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BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.12
Publication date： 2009-12
Special Article Reflections on Humanities
第一講：人文思維與科學思維、第二講：傳統文化中人文思維的類型、第三講：當今人文領域的返本開新
First of all, the textual research shows that “Yi” and “Bu” have both been pronounced as pingsheng in Jin and Yuan dynasties. 1. Yuan Qu is strict with rhyme scheme, especially in the tones of the last two characters of the last sentence. This research uses Ji Fu’s statistics in 1988 and gets the percentage of “rusheng to be shangsheng” being pronounced as pingsheng is as the following. “Bu” is about 78%. “Yi” is about 73%. The percentage of the characters of “rusheng to be shangsheng” not including “Yi” and “Bu” is about 32%. 2. Most sentences of Zhugongdiao in Jin dynasty are regulated sentences except the inserted characters. Although the formats of the regulated sentences are various, some particular tonal patterns are relatively fixed. According to the preceding discussion, this research chooses the regulated sentences of 4-7 characters in “Dongxieyuan Xixiangji Zhugongdiao” to observe the characters which are “rusheng to be shangsheng” in some certain positions. The result that these characters are pronounced as pingsheng is as the following. “Bu” is about 48%. “Yi” is about 42%. The percentage of the characters which are “rusheng to be shangsheng” but not including “Yi” and “Bu” is about 12%. Secondly, the textual research shows that “Bu” has been pronounced as qusheng during Jin and Yuan dynasties.“Zhongyuang Yinyun” has clearly indicated that “Yi” can be pronounced as qusheng. Therefore we only need to prove that “Bu” is the same with “Yi” in Yuan Qu sentences. 1. From Ji Fu’s statistics in 1988, the percentage of the characters which are “rusheng to be shangsheng” is as the following. “Bu” is about 22%. “Yi” is about 20%. The percentage of the characters which are “rusheng to shangsheng” but not including “Yi” and “Bu” is about 14%. The percentage of “Bu” being pronounced as qusheng is a little higher than “Yi”. 2. “Zhongyuang Yinyun, Zhengyu Zuoci Qili, Moju” emphasizes that “shangshang, ququ, it would be especially fine if being avoided”. According to this, the research observes “Yi” and “Bu” which are placed in “zeze” of the last two characters of the Yuan qu sentences in “Dongxieyuan Xixiangji Zhugongdiao”. The result is as the following. The percentage of “Bu” being pronounced as qusheng is about 39%. The percentage of “Yi” being pronounced as qusheng is about 26%. It is almost the same with Ji Fu’s statistics result that “Yi” and “Bu” are pronounced as qusheng in 1988.
Theme Thesis The Classifications of Vowel-raising in Jin Dialects
The paper, based on the analysis of vowel-raising of Jin Dialects belonging to the isolating mode, holds that two types of vowel-raising exist in Jin Dialect, which are unilateral vowel-raising and bilateral vowel-raising. To be specific, the unilateral vowel-raising can be divided into front vowel-raising and back vowel-raising; and the bilateral vowel-raising consists of multiple vowel-raising and emphatic vowel-raising. As far as the geographic distribution is concerned, most of the dialects lying in Fenhe River Area belong to the unilateral back vowel-raising, which is identical to the Mandarin, while the rest in this area being of the front vowel-raising belongs to Jin Dialects. The most sub-dialects of the Jin Dialect belong to bilateral multiple vowel-raising, while the dialects of Fenxi, Xingxian and Wutai, which locate in the intersections of different dialects, belong to bilateral emphatic vowel-raising. Generally speaking, back vowel-raising is one of the features of Mandarin and the most of the dialects in northern China have this feature. Front vowel-raising in Jin Dialect is unique in the northern dialects. Although located in the mountainous area in northern China, the Jin Dialects possess some identical features with some southern dialects, which is open to exploration and discussion. The paper thinks the key factor is the reduction or even the loss of the nasal- ending merges with the yin rhyme category and the merging stimulates the basics of vowel-raising and makes the vowel-raising outstanding. As for the principles of vowel-raising in Jin Dialects, the palatalized vowels tend to be front raised while the non-palatalized vowels tend to back raised. On the other hand, the tongue position of the syllable ending plays a relatively more active role than the palatalized onset.
Theme Thesis The Research on the Sound Systems in the Rhyme Books of Quan and Zhang Accents in Fujian in the Late 19th Century
This research is divided into three parts. The first one is the summary of rhyme books of dialects in the southern part of Fujian. It introduces the rhyme books of accents in Quan, Zhang and concurrently. The second part is the comparative research of the sound system in rhyme books of Fujian, Quan and Zhang accents, especially in the differences among the consonants, vowels and tones. The final part is the conclusion which is about the similarities, differences and the causes of the sound systems in the rhyme books of dialects in the southern part of Fujian.
