|
論
說
「
腔
調
」
曾
永
義
提
要
本文對腔調作全面性之探討︰考釋腔調之基礎命義為「語言旋律」。前人對「腔調」的體會和認知的歷程是從自然語言旋律到人工語言旋律。對於作為有機體「腔調」本身的考察，從其內在構成要素、外在用以依存的載體、所以呈現的人為運轉三方面著手。得知字音要素、聲調組合、韻協布置、語言長度、音節形式、詞句結構、意象情趣感染力七方面為腔調內在構成要素，也是同時或隱或顯以影響腔調的關鍵。而其外在載體則取號子、山歌、小調、曲牌、套數討論，號子山歌小調大抵為自然語言旋律，而曲牌套數則講究人工語言旋律。越偏向人工，則對歌者制約越大；越偏向自然，則歌者可發揮的空間越多。而其呈現人為的運轉即是「唱腔」，主要藉前人理論說明其修為，而認為受到載體語言意象情趣的感染力影響最大。其次有關腔調變化和流播也是極重要的問題，乃以一章五節八點論「促使腔調變化的緣故」，以一章九節舉例說明「腔調流播所產生的現象」。凡此多為一己所見，希望藉此引發學者的共鳴和討論。
On the Tune
Patterns of Chinese Drama
TSENG
Yung-I
This paper explores comprehensively the ch'iang-tiao
(tune pattern) of Chinese drama, to explicate the fundamental meaning of
ch'iang-tiao as ""linguistic tune.'' Ch'iang-tiao
was understood through the transformational process from natural
linguistic tunes to artificial ones. Taking ch'iang-tiao as an
organic body, any meaningful study must start from its internal
constitutive elements, and then extend to its external vehicles and
artificial employment for artistic presentation. Based on this
understanding, I propose the tonal features, tonal combination, rhythmic
arrangement, linguistic length, syllabic form, sentence structure and
imagistic affective power to be the internal constitutive and nuclear
elements which more or less shape the tune patterns of Chinese drama.
The external vehicles are the hao-tzu, shan-ko, hsiao-tiao,
chü-p'ai and t'ao-shu. While hao-tzu, shan-ko
and hsiao-tiao are primarily natural linguistic tunes, the chü-p'ai
and t'ao-shu are understandably artificial linguistic tunes. The
more artificial the tunes are, the more restraints the singers have to
accommodate; the more natural the tunes appear, the more freedom the
singers would enjoy. The term ""artificial employment'' refers
to the actual singing of the artist, for the understanding of which we
are greatly indebted to earlier critics; it is about the affective
powers of the performance of the artist. In addition, concerning the
transformation and circulation of the tune patterns, I explore the
factors which impel the transformation of tune patterns of Chinese
drama, and explicate the phenomena resulting from the circulation of the
tune patterns.
Keywords:
drama ch'iang-tiao
artificial employment
linguistic tune
支機集完帙之發現及其相關之問題
林
玫
儀
提
要
《支機集》是明末蔣平階及其門人周積賢、沈億年三人的詞集，根據《中國古籍善本書目》所載，上海圖書館藏有「明萬曆刻本」，惜頗有殘缺，其他各館全無著錄。前此施蟄存先生在《詞學》刊布及上海古籍出版社《明詞彙刊》所收均據此本。筆者在研究蔣平階的過程中，在上海圖書館覓得另一本完帙的《支機集》。本文即是針對此書及其相關問題作研究。
全文分為五節︰一、《支機集》完帙本之發現經過。二、完帙本內容在研究上之重要性。三、有關蔣氏一門及其詞作之探討。前者為蔣氏一門師生及親族之關係的探討，以及蔣氏名號、籍貫及生平事跡之考訂；後者除討論蔣氏父子及門生之詞作及其詞論在當時詞壇之影響外，另從清初詞選中補充若干《支機集》未收之作品。四、此書對雲間派詞論研究之助益。一方面討論其理論體系，一方面也指出其重寄託、專意小令等論詞宗旨，其實均與其歷經世變之背景息息相關。五、結語。文末另附列各書引錄蔣氏一門詞作之情形，並比較其
支機集完帙之發現及其相關問題異同。
The Discovery
of the Complete Version of
Chih-chi chi and Its Related Issues
LIN
Mei-yi
Chih-chi chi is a tz'u poetry collection by Chiang
p'ing-chieh and his students, Chou Chi-hsien and Shen I-nien, of the
late Ming. The only known copy of this book, in the Shanghai Library
holdings and documented in Chung-kuo ku-chi shan-pen shu-mu (A
Bibliography of Chinese Ancient Rare Books), was that of the Wan-li
edition. This copy, regrettably, does not exist in a complete form. What
Mr. Shi Zhicun once published in the journal Tz'u-hsueh, and the
version included in the Ming-tz'u hui-k'an published by Shanghai
Ku-chi Ch'u-pan-she are based on this version. In the process of
studying Chiang P'ing-chieh, I discovered another copy of Chih-chi
chi, also in the collections of the Shanghai Library. This paper is
a study of this rare book and its related issues.
