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BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.1
Publication date： 2004-06
This article take SOUSHENJI of Jin Dynasty to compare the Buddhist texts in the area of verb LAI/QU . The purpose is to understand its grammatical function in those days and to describe the similarities and dissimilarities in language usage between two materials. This research will provide a better understanding of history and evolution of Chinese language. The early meaning of QU is ‘ to leave; to depart from’, it changed in meaning and to become ‘to go to; to bound for’ later on. Then, it become ‘empty’ gradually in meaning and turn into a ‘function word’. It combine freely with many different verbs in Jin languge. In Buddhist texts of Jin Dynasty, it form a compound word ‘GUOQU’ to express a time concept, to modify the noun behind it. But there are no such usage found in SOUSHENJI. At the ending of this article, we conclude a table to display the grammaticle situation between SOUSHENJI and Buddhist texts of Jin Dynasty.
The purpose of this essay is to research on the philosophy of Ruan-Ji's “Dazhuangiun”.By passing through a good analysis of the original text, it’s about to look for the group consisted of kernel ideas, after that to ascertain their meanings and the relationship of their levels（mutual levels relation）, thereby pick out its inner orderliness, with which to structure a theoretical system having identical logic inference, eventually so as to show the ideological outlook and form of “Dazhuangiun”. Speak of the discussing procedure, firstly it will be began with mentioning ‘the view of nature’ of Lao-tzu and of Zhuang- tzu , on this account to reveal the meaning of Ruan-Ji's ‘the way of nature’ in the history of thought, and to point out its logical priority on the theory. Secondly, regard ‘the way of nature’as fundamental key , I amd going to expound Ruan-Ji's criticisms of the social duties and teachings, as well as his proposition of ‘a carefree supreme-man’ as pursued ideal for clearing up the predicaments in life, in addition its practical method for reaching this ideal, and its form of typical character. So, pay attention to the structure of “Dazhuangiun”, ‘nature’ can be said to be regarded as its intension of metaphysical thinking, and as the basis of possibility for its typical character. Besides the typical character is an outcome of one’s practical actions, with the result that the practice becomes the guaranteed way for its metaphysical thinking to be workable concretely on people.
This article rethinks Liu Zongyuan’s exile anxiety during his Yongzhou period mainly based on Liu’s literature work created in Yongzhou such as “Chou-shan fu” etc. And this article also attempts to explain the readers` doubt, which may happen when readers correlately read his works created in Yongzhou period, whether Liu’s creation attitude changes all the time or he just wants to abreact his exile anxiety by Yongzhou’s scene writing. “Yongzhou eight essays” for Liu is not only a splendorous representation of Yongzhou’s scene but also a landscape and literature performance which enweaves the theme of exile anxiety of Chinese traditional intellectuals. Through the reconstruction of the two forms of literature and the information of Liu’s documents, Liu’s exile anxiety hiding behind the scene writing emerges and refracts his mind. These points not only construct the special writing position from scene to anxiety but also reveal the importance of the intertextuality relationship between “Yongzhou eight essays” and Yongzhou cifu.
This paper employs the archetypal criticism and Mirrea Eliade’s theories to discuss the mythical images and symbols, which are often used in the Jin dynasty literature, and attempts to show the meanings of literature archetypes and psychological contents in culture. Polng-lai island is the literature archetype of sacred mountains and islands in “river and sea Fu”, which also combines the Tao philosophy to describe the multiple images of sacred place. River and sea are the symbols of life and also the metaphors of the power of kingdom. Therefore, the eulogium of sacred waters contains the people’s philosophy thinking and reconfirms the identity of nation. The sacred water which has been a transcultural archetypal symbol, is not only the reconstruction of ancient mythical world but also represent the eternal conflicts and solution between our world and the other world, person and nation, principle of human world and of university.
