顧棟高《詩經》著述研究

In Oliver Goldsmith's Citizen of the World (1762), the imaginary Chinese savant Lien Chi Altangi, cast adrift on the treacherous waters of the literary society of Augustan London, discovers that fo...

Because Confucianism after the Han dynasty became characterized as sacred and quasi-religious, few have clearly pointed out the hidden power relations behind the working of Confucianism. This article investigates these hidden power relations and considers the process of how Confucianism contributed to the formation of the Han Empire's imperialist ideology.Although Confucianism has strong idealist characteristics, it has a pragmatic side. Previous Confucians have tended to extract new thought and meaning pertinent to their historical moment by reinterpreting the Confucian classics. If one examines this self-adjustment of Confucianism by viewing it as apostasy, it is not easy to uncover its specific features. If one reads the literature and traces how the theories have changed, it is also impossible to touch upon the problems not mentioned in the text itself. Therefore it is important to uncover the meanings by reading in between the lines to discover the problems not directly stated in the literature or pointed out by the author.This paper focuses on how Han Confucianism developed into the core of imperialist ideology and examines several aspects of this process. In particular, it explores the hidden power relations behind the seemingly dignified Confucian theories. For example, it will examine the interdependence and interplay between Confucian ideas, imperial rule, and Confucianists' interests. The key areas explored are:1. The establishment of an imperial system and the featuring of Confucian values. How Shu Suntong and Lu Jia's suggestions for governance, ”Qichaoyi” (institutional rules for the court of emperors) and ”Yishunshouzhi” (sustain reign by accommodating subjects), provided Confucians with many opportunities.2. How ”shi” (gentlemen) defined themselves and pursued group power before the rise of Confucianism. This section examines how the zaoshi class, shi class, and shijiao (The Confucian Principle of Cultivation through The Book of Poetry) was structured in Hanshi Waizhuan (The Outer Commentary to the Book of Songs by Master Han).3. The pursuit of the proper order of ceremonies and rites and the establishment of imperialist ideology. Investigates Jia Yi and Dong Zhongshu's accomplished missions.4. Further discussion of imperialist ideology. Explores how imperial power interfered with right to interpret Confucianism in Baihutong (Treatise on the politico-philosophical discussions in the White Tiger Hall) thought.5. System of rites reforms, study of Confucian classics and maintaining rule: investigates the implications of the rise and fall of Temple of Prefecture and Kingdom in Western Han Dynasty.The Confucian class gradually obtained more controlling power in political-society through their promotion of Confucianism as part of the imperialist ideology. Youshi (itinerant literati) became shidaifu (scholarly gentry), a class that ruled the country with the emperor, with the power to counterbalance imperial power. The Confucian class became a new cultural bourgeoisie. Although the Confucian ideal still existed, it became a force that the imperial court had to contend with, and its high-sounding theories were no longer so pure. Confucian theories had now become intertwined with maintenance of the imperial system and protecting the rights of the shi class. Therefore, these aspects cannot be overlooked when reading these Confucian theories.

The origin of “tai ” (Chinese high-platform architecture) dated considerably early. Shiji (Historical Records) indicates the existence of “Lu tai” in Shang dynasty, and Shijing (Book of Songs) records the existence of “Ling tai” in Zhou dynasty, which shows us that we can trace it’s presence back at the time of the Three Generations. In the Spring and Autumn period and the Warring states period, there were a lot of tais, and during Qin-Han times, the continuous development of tai made it finally an important type of architectures in ancient China. However if we observe this “tai” before Han more closely, we could discover that the “Ling tai” of the Zhou dynasty differs from the later “Tai” during the Spring and Autumn period, there are changes of its inner quality and its function. Xong Yang, a poet in Han Dynasty, qualifies the “Ling tai” as a good building whereas the “Zhang-hua tai” in the period of the Spring and Autumn as bad. This article attempts not only to clarify some basic conceptions of “tai” architecture, but also, by using the example of “Ling tai “ and “Zhang-hua tai” as models, to contextualize the development of the Chinese high-platform architectures from pre-Qin to Han dynasty.

I based my thesis on Yan Ji-Dao’s “Xiao Shan Ci”, and veined with “History”, as an example to analyze the different reception from each dynasty’s readers. Whether the readers gave praise or criticism, the comments were the component parts of The History of Literary Reception in Yan Ji-Dao’s “Xiao Shan Ci”. By summing up opinions on lyrics, preface and postscript of lyrics books, subjects and notes of poetry, and notes and commentaries, we could show the aesthetic preference of each dynasty. According to the statistics of the lyrics collection, and the rules and forms of lyric composition, we could draw diagrams to explain each dynasty’s observations on Yan Ji-Dao’s “Xiao Shan Ci”. Furthermore, the views on the rules and forms of lyric composition connected with the acceptance condition. Together, they could aid Yan Ji-Dao’s “Xiao Shan Ci” spreading. After reading Yan Ji-Dao’s “Xiao Shan Ci”, writers reckoned highly to imitate the form of “Xiao Shan Ci”. Through putting dynasty in order and expounding one another relation and innovative ideas, it made people realize what each dynasty emphasized. Comparing reader’s reception of Yan Ji-Dao’s “Xiao Shan Ci” in different dynasties, three main points could be drawn: first, the various criticism of “Xiao Shan Ci” was dominant in Sung Dynasty. Second, the propagation of “Xiao Shan Ci” was major in Ming Dynasty. Third, the receptive opinion of “Xiao Shan Ci” was multifarious and fully presented in Ching Dynasty. In brief, the three main points were elements of The History of Literary Reception in Yan Ji-Dao’s “Xiao Shan Ci”.