This
paper consists of five sections: the first section reports the discovery
of the complete version of Chih-chi chi, and the second evaluates
the importance of the contents of this book. The third section examines
1) the tz'u poetry school led by Chiang, and 2) the tz'u
poetry of Chiang and his followers. I explore Chiang's family and social
networks and ascertain Chiang's names, place of origin, and the major
events surrounding Chiang's life. More importantly, I assess the
influence of Chiang and his students' tz'u works and the
significance of their theory in the contemporary literary world. I also
present some of Chiang's works that are not included in Chih-chi chi.
The fourth section is an analysis of this rare book's contribution to
the study of the Yün-chien tz'u school. I analyze its
theoretical values. I point out that its emphasis on allegory and hsiao-ling
(short tz'u poem) form is closely related to the political
turmoil that Chiang experienced during the Ming-Ch'ing transition. The
final section is the conclusion, to which is attached a chart showing
how Chiang and his school's works are quoted in other books. A
comparison and analysis of these materials is offered.
Keywords:
Ch'ing tz'u Chih-chi
chi Yün-chien
tz'u-p'ai
Chiang P'ing-chieh Chou Chi-hsien
Shen I-nien
「瀟湘」山水畫之文學意象情境探微
衣
若
芬
提
要
以「瀟湘」為題材的山水畫大約始於唐代，至宋代成熟興盛。宋代以來的「瀟湘」山水畫不一定全部描繪湖南的風景，而是受到「瀟湘」文學的影響，運用「瀟湘」的文化典故，呈現超越地域限制的抽象化情形。
本文從孕育「瀟湘」山水畫的角度出發，探討「瀟湘」文學的文化脈絡，以得知畫家所可能依憑的思想端緒，從而做為理解「瀟湘」山水畫及其題詩的基礎。文中首先考察「瀟湘」的語義文化系譜，得知雖然先秦時已經有「瀟湘」文學創作，「瀟」、「湘」二字約在魏晉時代才結合為一個詞彙，而且到唐代，「瀟」字才從形容詞意義的「水清深貌」轉為「瀟水」的簡稱，逐漸取代「沅湘」和「三湘」，成為湖南的代名詞。文學上如此，繪畫方面亦然，「瀟湘圖」隨著「瀟湘」語詞的定型而取代了「三湘圖」，這也可以解釋為何題名為「瀟湘」的山水畫興起於唐代。
其次整理歸納出「瀟湘」文學的意象情境有「恨別思歸」與「和美自得」兩種典型，前者源於瀟湘神靈神話、屈原作品以及左遷流寓文學；後者則因「瀟湘」的意象與桃花源傳說合流，染上「漁隱」的色彩，唐人歌詠瀟湘山水之美的詩文，以及追求身心清淨逍遙的思想，都使得「瀟湘」宛如出世之境。這一悲一樂，相反對立的兩種意象情境，提供了「瀟湘」山水畫迥然的創作空間與解讀趨向。
The Literary
Imagery in Hsiao-Hsiang
Landscape
Paintings
I
Lo-fen
Hsiao-Hsiang landscape paintings first
appeared in the T'ang dynasty and reached maturity in the Sung. However,
not all the Hsiao-Hsiang landscape paintings from the Sung depict the
scenery of Hunan (the Hsiao and Hsiang areas). Influenced by
Hsiao-Hsiang literature, they instead make many allusions to the
Hsiao-Hsiang culture, transcending geographical references and
presenting abstractly the
schemas of Hsiao-Hsiang.
This paper discusses the cultural
context of Hsiao-Hsiang literature that
fostered Hsiao-Hsiang landscape paintings. It tries to understand
the painters' way of thinking, its source, and how it became a dynamic
behind the artistic expression. This is a basis for understanding
Hsiao-Hsiang landscape paintings and their colophons.
First, I survey the meaning of the words
Hsiao and Hsiang. Although literary works invoking Hsiao and Hsiang
appeared as early as in pre-Ch'in eras, Hsiao and Hsiang were not used
together as a term until the Wei and Chin periods. Hsiao referred to the
Hsiao River, and Hsiao-Hsiang stood for Hunan in T'ang times.
""Hsiao-Hsiang T'u'' (Hsiao-Hsiang painting) appeared also in
the Tang dynasty. Beginning in the T'ang, the term Hsiao gradually
changed from meaning "clear, deep water'' to invoking the Hsiao
River. It eventually replaced the expressions Yuan-Hsiang and San-Hsiang
to become a name for Hunan. This happened in literature and in painting.
The term ""Hsiao-Hsiang painting'' was established as the term
Hsiao-Hsiang came in currency, and replaced the term "San-Hsiang
painting.'' In this way we can understand why paintings with colophons
about Hsiao-Hsiang arose during T'ang times.
Next I analyse two types of imagery in
Hsiao-Hsiang literature. One represents "sorrow for departure, urge
to return,'' associated with the myth of the Hsiao-Hsiang River, Ch'ü
Yüan, and other works of exile. Another gives the impression of the
"peaceful and beautiful,'' originating from the story of T'ao-Hua Yüan
and the hermit tradition. These two kinds of feelings－one
sad and one happy－are
the basis of Hsiao-Hsiang landscape paintings, and must
be considered in any interpretation of this type of paintings.