When the traditional Chinese scholars reflected, modified and constructed the interactive relationship between the self-subjectivity and the social group, they used to trace back to the history with a way of recalling or reproducing the memory, and constructed the spiritual world which they could make the values of their lives return and the spirit of their self-subjectivity transcend the history. The attempt of this study is to analyze the structure of time-spacialization in Dumu’s history-praising poems and its implication on colorful emotions and rational spirits. The study also clarifies its aesthetic characteristics and cultural meanings to recognize and comprehend Dumu’s characters and emotions. The aim of this paper is to investigate how the history /memory /reality can be combined into a cultural network through the time-spacialized theory in Dumu’s writing. In accordance with the aesthetic convention, composed of biographic and lyric paradigm, in history-praising poems, this paper presents how Dumu constructed the psychological reality of the poet through a series of rhetorical strategies and figurative structures to connect the history and the reality, and how he renewed the view and the experience used to observe, recite and comment the history. This causes the changes in the writing model of the history-praising poems. Therefore, the time-spacialized theory in Dumu’s poems becomes a new model to reflect the relationship between the history and the reality. It also demonstrates the esthetic effect from the highly integrated objective and subjective narrators, and contained the reflection on the dimension of self/history/reality, as well as conveyed the subjectivity of the poet’s profound emotions and enormous psychological effect of culture.
When doing research in Chinese history of thought, most scholars always focus on what the thinkers concern about, whereas on how they think. Under cultural impacts against the West in late Chin Dynasty, Chinese thinkers were not only being forced to advance new ideas, but also being influenced to change their ways of idea constructing. The differences of conception between thinkers might have something to do with this as well. To this, we may say Yen Fuh is the typical character as a line of demarcation in modern China. His thinking scheme, context, recognition and way of idea constructing were so different from those of the others. In this sense, Yen Fuh can be taking as a Chinese learning pioneer of Modernity. To analyze and demonstrate which mentioned above is the aim that this writing attempts to reach.
The “Great Preface” to the Shi Jing stands as ancestor to traditional Chinese theories of poetics, being an important basis for all subsequent discourses on the subject throughout the ages. In speaking of how human nature and its affections are motivated by contact with external things to take expression in music and poetry, which, in turn, might ultimately come to serve as ethical or even cosmic motivators in themselves, the “Great Preface” shares much in common with the Yue Ji, the principal text of traditional Chinese musical discourse. Together, both works would exert a tremendous influence upon the later development of Chinese theories of aesthetics. Until now, scholars have been unable to firmly ascribe either work to any particular thinker, or to ascertain their common philosophical sources with any certainty. Fortunately, however, the recently excavated texts of Guodian contain a number of lost Confucian texts that yield new clues for a reconstruction of the emergence of the musical and poetic theories those works reflect. Concentrating on the text entitled “Xing zi ming chu,” this article explores its philosophical sources and elaborates upon the aesthetic ideas implicit within it, in order to help us better trace the origins of China’s musical and poetic aesthetic traditions.
Obscure poem is the most dazzling literary phenomenon appeared in the Mainland at the end of 1970s and the beginning of 1980s.The article mainly explores the idea and technology of obscure poem, talks about the development of aesthetics, reveals its importance in the Mainland poetry transaction from the point of symbol and metaphor, myth and fairy tale, image and language.
Mulberry and Peach: Two Women from China is a novel concerned about diaspora. For the characters in this text, identity has always been a significant, intractable issue in their life. For women, identity is inextricably bounded up with space and gender. The study thus is aimed to explore the complicated issues of space and identity presented in two women characters: Mulberry and Peach. This paper is organized as follows. Section One briefs the historical contexts of the novel and the major arguments of the thesis. Section Two discusses the intricate relationships between place, identity, and nation. For a woman, she has to leave home, leave the husband, so she can get rid of the violent of symbolic order. Through presenting the characters’ divergent imaginations of the “homelands”, Hualing Nieh disrupts the sanctification of homeland in support of nationalism. Section Three probes the relationships between the discourse of Confucian school and the sexual politics. Hualing Nieh uses the display narrative strategy to break through the iron cage of Confucian patriarchy. Section Four explores the potentials of empowerment through displacements (/border-crossing) and elaborates the feminine writing techniques employed by Nieh to demonstrate the limitation of the traditional literary paradigms and to inquire the domination of boundaries. The French feminist theories on woman’s libido and the psychoanalytic and linguistic viewpoints will be developed into this section. On textual analysis, this study elaborate on the style, theme, and spirit of this modern novel correspond a great deal to the ideal of a feminine poetics, namely the écriture féminine proposed by Hélène Cixous. In the process of reading/writing a feminine text, the postmodern subjectivity, which is capable of heterogeneity, fluidity and openness, is constructed from the two women characters, i.e. Mulberry and Peach. Finally, this section concludes the major arguments through a brief discussion of the image of fluidity presented in the novel.