The Book of Songs ()The Book of Songs, also Shijing or the Classic of Poetry, was the first poetry collection in China, originally known as Shi or Shi 300.It was honored as a classic text in the Western Han Dynasty and was also called one of the Five Classics, together with The Book of Documents, The Book of Rites, The Book of Changes, and The Spring and Autumn Annals.It became important material for later generations to understand early social forms and literary features of China.The Book of Songs, which consists of 305 chapters, originated between the early Western Zhou Dynasty and the middle of the Spring and Autumn Period.

The Book of Songs ()The Book of Songs, also Shijing or the Classic of Poetry, was the first poetry collection in China, originally known as Shi or Shi 300.It was honored as a classic text in the Western Han Dynasty and was also called one of the Five Classics, together with The Book of Documents, The Book of Rites, The Book of Changes, and The Spring and Autumn Annals.It became important material for later generations to understand early social forms and literary features of China.The Book of Songs, which consists of 305 chapters, originated between the early Western Zhou Dynasty and the middle of the Spring and Autumn Period.

In ancient China, ”Jingyan” was the special lecture for Chinese emperors to read classics. The aim was to train the emperor to better govern the country and people, and to make the emperor reach an ideal status of ”virtue perfect and instructions honoured, instructions honoured and the officers behaved, the officers behaved and order maintained in the state.” The term, Jingyan, originated from the Song Dynasty, inherited from previous generations of Hanlin academican system. In the period of Song Lizong Junsuke, Xu, Lu Qing was called on by the emperor twice to explain about the main point and the meaning of Shagshu, and also provide ways to manage the state and the people. Following the Jingyan lecture on Shangshu, we can clearly know the point of the book, as well as understand the profound significance of Shangshu in imperial education.

Who, exactly, are the people living in Taiwan? What is the identity of the Taiwanese? This paper will discuss the self-identification of the Taiwanese through looking at kua-a-tsheh (song books), to organize and compare the portrayals of the Manchus, the Japanese, Chinese and Taiwanese and analyze the mindset and ideology of kua-a-tsheh writers in regard to these different labels. The texts examined mostly consist of Taiwanese Kua-a-tsheh from the 19th to 20th century, that contain descriptions of the standoff between the people and the authority, the police and citizenry, and the change in power authority. Through the political writing of some Taiwanese kua-a-tsheh, we look for the process of the evolution of Taiwanese self-identity. Tha paper also examines how change in power in 1895 and 1945 is viewed through the interpretive angle of history.

WANG Fu-Chih was the first interpreter in the Ching Dynasty, who studied ”the Book of Odes” with literally explanation method. With the point view of literature significance and features he commented ”the Book of Odes” profoundly. He was capable of appreciation of the beautiful of ”the Book of Odes”. Four characteristics were stressed by him: Firstly, he interlocked the creation inspiration with intelligence appreciation in ”the Book of Odes”. Secondly, showing up all specialties, he completed the five features of ”the Book of Odes” were feelings, meanings, scenes, theories and events in the contexts. Thirdly, he compared by contract artistic thought with fulfillment in reality and unreality world of ”the Book of Odes”. Fourthly, he thought of the literary influence of ”the Book of Odes” to the later generations. All in all, the essence of ”the Book of Odes”, he would like to see the contrast and the support of the context of ”the Book of Odes” on one hand, on the other hands, he combined ”writers theory” with ”readers theory”, which were are much progressive and useful, was based on his advanced theory idea and established his modern research method of ”the Book of Odes”.

The academia has paid more attention to the writing of landscape poetry in its initial and mature stage, but lacks of attention to the landscape writing of the poetry in pre-Qin and Han dynasties. The aesthetic image of landscape in Book of Songs implies early reverence and meaning of virtue for landscape, as well as literary meaning of evocation, but subjectively there is not much natural aesthetics. The image of vanilla and beauty in Songs of Chu implies nobleness because of Qu Yuan’s life experience. From Book of Songs, moral view of landscape has developed into a combination of natural aesthetics and human spirit. This not only opens up Sao-style and image of other landscape poetry in later generations, but also sets an example for noble quality of life emotion expressed by landscape poetry in the future. Nineteen Ancient Poems in Han Dynasty contains too much eschatological sadness, so landscape are mainly described with the method of evocation, while Yang Yun’s Geshi indicates that pastoral feeling of landscape have already attracted the attention of literati. Although in landscape writing of poetry about immortals, there are some entertainment elements in the performance of Yuefu poetry, sadness of migration and impermanence of life and death are problems that literati have to face. Therefore, leaving from the society described in fairyland landscape and going into the society in the from of virtue and achievement in Confucianism are a contradictory complex most of the time, which is an inevitable development of literati’s view of nature.

