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BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.5
Publication date： 2006-06
One of the important purposes of the study in Ancient Chinese Characters is to seek the development of Chinese characters and set up its history clearly. To reach this project, Shuo-wen-jie-zi, the important document between the ancient Chinese characters and the contemporary characters, can't be neglected during the study. Therefore, in this paper, I will compare the characters from West Zhou Dynasty to Qin Dynasty which had found carved on bronze with the characters in Shuo-wen-jie-zi, trying to find out the differences in “the style of writing”, “the writing conception” and “the writing structure” between them. “The writing structure” could subdivide in four items: “simplification”, “increase”, “the difference of the composition” and “the difference of the position”. After the comparison, we hope to find out the root of the characters in Shuo-wen-jie-zi. In addition, Qin Shihuang adopted the policy of “unifying the characters” from Li Si, becomes one of the important contribution in culture, therefore upon this research can not only find out the different writings in Qin’s characters but also can inspect the effect of this policy .
There are plenty of works concerning about the mu lan hua man. Wan-shu one of the poem writer, pointed out in the Ci lv（the rules of poems） that a lot of authors ever created about the same topic. Quan Song Ci, a book which collected the poems of the Song Dynasty, also had 155 literary style. Among the books（the rule of poems）,Wan-shu collected two literary style in his book- Ci Lv. Qin Ding Ci Pu, one of the books（the rules of the poems） made by imperial order in Song Dynasty, also recorded 12 literary style. Owing to a lot of works and writers, the writing style are very from person to person－Ci Lv had two style, Shuang Tiao, and the style of Zeng Jiang Jie, were 101 words; the style of Huang Ji was 100 words; Ci Lv Shi Yi also choosed the style of Liu Yong and Iv Wei Lao and Shuang Tiao（101 words）;Ci Pu had 12 literary style and Shuang Tiao；the style of Zheng LiuYong was 101 words；Six style of LiuYong, Cao Shiun, Cheng Hai, LeeYun Zi, Yan Ren, Zeng Dyi were 101 words); The literally style of Liu Ying Xiong was 102 words; The literally style of Lu Zu Gao was 100 words, The literally style of the anonymous was100 words. In this case, the debate of the righteous literally style had been the tough topic of the reviewer for hundreds years. In conclusion, Zheng Wen Zhuo had discussed the core of the jia xie（an particular kind of rule regulating the use of the rhyme in traditional Chinese poem）and duan xie （the short rhyme）of “Mu Lan Hua Man（the term: zi liu si dong cao）” in his book( Zheng Wen Zhuo Shou Pi Meng Chuang Ci). Following research process of the Zheng, this essay will do a comprehensive analysis based on the jia xie and duan xie occurred in mu lan hua man, and discuss the style, rules, patterns of the rhyme and the limitation of the poem.
Chinese festivals are the outcome of ancestors’ social activities. The festivals distributed in the four seasons incarnate our ancestors’ care for nature, concern about life and call for human feelings. Tomb-sweeping Day is from Chinese lunar calendar. This paper will present the panorama of Tomb-sweeping Day after Song Dynasty by Tomb-sweeping Drama. Some dramas discussed in this paper are showed with the background of Tomb-sweeping Day, the folk-custom connotation and connected folklores, or reflect lovers’ kind and enmity. We can not only acquire the essence of Tomb-sweeping day, but also find out that festivals’ great influence to dramas.
The novel “Prostitute in Shanghai” by Bangqin Han, offered the earliest literary image, which showed a truly picture changing from the ancient patriarchal society to the modern industrial and commercial one in China. It exposed the craftiness and fawning of the prostitution in Shanghai by writing realistically. It was not only the end of ever-lasting subject that is “coming to the prostitute’s help” in the writing on prostitution, but also the beginning of waking up the normal human feelings. It inquired into the writing technique of the modern novels getting bogged down in the net of social association while breaking through the family-style structure that the traditional novels facing to the ways of the world had. Besides, Wu dialect was adopted in writing, which was a good test for the novels in modernization.
The word of “Nan-Ming”（1644-1683） is different means of “Ming season” , “end of Ming Dynasty” , “late Ming Dynasty” (1573- 1644 ). After the orthodox imperial court finished in the Ming Dynasty (mean the Chong-Zhen emperor hung oneself), the continue confronting with Qing Dynasty by three sovereign and many martyrs in south. It also produces “Ming Dynasty coda” and “Qing Dynasty initial”, special in history. Nan Sheh (1909-1923), a revolutionary group at initial stage, play an important role of literature and historiography. It worth attention that Nan Sheh society engaged in Nan-Ming writing in a large amount, including the personage, the events, the occurrence, the deep feeling to Nan-Ming and the collection of historical data, record of historical event. Among them, Liu Ya-Tzu is most important people Nan Sheh society's development.In this paper, we investigated the development Nan-Ming Writing」of Liu Ya-Tzu from the Nan-Ming historical papers collection, writing progress , Nan-Ming biography and personage. Though Liu’s writing of “Zheng Cheng gong biography”（鄭成功傳）, “ Xia Nei Shi brief biography”（夏內史傳略）, “The vanish biography of China”（中國滅亡小史）, “Nan-Ming biography”（南明史綱）and “ The personage of Nan-Ming”（南明人物志）, we investigated the writing and research work of Liu Ya-Tzu at the end of Qing Dynasty and the Republic of China , in Lili，Shanghai , Hong Kong , Gui Lin. We hope to express the Era sentiments and country validations of Liu Ya-Tzu, and generally represent the different views with other historical document, then reconstruct the historical memory and special meaning of Nan-Ming again.
In Chinese seal art development,not the female, but the male artists always stand in its center. Not only the female were less than the male in this field, to contrast with another forms of creation, such as poems, paintings, the female were much less either. How many seal-woman were there? What were their status? And what the ratio of the female to the male was? Academic studies about these are quite little, and the subjects mentioned above are this paper attempt to go into. From mid-Ming dynasty, many men of letters participated in engraving seals, and almost any kind of text can be brought into the seal. How the love to the opposite sex were shown in seal-texts? To study seal texts that remained, we found there were few that with amorous emotion in past four centuries, and they largely with veiled expressions, or beyond sex. Even if the seal-women had increasing after 1911, this situation is still exist.
The theoretical research on reportage in Taiwan appears together with the practical productions. The theoretical research, however, is relatively lagged behind compared to the flourishing practical productions. Up to the late of 1990s, the number of relative academic dissertations increases little by little. But the number of the proper academic dissertations is no more than ten if taken away the academic dissertations about traveling and some other writing. Furthermore, the social academic discussions are still lack of holistic presentation. This paper will analyze the phenomenon of Taiwan reportage research from the develop background, nowadays achievements, and its future research direction.
