Bulletin of the Department of Chinese Literature

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　The way of the scholars in Song Dynasty thinking and displaying the theory of Shi Jing for the scholars in Song Dynasty were inseparably connected with the prevalent ideological trend towards Neo-Confucianism at that time. In order to realize the “Neo-Confucianismizing” phenomenon in the research of Shi Jing ,This article is going to study the differences and similarities influenced by different groups throw Fu Guang’s Shi Tong Zi Wen and Yang Jian’s Ci Hu Shi Zhuan. Hopefully to learn more characteristics and distinctions between the ways how scholars represented ‘Xin Xue’ or ‘Li Xue’ explained throw the contrast to the two scholan groups. 　　Due to the multifaceted differences between Shi Tong Zi Wen and Ci Hu Shi Zhuan, this article will put emphasis on three sides: first, the designs of these two books’ styles, second, the cognitions of The Classics and the Taoism. and third, the understandings of the Taoism and words. By the multiple comparisons and the utilization of the Hermeneutics, we can get the conclusions that Shi Tong Zi Wen focused on explanations, Ci Hu Shi Zhuan, on the other hand, concerned about not only explanation but also interpretation in order to popularize and reinforce his teacher, Zhu Xi’s theory. Consequently, being the author of Ci Hu Shi Zhuan, who was affected by the ideas of ‘Xin Xue’ ,Yang Jian must have the ability of comprehending the classics and abundant life experience, furthermore, the stable belief in his life.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　The edicts of the emperor and the advice of mandarins were two of the most representative forces in the imperial system. Through study of these edicts and reports one can grasp how officials dealt with problems and their reasoning on issues. Moreover, one can understand the ways through which these two areas came to influence the political world of the day. This paper sets forth the background of the 400 years history of the two Han Empires. It explores how the Gu-Liang chuan yi (穀梁傳義), particularly in its citation of edicts of 13 emperors and the related official reports influenced Han administrators. Four principles or teachings are most frequently offered in the Gu-Liang chuan yi, namely to revere the revered, to govern the country and care for subjects, to interpret rituals laws, and to differentiate between the Hwa華 (civilized Han people) from the Yi夷 (uncivilized barbarians). These four teachings were frequently used by Han officials and Confucian scholars of the time when this work was popular.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　1914-1918 is Peking opera master Mei Lanfang take “the fashionable clothing” as the main axle, starts to create a succession of fashionable clothing modern play the crucial phase, although this period of time compares in the Mei Lanfang whole artistic performance life says is short, but was actually provides him afterwards belonged to Mei the classical play goal ancient costume modern play when the creation, a quite important experiment experiences and refers to the value. But we if backward passes the nowadays the time, regarding the Peking opera straddling of zones innovation is one of nearly twenty for several year Taiwan Peking opera development priorities, all Trans-Culture, cross form, cross kind of drama and so on different attempt, all has the multitudinous new works thus produces. This article cares for the important time which joins this tandem two dramas to change, observes under the time migration, in takes place of the fallen in unceasing experiment, nowadays so-called to traditional innovation and change, with the beginning of the 20th century Mei Lanfang pondered when innovation, whether there is can profit by observing others or provides place of the reconsidering, for example in the artistic form and content matching and the fusion, the essential compatibility which as well as “the straddling of zones” faces, all is the Peking opera straddling of zones must face the most basic question. The 20th century initial period, are a new old form, new old generation in turn critical moment, Mei Lanfang do in turn for this time represent one of Peking opera performing arts most important actors, what he in inside and outside which faces in the environment fierce change time ponder principle road is? This article adopts the viewpoint has four: First, Peking opera nature transformation; second, Peking opera straddling of zones contact environment; third, Mei Lanfang triggering which obtains by “the Peking opera and drama confluence” phenomenon in; fourth, Mei Lanfang the actual operation which gathers at the Peking opera and the modern drama straddling of zones intermediary. Because of carefully examines a generation of master when faces the new old impact and in turn, makes all sorts of endeavors and the attempt, believed regarding reconsiders the advancement which the 21st century Peking opera straddling of zones intermediary gathers, when has the significance which some kind inherits from the past and carries on for the future.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　City and history have been the writing themes in Dong Qizhang’s works. Since 2002, Dong has begun the writing of A Trilogy of Natural History, which portrays a brand-new landscape of writing distinct from his previous works and turns a new page of narratives in city and history that differs from other writers of the same generation. Being the projected city of Hong Kong, V-cheng has weathered the continuous development of capitalism. People and their objects are being compressed. Their relationships vary from time to time. This article aims to conduct the inquisition from two perspectives. First, it analyses Tiangong Kaiwu, Xuxu Ruzhen in relation to the writing saga in Dong’s novels so as to explore how Dong manipulates “the imaginary pattern of word manufactory plants” to create a number of Les object singuliers in oblivion. It also examines the interdependence of beings and their objects in which they both stretch and limit each other in a dense city of people and objects. Second, the article discusses the unique narrative in Tiangong Kaiwu, Xuxu Ruzhen by object/family history. Historical chronicles are by nature the weave of descriptions of memory and time concepts. Dong deliberately evades cross-referencing significant historical events from anecdotal family history. He uses the personal and intimate register of letters to chronicle the family memory of three generations. Such a narrative beginning from Les object singuliers presents its concept of time in forms of waves. Finally, the article engages in discussions about possible worlds and suggests how novels may trigger our diversified imagination possibilities about the concept of time.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　The present article provides a review on Japanese research of the Doctrine of the Mean (Zhongyong中庸) for the past 140 years（1867-2010）, and attempts to shed some light on characteristics of Japanese research on Chinese thought by analyzing problematique, research methods, and main accomplishments and problems. Since Meiji Restration in 1868, with comparative approach, Japanese modern research has attempted to discover a systematic metaphysical aspect in the Thought of the Doctrine of the Mean. In doing so, Japanese scholars have aimed to construct its philosophy. As philological and area studies (or Sinological method) prevailed, another group of scholars viewed the text as a combination of older and newer parts, or conceived it of as a merely mixture of unrelated statements and immature ideas. Based upon such an understanding of the Japanese context of the research on the Doctrine of the Mean, the presnt author interprets this situation as a tension or predicament inherent in the study of this text, namely, a tension between a deconstruction of philological unity and construction of philosophical integrity.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　After the Meiji Restoration in 1868 the Japanese government established the Imperial University in Tokyo with the purpose of fostering superior human resources mastering Western languages, science and technology, in order to build a modern nation state. In 1897, The Japanese government established Kyoto Imperial University on the grounds that a university having no rival would inevitably decline. After the Japanese-Sino War and the Japanese-Russo War, the Japanese government which began aiming for global expansion to counter the world powers, struggled for dominance in the academic world with a sense of being the leader of Asia and as a sign of territorial ambition. Sinology at Kyoto Imperial University embodying the desire of the Japanese government, very faithfully pursued this Japanese modernization project. Based on the current study of old Chinese documents in the Ching dynasty which had not been fully introduced to Japan at the time, it provided research in unexplored fields using the methodology of European Sinology.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16

　　Yoshikawa Kojiro felong's lifelong study of Chinese literature. It is said that Kouzen Hiroshi, Yoshikawa Kojiro research study on classical, drama and poetry. Essence of the history of Chinese literature and Chinese literature studies is Yoshikawa Kojiro Chinese literature research. The thesis is the history of Chinese literature explores the essence of Chinese literature, Chinese literature spirit history to assume the transitions by Yoshikawa Kojiro Chinese literature research methodologies to investigate.

BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.16