In this thesis, the research subject is the strategic thought of He Bo Shi Bei Lun writing by He qufei, which based on the “document analysis” research methods and adopts military strategy and political strategy as its research approach. For investigate the value of strategic thought of He Bo Shi Bei Lun, this thesis uses the case of U.S. War on Counter-Terrorism in Afghanistan (2001-2014) to examine the applicability and limitation of strategic thought in the war of today. The first chapter in this thesis, it discusses internal strategic environment and external strategic environment of the Northern Song Dynasty. The research concludes that both of the strategic environment are interacting and influencing each other. Because of the interaction, the prevailing custom of scholar discussing military science was been formed in the intermediate stage of Northern Song Dynasty and He Bo Shi Bei Lun can be published in the China’s history. The second chapter in this thesis, which uses military strategy research approach to analyze He Bo Shi Bei Lun in three parts: buildup, governance, and use of military force. In this analysis, first, buildup of military force has three points: doctrine of elite troops, brain-trust, and army comprised of national. Second, the opinion of governance of military force includes generalship and commanding soldiers, in this chapter our discuss tend to emphasize on generalship. The former contains leadership and civil–military relations; the latter focuses on the principle of commanding soldiers by law. Finally, the ideas of use of military force are discussing the importance of circumstances and flexibility of using military force. The third chapter in this thesis, which uses political strategy research approach to analyze He Bo Shi Bei Lun by four indicators: the government’s organizational force, the people’s centripetal force, the society’s stable force, and the international supporting force. In the first indicator about government’s organizational force, leader should keep its power certainly and use it to keep government stable. Second, the part of the people’s centripetal force, which indicates popular sentiment can influence the result of war and the transition of regime. So, the authorities should hold the heart of people. Third, the idea of society’s stable force, which is decision- maker, needs to carry out the policy that separate different ethnic groups to prevent ethnic conflict. The last anatomy in this chapter, international supporting force, it point out the importance of diplomacy, and then think that government should use diplomacy method to increase the possibility to win a war. After the second and third chapter, which uses military strategy and politics strategy to analyze He qufei’s strategic thought. The forth chapter uses the Case of U.S. War on Counter-Terrorism in Afghanistan (2001-2014) to examine the value of strategic thought in modern. In sum, He qufei’s strategic thought still has merit in modern, but some part of his thought also has limitation because it is limited by the factor of space and time.

The conifer Torreya grandis is endemic to China and is a rare esculent species in the family Taxaceae. The plant culture of Torreya includes classification,food and medicine,landscape gardening,forestry,and related literature. The species was originally recorded on bamboo strips during the reign of the first emperor Qin Shi Huang. All the identifying features of the species have been described since the Ming Dynasty. The species was described scientifically in 1857. Torreya seeds have been used in herbal medicine since the Eastern Han Dynasty. More information on the potency of the species has been revealed since then. The use of the esculent torreya nut can be traced back to the middle of the Tang Dynasty. The cultivated variety,Chinese Torreya(T. grandis cv. Merrillii),was successfully cultivated by grafting. The West Zhejiang and South Anhui provinces are regarded as the origin of this variety. The selection of this species for landscape gardening began in the Western Han Dynasty. The conifer has even been planted in the Luoyang region,far from its natural source region in the Tang Dynasty. The use of the species in forestry can be traced back to the Song Dynasty. Its use reached its peak during the late Ming and the early Qing Dynasty in the Zhejiang and Anhui provinces. The appreciation of this species was encouraged by Su Shi,which led to Chinese torreya becoming fashionable during the Song Dynasty. Many poems were created about the conifer at this time.

"The Reason I Jump" by Naoki Higashida: A Reconsideration of Autism, Empathy, and “Mind-Blindness”

Fang-De Xie is the leftover person in the Southern Song Dynasty. In the politics, he is a chivalrous hero to resist the Yuan Dynasty. Refusing the Yuan Dynasty of Government's recruitment, he rejects any meal and isn't serving as the officer. He was good at in the literature poetry comment. The book of ”Wen Zhang Gui Fan” is different from the anthology of the same Dynasty and has a great of influence at that time. He had a book, ”Shi Zhuan Zhu Shu” in his researched field, the scholars of the Yuan Dynasty quoted the book many times, his viewpoints is very personal styles. The research is seldom in the past, this paper focus on the way and characteristic of interpretation and the contents of the thrusts. The paper was discussed and analyzed the interpretation for the ”Shi Jiang” of Fang-De Xie, and then shows the significance and value.

In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.