When it comes to the positioning of Confucian classics in the Wei, Chin, Southern, and Northern Dynasties, the viewpoints on the prosperity and decline of Confucian classics in the Wei, Chin, Southern, and Northern Dynasties are quite different. Some predecessors regard Wei, Chin, Southern, and Northern Dynasties all as the decline of Confucian classics, some regard the Wei and Chin Dynasties as the decline of Confucian classics and separate the Southern and Northern Dynasties from this topic, some regard Southern Dynasty as the prosperity of Confucian classics while regard the Northern Dynasty as the decline of Confucian classics, and still come regard Northern Dynasty as the prosperity of Confucian classics while regard Southern Dynasty as the decline of Confucian classics. The main purpose of this study is to re-examine the appropriateness of the predecessors’ viewpoints on the “prosperity and decline” of Confucian classics in the Southern and Northern Dynasties through assembling information in ancient books and historical materials. In addition, it aims to understand the different interpretations of Confucian classics in the Southern and Northern Dynasties from various schools through diversified viewpoints. It compares the differences of various schools through five aspects, which were the attitudes of rulers, changes of time and situations, education of Confucian classics, discussions on Confucian classics, and writings of Confucian classics, respectively. It is hoped that the findings may help clarifying the features of Confucian classic in the Southern and Northern Dynasties.
Zhouyi Jijie by Li Dingzuo is the main literature of Hanyi and provides the best way to grasp the main ideas of it. The yin yao and yang yao of I-diagrams and their yao-wei （the position of component lines） are important elements of symbols and images, especially in terms of Dang and Ying. Li Daoping developed rich and diverse theories on Dang and Ying, which could no longer be covered by the content of I-zhuan or theories of any philosophers in Han or Wei Dynasty. Li proposed that Dang and Ying usually manifest at the same time and put emphasis on the concept of Zheng-Ying. In addition to regular Dang and Ying, he explored special Dang and Ying. By using dynamic and active yao-bian methods, including Zheng, and Sheng-Jiang , Li aimed to make yao-wei return to proper Dang and Ying, which suggested that he, like Yu-fan, longed for the idealism and stability of Jiji-gua. Li held a negative attitude towards bu-yi-zhi-Ying （non-rightous Ying）, demonstrating his high value on virtue, harmony and order. Despite the strengths of his theories, Li sometimes contradicted himself in the applications of his theories on special Dang and Ying, which showed the limitations of his theories.
Weirdness of Six Dynasties described many local customs and geographic writings. The paper discussed how landscape becoming a human carrier. Mythology and legend, stange customs, religional beliefs and geographic utensils were engraved in social activities and human and three-dimensional landscape. By the description of sensual of subject, the paper presented the multiple reality of coordinate of landscape and daily situation of social life.
There were a large number of ceremony fu in Tang Dynasty. But they were not enough noticed by scholars. The ceremony fu were important material for research the national ceremony of Tang Dynasty. Writers wrote these fu with their own experience and their own value, thinking, believe. So we can research those writers' mind through the ceremony fu. (1) We can see that the Tang literati made much of ceremonial Fu through the existence of huge numbers of Tang ceremonial Fu; (2) Via the works of ceremonial Fu, the biographies of Fu’s writers, and many pertinent resources, we are able to know the literati’s attitudes of ceremony worship; (3) The ceremonial Fu could present the ritual system of Tang state, thus being worthy of our great attention; (4) The aggregate of Tang ceremonial Fu is a lot more and more complete than the pieces of the same type of former dynasties; simultaneously, as the ceremonies were treated with high respect by the state and needed by the imperial examination as well, it enables these Fu creations imply rich sociocultural meanings and that is also well worth deeply investigating; (5) To study the Tang ceremonial Fu, we have to understand the writers’ writing attitudes; therefore, we ought to grasp the era’s atmosphere and the literati’s attitudes and then we make appropriate interpretations afterwards.
During the Ming dynasty, the civil service exam was used as a way to augment the Confucian tradition and ensure officials received posts because of their understanding of the Classics. This caused many candidates to focus so much on preparation for the test that they did even grasps the basics of poetry. Yet, instruction at the Hanlin Academy and the students there who passed the exam with high marks placed much emphasis on poetry. There were many poetry-related activities there, including imperially-commissioned works of poetry, poetry given as gifts, classes on poetry, poetry societies, spontaneous poems and responses to poems in informal gatherings, instruction on poetics, critiques of poetic works, etc. It is clear that for those at the Academy, poetry was very much an integral part of their life, both in imperial requests, socializing, and a way in which to give expression to personal sentiment.This paper will examine the nature of course instruction on poetry at the Hanlin Academy during the Ming dynasty, discussing its strengths and weaknesses from a viewpoint of poetics. Poetic works and titles from shujishi will be analyzed to show their significance in Ming dynasty poetics. Furthermore, students’ study of and attitudes toward poetry and instructors’ methodologies and attitudes will be addressed. The aim of this research is to view the incipient developments of Ming culture and to understand the diversity of poetics of the time.
