Special Article

Author:Tohru Ohgata

This study examines concepts of illness and epidemics within the East Asian Sinographic cultural sphere, focusing on the influence of ancient Chinese beliefs on Japan. In ancient China, diseases were attributed to Gui (malevolent spirits) attaching to or invading the body, a view reflected in the structure of Chinese characters. For example, the oracle bone script for “疫” (epidemic) seemingly depicts a scene in which a stick-like implement is used to expel Gui afflicting a patient. The author terms this concept “Spirit-Centered Etiology.” This perspective, conveyed through Chinese characters and literature, also influenced Japan. The paper explores: (1) Qi-Centered Etiology from Yin-Yang and Five Elements theory; (2) Spirit-Centered Etiology; (3) textual evidence of Spirit-Centered Etiology; and (4) the link between Nuo rituals and Fangxiangshi (exorcists). Given the context of presenting this paper in Taiwan, the author has intentionally included content that is widely recognized in Japan. While Chinese medicine transitioned from the “Spirit-Centered Etiology” to the “Qi-Centered Etiology,” spirit-based beliefs persist in religious and cultural practices, influencing Japanese rituals like Tsuina and the Gion Matsuri.
Page： 1-38
Keywords： Sinographic Cultural Sphere, epdemic (yi), spirit-centered etiology
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.42
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Thesis

Author:Rens Krijgsman

This article discusses the role of violent narrative in cultural memory formation. It argues how narratives of violence evoke an entertaining, engaged, and immersive reception experience, resulting in strong memory formation. I analyze the Burning and Roasting (pao luo 炮烙) torture as a site of memory to trace memories of the torture across early Chinese texts. Beyond reflecting a gradual increase in violent detail, these acts of remembrance both reflect an attempt to use current views to meaningfully interpret events of the past, all the while using the past to reflect on and process contemporary reality.
Page： 39-78
Keywords： Cultural Memory, Violence, Narrative, Reception, Burning and Roasting
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.42
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Thesis

Author:Chen Min-zhen

The continuous archaeological discoveries have provided important materials for the reconstruction of the history of the State of Zeng, and offer an excellent perspective for studying the transmission, fragmentation, and reconstruction of historical memory. The “disappearance” of the Zeng State in traditional historical records was largely caused by the differing viewpoints of the recorders. Following King Zhao’s southern expedition, the historical narrative of the State of Zeng underwent a significant interruption. Additionally, the defeats suffered by both Zeng and Chu from the Spring and Autumn period onward are notably absent from bronze inscriptions, indicating a selective approach to historical documentation in these inscriptions. The bronze inscriptions of the Zeng State during the Spring and Autumn period were primarily aimed at recounting ancestral deeds, thereby contributing to the partial reconstruction of historical memory. The royal family’s genealogical memory similarly reflected the broader trend of tracing lineage back to distant ancestors, a common practice during this period.
Page： 79-122
Keywords：
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.42
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Thesis

Author:Yu Li-wen

Feng Menglong was not only an active figure in the late Ming publishing market, compiling folk song anthologies, vernacular fiction, and dramas, while serveing as both an author (including editor) and a publisher, but he was also a Confucian scholar deeply versed in the Chunqiu, holding the dual role of historian. Scholars have explored the influence of Feng Menglong’s identity as a historian on his editorial activities, as well as the historical consciousness and political concerns reflected in his works. However, little research has been done on the concrete impact of his dual identities as both literati and Confucian scholar on the compilation of his diverse works.

Building on existing studies of Feng Menglong’s contributions to history of the books, this paper examines the target readership for his various works, using the controversial figure Wang Anshi whose reputation among scholars after the mid-Ming period was more often negative than positive, as a focal point. By comparing his portrayal in Gujin xiao, Zhi nang, Jingshi tongyan, and Gangjian tongyi, this study aims to offer a more detailed understanding of Feng Menglong’s compilation strategies and how he shaped the image and evaluation of the same historical figure across different types of works.
Page： 123-162
Keywords： Feng Menglong, history of the books, editor, Chunqiu, scholar
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.42
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Thesis

Author:Cheng Ting-yin

In late Ming and early Qing ancient poetry criticism, Wu Qi and Chen Zuo-ming devoted significant attention to the exploration of function words related to Wu Se, particularly when these words were employed as verbs, adjectives, or adverbs. Their discussions emphasized the depiction of objects’ intrinsic states, revealing an aesthetic sensibility that expanded the relatively limited perspectives of earlier dynasties.
Chuan-shan’s notion of “depicting light and qi” emphasized the representation of intangible elements. Wu Qi expanded on this by deeply exploring the physical aspects of the intangible, while Chen Zuo-ming, with his advocacy for “capturing traces of the intangible,” focused on virtualizing concrete imagery, marking him as the most committed to the study of intangible elements.
Extending this discourse to “the delight in Wu Se” and “the emotional resonance of merging emotion and scenery,” from Chuan-shan’s discourse, it can be seen that intangible elements are the key to enlivening external landscapes and facilitating the fusion of emotion and scenery. Wu Qi offered detailed analyses of the synchronic fluctuations between intangible elements and emotional expression. Chen Zuo-ming, with his insistence on always incorporating intangibility in descriptive writing, fully revealed the layers of emotional evolution and transformation.

The reflections of these three critics grounded the metaphorical theory of “Mirror Flower, Water Moon” in tangible aesthetic perception, demonstrating the concretization of aesthetics. Their critiques refined the “general” relationship between emotion and objects into “typological” precision, contributing significantly to a deeper understanding of the interplay between emotion and objects.
Page： 163-206
Keywords： Wang Fu-zhi, Wu Qi, Chen Zuo-ming, Intangibility, The Relationship between emotion and objects
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.42
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