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BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.8
Publication date： 2007-12
林琴南是中國近代翻譯文學的奠基人，他一生翻譯了200多種外國小說；在清末民初，「林譯小說」十分受到人們的歡迎。周氏兄弟（魯迅、周作人）、郭沫若、謝冰心、蘇雪林、錢鍾書等等都看過「林譯小說」，他們不但對林譯小說十分有興趣，藉此也更了解外國文學的樣貌，因而林琴南對中國文藝界的貢獻極大。
“Interpreting the Laoze” and “Clarifying the Laoze” are the earliest remarks on 《Laoze》 we know. This article has its points in 1. As there is no way to know what the version of 《Laoze》 Hanfei had available was about, all we know for sure is that it is not the version we have access to this day. 2. Agreeing with Laoze’s doctrine is what makes the Hanfei theory firmly founded and it delivers a clearer view of the relationship between doctrine and virtue than《Laoze》. Only Hanfei’s doctrine is about 1. The so-called carrying out 1 and implementing 1 are 2 know examples. This makes it clear that Hanfeize’s doctrine is different from 1 comes from the doctrine claimed by Laoze, leaving the same an issue to explore the 2 schools. 3. In Hanfei’s carrying the doctrine into the rule, it is claimed that the rule originates from the doctrine, though there are no clear explanation on how the rule comes from the doctrine. Consequently, it remains an issue to discuss how to explain the fact that the rule comes from the doctrine. 4. Both “Interpreting the Laoze” and “Clarifying the Laoze” have shown much more respect to Laoze than all other renown scholars.
Theme Thesis The way I see 《Lieze》 and 《Remarks on Lieze》
In the first place, I like to propose my opinion on the controversial 《Lieze》. I believe the book retains certain works left from the 《Lieze》 in the Qing Dynasty and, with the remarks of ZHANG Zhan, 《Lieze》 became a popular work. Owing to the remarkable difference between the points of view introduced by 《Lieze》 and 《Remarks on Lieze》, ZHANG Zhan could not be the author. In the second place, we have come to conclude that the thought introduced by 《Lieze》could be formed between XIANG Xiu and GUO Xiang. The fact that it changes from XIANG Xiu’s Self Production to GUO Xiang’s Self Creation and from XIANG Xiu’s Natural Desire to GUO Xiang’s Natural Function indicates that GUO Xiang’s Self Creationis not anything coming from nowhere, it is a social thinking and XIANG Xiu and 《Lieze》 both had made their contributions with certain theories. Secondly, when it comes to discussing 《Remarks on Lieze》 that theoretically unifies WANG Bi’s The Noble is Nothing and GUO Xiang’s Self Creation as the theory of Emptiness Governs Metaphysics, where ZHANG Zhan proposed the idea of utmost emptiness as replacement of lacking to avoid misunderstanding triggered by The Noble is Nothing. In fact, it is to explore the definition of lacking and the term of utmost emptiness is not any objective body, it means being centered on the lacking.
The term of being free and unfettered in 《Chuang Chou》 has undergone a long and historical evolution, in which Guoxiang serves as the watershed. Here we like to show some literature reference that shows how the interpretations changed before and after Guoxiang: Before Guoxiang, being free and unfettered was mainly understood as referring to wandering around doing nothing as a way to eliminate worries and boredom. Guoxiang made people believe that being free and unfettered meant being free of everything. In 《Chuang Chou》of the Epoch of Warring States, the term of being free and unfettered resembles more what the term was understood back in the years of the Qing Dynasty and the 2 Han Dynasties. Secondly, when it comes to interpreting the term being free and unfettered from the text of 《Chuang Chou》, we come to realize that being free and unfettered is an abstracted understanding of naturally inactive and Guoxiang explains being free and unfettered as product of extended inactivity.
