-
BULLETIN OF THE DEPARTMENT OF CHINESE LITERATURE NATIONAL CHENGCHI UNIVERSITY NO.9
Publication date： 2008-06
Special Article The modern horizon and methods of the research on the traditional Chinese literature
綱目： 一、什麼是「現代視域」？ 二、中國古典文學研究的現代視域如何形成？ 三、在「現代視域」中的中國古典文學研究，有哪些值得發展的取向？四、因應中國古典文學研究的現代視域取向，在「方法學」上應該有些什麼適當的原則？假如在方法上必須資藉西方理論，那麼應該如何運用才適當？
Li Yu’s story “The Summer Pavilion” in which a telescope plays the role of matchmaker for a young couple, is more than renovating the romance of “talented scholar and beauty.” Represented as the “God’s eye,” the novelty from the West establishes the “gaze” as a new way of seeing, significantly turning a new leaf for Ming-Qing visual culture. Apart from the “glance,” the mainstream practice of vision developed from a long and prestigious tradition of “literati painting,” the trope of “peeping” increasingly appears in popular fiction and drama since the fourteenth century and the peeping merges with the gaze in Li Yu’s story. From the optical sense strengthened by the telescope engenders the desire for male gaze, ambiguously entangling with patriarchal order and power relations. Yet different from the visual technology leading to scientific discoveries in the West, the “God’s eye” is represented against indigenous humanist backdrops, complicatedly intertwined with the trends of ethics, gender, garden aesthetics, and pornographic literature. Provided with a mode of embracing and appropriating Western visuality, “The Summer Pavilion” is revelatory to the formation of visual culture in modern China.
Since long, discussions held on Hong Kong’s art and literature events in the 50s have been focused on the way the left and the right confronted with each other in Cold War era. In fact, it is never an easy task keeping art and literature aesthetically and politically balanced. In this article, we take Pearl River Tears and Half Way Down, 2 Hong Kong-made films in the 50s as examples for discussion on the effort to locate an ideal space of their own made by novel writers and film workers of the left and the right. There, the artists could become identified while telling their stories when Hong Kong was considered mostly a city for refugees. Using their own wording and movie languages, the decade of the 50s was told and their ideal space built. Ironically, the two ideologies that appear different did look alike in certain ways.
Based on Eileen Chang's novels, Stanley Kwan's film Red Rose White Rose and Ang Lee's film Lust, Caution represent very different styles while sharing many parallels. First of all, both films are similar in employing titles that consist of two dialectical opponents. Second, emphasizing on the historical background, the two directors try to explore the erotic relationships and feminine consciousness implicit in Chang's original texts. Finally, some related works of Chang's are incorporated into these films. In Red Rose White Rose, Kwan's innovation is shown in blending Chang's other prose, fictions, and an existing movie, so that the story is interestingly enriched. Such transplantation and rearrangement not only provides a new interpretation, but also uncovers Chang's insight in a deeper manner. This produces an amazing effect that what is shown on the screen seems to be coming from the hypotext, but in reality results from a metaphorical transformation of the relationship between characters. In Lust, Caution, Lee even draws from Chang's personal life, particularly her love affair, and hence creates self-revealing, rather than self-indulgent characters. In a subtle reconstruction of the historical background, Lee also injects much compassion into characters. As a result, one can detach Chang's and Lan-Cheng Hu's works at some key scenes. Originally, Chang's text is relatively indifferent about the outside world. Lee changes it into a passionate movie which includes bizarre but beautiful sex scenes. Such magic transformation, however, enables Lee to return to Chang's original spirit. This paper sees its major task in showing how both films respectively acquire a new way in visualizing Chang's works, and to what extent the efforts of the two directors should be appreciated.
This study mainly investigates the difference between ”Yu” (御) and “Pu” (僕) in Zhuo-Zhuang. Under normal circumstances, “Yu” should be in the center of the carriage with “Che Zuo” (車左) on the left and “Che You” (車右) on the right. “Che Zuo” is the one who takes charge of the carriage. If it is on the carriage of the king or the general, “Yu” should be on the left side of the carriage and the king or general in the center. “Che You” is still on the right side of the king or general. Furthermore, according to Zhuo-Zhuang when “Yu” represents the one who is in charge of the carriage, there will be three people on the carriage. In addition, three assumptions could be made to differentiate “Yu” and “Pu”. The first one is the distinction of their identity. The second point is the different gestures they make while riding the carriage. The last assumption is the different carriage they ride. To sum up, the way to make a distinction between “Yu” and “Pu” is by the position they hold on the carriage. “Pu” should be on the right side to ride the carriage, whereas “Yu” in the center or on the left.
Looking at the SHUOWEN quotes Han Dynasty Law and Ban from the Unearthed Han Bamboo and Wooden slips
The Han dynasty law and ban of SHUOWEN quoted is important materials in interpretation of Han dynasty law and ban, but the law and ban of SHUOWEN quoted is too simple, and after a long history of rewriting,there must be a lot of errors. By comparing unearthed the law Bambooslips of Han and the SHUOWEN quoted law and ban, and using the former as a reference to proofread the latter, we can solve many remaining knotty problems existing on the research of Han dynasty law.
Wuxia martial arts novels are commonly known as fairy tales for adults. The four elements of tales “children, stories, fancy, interesting”, besides “children”, basically co-exist in the wuxia martial arts novel. It was written for mature readers and the imaginary space was also created for adults, so it is reasonable be regarded as fairy tales for adults. Adults also needs fairy tales. Need creates demand and wuxia martial arts novels appear. It offers a fancy, fictional, interesting, ideal, and fairylands created by adults themselves. These are the essence of wuxia martial arts novels. The process of the establishment of adult fairy tales is different from that of children fairy tales. Based on adult fairy tales, wuxia martial arts novels simplified the social contractual relationship, weakened the law enforcement, and magnified the ethical ideology. The jiang hu martial arts world set in a fancy, surrealistic ancient time was not truly unrealistic. Thus it functions for retreat, recreation, compensation, free from worry, purification and nostalgic purpose. Nevertheless the created wuxia world needs to further combine with the real life. Depicting the humanity, investigating the ideology and practices of wuxia deeply, the fairy tales for adults will be more meaningful.
The purpose of this paper is to discuss the meanings and grammatical functions of Taiwanese Chinese“Bu Cuo V”and the relation between“Bu Cuo V”and Southern Min Dialect“be7 bai2”.Two types of“Bu Cuo”are “Bu Cuo1”and “Bu Cuo2”. New structure“Bu Cuo V”is caused by the influence of“Bu Cuo1”and Southern Min Dialect. According to“The targets in Chinese ability ”( Ministry of Education), Chinese writing must correspond with Chinese grammar and morphology. The elementary school teachers should advise their students not to use“Bu Cuo V”in Chinese writing.
