cosmological concept of“Taiji 太極 generating the Two Modes” contradicted the Christian doctrine of divine creation by God. Consequently, they reinterpreted Taiji as a “secondary”or “dependent” entity, distorting the original meaning of the phrase “Di emerged from Zhen 帝出乎震” to align with their theological stance of divine primacy. This theological interpretation was met with strong resistance from late Ming domestic scholars, leading to intense debates between the two sides regarding the competing cosmological models of God and Taiji. By the early Qing period, the Figarist missionaries sought to reconcile Book of Changes cosmology with Christian theology by redefining the text as the “Eastern Bible,” and hence recognized the model of “Taiji creates the cosmos.” In other words, while maintaining the primacy of God the Jesuits acknowledged that God created the Book of Changes, which in turn described the creation of the cosmos.
The God-centered interpretative model that emerged during the late Ming and early Qing periods had a profound impact on the development of Yi studies abroad. For instance, the so-called the Old Testament and the New Testament of English translations of the Book of Changes both have religious orientation and characteristics. Even today, some English versions of this book retain this translation habits, continuing to render Di as God. Therefore, the “theological Yi” model, as the origin of the overseas school of Yi studies, merits further scholarly attention.
By analyzing the interpretations of Matteo Ricci, Alvaro Semedo, Martino Martini, Alfonso Vagnoni, Joachim Bouvet, and Joseph de Prémare, it becomes evident that missionary perspectives on the Book of Changes underwent a transition from initial rejection to eventual acceptance. The missionaries of the late Ming period rejected the Book of Changes primarily because the cosmological concept of“Taiji 太極 generating the Two Modes” contradicted the Christian doctrine of divine creation by God. Consequently, they reinterpreted Taiji as a “secondary”or “dependent” entity, distorting the original meaning of the phrase “Di emerged from Zhen 帝出乎震” to align with their theological stance of divine primacy. This theological interpretation was met with strong resistance from late Ming domestic scholars, leading to intense debates between the two sides regarding the competing cosmological models of God and Taiji. By the early Qing period, the Figarist missionaries sought to reconcile Book of Changes cosmology with Christian theology by redefining the text as the “Eastern Bible,” and hence recognized the model of “Taiji creates the cosmos.” In other words, while maintaining the primacy of God the Jesuits acknowledged that God created the Book of Changes, which in turn described the creation of the cosmos.
The God-centered interpretative model that emerged during the late Ming and early Qing periods had a profound impact on the development of Yi studies abroad. For instance, the so-called the Old Testament and the New Testament of English translations of the Book of Changes both have religious orientation and characteristics. Even today, some English versions of this book retain this translation habits, continuing to render Di as God. Therefore, the “theological Yi” model, as the origin of the overseas school of Yi studies, merits further scholarly attention.
Page：
93-124
Keywords：
the Book of Changes, Missionary, Taiji, Theology
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
Amidst the wave of modernization in early Republican Periods, how did people perceive traditional Dragon Boat Festival customs and the commemoration of Qu Yuan? With the widespread circulation of newspapers and periodicals, we are able to directly examine the public opinion and societal discourse during that time. This study finds that a substantial number of Dragon Boat Festival-themed articles appeared in Shanghai newspapers between 1918 and 1929. Accordingly,the second section traces the emergence of the Dragon Boat Festival special editions, illustrating how they originated from the newspapers published by entertainment venues and later expanded in influence through Shenbao – Ziyou tan (Free Talk), ultimately shaping a new mode of festival-related writing. The third section explores the representation of historical legends associated with the festival, health-related knowledge, and frolic articles (游戲文章), analyzing their content and expressive styles. The fourth section interprets the frequent appearances of “Sanjie shouzhang 三節收帳” (debt settlements across three major festivals) and “Xin Wu Du” (new five venoms) in the festival-themed articles in early Republican Periods, exploring the social realities and psychological reflections reflected in these writings. The fifth section discusses the public’s perspectives on commemorating Qu Yuan, including reflections on his contemporary significance and debates surrounding the issue of suicide. Overall, Dragon Boat Festival articles in 1920s newspapers closely engaged with societal currents, reflecting the public’s perceptions and sentiments at the time. By recontextualizing traditional symbols with a touch of humor and wit, these writings integrated the festival’s traditions into the modern era.
Page：
125-172
Keywords：
Dragon Boat Festival, Qu Yuan, newspapers and periodicals, commemorative, frolic article
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
In Han Song’s The Subway, a plethora of juxtapositions between East and West, tradition and modernity, science and the zhiguai tradition are employed, thereby crafting both a ghostly “Illusory Realms” and a futuristic “Sci-Fi Realms.”This paper delves into the imagery of the “in-between state” within The Subway and the resultant “uncertainty” constructed by the “strangeness.” It observes how Han Song manipulates the dialectical nature of tradition/modernity, material/spiritual, and empirical/metaphysical realms to shape a multifaceted self-image amidst the transitions of post-industrial, post-capitalist, and post-socialism ideologiesdepicted in The Subway.
Primarily, this paper examines the “politics of imagination,” elucidating how Han Song defines the mystery of “ghosts” as the source of Chinese cultural imagination. Simultaneously, it explores the zhiguai thinking and Eastern perspectives on bodily transformations depicted in The Subway, investigating how Han Song engenders a sense of alienation in science fiction while highlighting the impact of “uncertainty.” Secondly, it analyzes the narrative tenses and shifts in temporal perception within The Subway, examining how the text reflects upon China’s century-long process of modernization through its blending of time and space. Lastly, the paper endeavors to elucidate the portrayal of bodily transformations in The Subway, as well as resistance against capitalism and Western ideological control.
Primarily, this paper examines the “politics of imagination,” elucidating how Han Song defines the mystery of “ghosts” as the source of Chinese cultural imagination. Simultaneously, it explores the zhiguai thinking and Eastern perspectives on bodily transformations depicted in The Subway, investigating how Han Song engenders a sense of alienation in science fiction while highlighting the impact of “uncertainty.” Secondly, it analyzes the narrative tenses and shifts in temporal perception within The Subway, examining how the text reflects upon China’s century-long process of modernization through its blending of time and space. Lastly, the paper endeavors to elucidate the portrayal of bodily transformations in The Subway, as well as resistance against capitalism and Western ideological control.
Page：
173-214
Keywords：
Han Song, The Subway, ghostly, zhiguai, Chinese new science fiction
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.43