Hsün Tzu is a very important figure in Pre-Ch’in Confucian School, and is most fomous for his claim that “human nature is evil.” About the studies of Hsün Tzu, American scholars of Chinese Studies have made great contributions. Nevertheless, for centuries American scholars in the study of Hsün Tzu did not explore much about his theory of human nature. However, for the works published in the states, we could see that American scholars attempted to explore the text of “Xing E” (human nature is evil) chapter or analyze and interpret the theory of human nature. Hence, these works would benefit our studies of Hsün Tzu’s theory of human nature. The objects which this paper was going to discuss were those works written in English and published by scholars who taught and researched in America. My paper was to explore some representative works, to evaluate the research results contributed by scholars in America, and to expound the possible research orientation in the future.
It is generally believed that the Ming court stages no Nuo ritual, an analytical perspective derived from Fang Xiang-shi, an ancient Nuo system. However, as early as in Song Nuo theatre, a ritual called mai sui埋祟or “burying the evil spirits” had long been abandoned the traditional Nuo system and developed another set of rituals that is more entertaining and dramatic. What the Nuo theatre in the Ming court inherits is exactly this later development. In order to entertain and to ward off bad influences at the same time, famous plays staged in the Ming court such as 《Three Immortals-- Fortune, Prosperity, and Longevity--Celebrates in Celestial Palaces》（福祿壽仙官慶會）and 《Celebrating an Abundant Harvest the Five Ghosts Tease Zhong Kui》（慶豐年五鬼鬧鍾馗）contain Nuo elements in various ways. Of the two above-mentioned plays, 《Three Immortals Celebrates in Celestial Palace》is written by Zhou Xian-wang. This play preserves many rituals and essences of the ancient Nuo drama. On the grounds of this particular play, the present paper first of all analyzes the Nuo elements embedded in its plot, so as to prove that Nuo drama serves two purposes in the Ming dynasty. Secondly, this paper argues that the image of Zhong Kui, the demon queller, is actually shaped by this particular play. In the play, Zhong Kui is portrayed as a loyal, honest, prosperous and cheerful-looking scholar-official, an image that is very different from that of Fang Xiang-shi, who is traditionally a fierce-looking and defeated literati in Nuo drama. Because of this new image, Zhong Kui has then become the sole candidate in many year-end rituals held to welcome the fortunes and expel the evils. Finally, this paper also investigates various custom changes along the course of time, arguing that rituals such as wu ji (“the five sacrifices”) and sung qong (“sending away poverty”) have gradually been incorporated in Nuo drama during the Song and Ming dynasties.
The relationship between women and revolution in 20th century China was a complex case, in which the two factors were interdependent and reciprocal causal on the one hand, but conflicting and contradicting on the other hand. During the period of the Nationalist Revolution since 1924 to 1927, a wave of free-love and sex-freedom，which was developed from the trends of 「social contact disclosure」 and 「love freedom」in the May Fourth, was all the rage. Women’s situation and experience in this period in the revolutionary camps probably reflected the quality of revolutionary culture. This paper, which takes the 1924-1927 revolution as its backdrop, focuses on four writers and their fiction, Mao Dun, Bai Wei, Xie Bing-ying and Ye Zi, studies and interprets the law of gender and the experience of women through the pieces of literature, as well as some other materials of revolutionary history. People may understand properly the complex of revolutionary culture through the study, by returning to the scene of history and going through the question of gender in the revolutionary process.
After winning the first Nobel Prize for Portuguese literature, Saramago’s works as well as other Portuguese masterpieces have gained greater attention worldwide. Scholars all over the world try to analyze and evaluate his works from different angles. However, most of the studies on Saramago and his works are focused on the “literarity” of the works of a certain author or bounded in the field of “medio-translatology”. There are not yet special studies that start from the brand-new angle of “cultural identity”. The present study tries to fill in this blank.
Attempting to make a difference between the theoretic discourses and the literary works, the paper aims to re-examine the multiple connotations of “root-seeking” discourses in Mainland China in 1985. After close analyzing the context of the Culture Fever and reviewing the “root-seeking” debates rampant during this year by a modernity approach, the paper comes to the conclusion that the “root-seeking” discourses actually conveyed the modernity appeal of the writers during the Culture Fever; the debate actually revealed the discrepancies and the divisiveness of the Chinese academe on modernity notions during the time.