Keywords:
Hsiao-Hsiang Hsiao-Hsiang
literature
landscape paintings imagery
exile hermit
從鮮卑敘記看南朝志怪中異族想像與時代感覺
劉
苑
如
提
要
本文將志怪敘記中的傳說故事作為一種集體記憶與作者意識的輻輳，透過南朝志怪中的異族書寫，不僅在胡、漢對峙中，反映出南朝人與北朝人對於慕容鮮卑想像的異同；亦在已說和未說之間，凸顯出諸胡與胡漢間的競爭；同時更把這些異族危機的象徵，視為當時情境的文本再現，透露了南朝人的時代感覺與自我定位。根據研究發現，在不同族群接觸之初，往往先注意到外貌的特徵與物質的文明。自兩晉南北分裂開始，漢人在歷經軍事上潰敗、再興與對峙，卻始終擁有絕對的文化優勢，以及自我防衛的本位主義。經由南朝志怪中的鮮卑敘記的反映，可見相較於身處南北分裂時期的志怪編撰，其對於外族的感覺已由不安、禁忌，轉換為更寬容的觀看角度，承認南北分治的事實，不過統運的競爭，還是普遍存在於諸國之間，不惟表現在慕容皝逐獵的墜馬傳說，更見於藉巫祝之口誇示漢人軍事力量；不惟表現乾羅天降的祖源傳說，也見於宋武帝創蛇的王者傳說。另一方面，慕容鮮卑儘管建立了第一個獨立的鮮卑政權，卻在諸般權力運用的挫敗下，以噤聲來自我呈現，而在志怪書寫中顯得格外的低調，但這種低頻的發聲經由抽絲剝繭地解析之後，呈顯出南朝更真實和多樣的異族想像與自我形象。
The
Imagination of the Exotic and the Structure of
Feelings in
the Southern Dynasties' Chih-kuai:
Examining the Hsien-pei
Tales
LIU
Yuan-ju
This study presents the literary tales from the Southern
Dynasties' Chih-kuai to demonstrate the doublet of the homo- and
heterogeneity of collective memory and the compilers' sensibilities. Han
Chinese' narrating of the ethnic adversaries, particularly of the
Mu-jung Hsien-pei, differs among the authors from the Southern dynasties
and those from the Northern. A comparison of what is spoken and what is
not indicates not only the contention among the Hu tribes, but also
between the Han Chinese and the Hu peoples. Narration of the tribal,
ethnic rivalries and political crises betrays the structure of feelings
of the Southern dynasties' people, and exposes their intended
positioning of themselves in the wider, contemporary world.
Studies of ethnic
interaction show that during initial encounters, attention is generally
directed at the physical characteristics and the material culture of the
other party. From the conflict between different political forces to the
eventual division of the North and the South, the Han Chinese_despite
the course from repeated military defeat, to resurgence, to
confrontational resistance_always maintained cultural supremacy and a
defensive stance. Examination of the Hsien-pei narratives and the Chih-kuai
tales, which were compiled during the period of disintegration, reveals
an emotional shift from hostility, anxiety, and reticence, to tolerance
in various degrees, admitting the break-up of sovereignty.
Nonetheless, the
competition of the rightful claim to the crown persists among the
powers: evidence of which can be found in a careful analysis of the
weighting of elements in narratives pertaining to Han and non-Han
leaders and political fortunes. On the other hand, notwithstanding
Mu-jung Hsien-pei's success in establishing the first Hsien-pei
sovereignty, that particular tribe has little presence in the Chih-kuai
literature. Analysis of such silencing unveils a truer and more faceted
imagination of the exotic and the structure of feelings in the Southern
dynasties.
Keywords:
the Southern Dynasties
Chih-kuai
Hsien-pei
exotic imagination structure of feelings
明末清初叢林論詩風尚探析
廖
肇
亨
提
要
本文主要以明末清初的佛教對文學的態度以及論詩的基本傾向作為討論對象。試圖就晚明以來叢林盛行的論詩風尚之起因、演變、特色及其反響，描繪出一個大致的輪廓。並希望以此為基礎，認識（一）明末清初的佛教的文化態度、（二）文人與佛教的互動關係、（三）中國傳統詩論與佛教之間的相互影響、（四）明清佛教對前代經典與人物的詮釋方式。
雖然自晚唐五代以來，佛教界一直存有詩僧的傳統，但從未像明末清初（幾乎等於十七世紀）一般出現這樣大規模的隊伍。同時明末清初的僧人也標舉宋代的德洪覺範成為理想詩僧的典型，在明末清初僧人的詮解下，德洪覺範不但具有卓越的文學稟賦，而且成為充滿正義感以及強烈忠義節操的形象，這樣刻意的詮釋正好反映出當時叢林論詩主張的特殊面向，第一是強烈的關懷現實，第二則是喜好詩文的文化傾向。這樣的文化態度在當時頗具影響力的曹洞宗尊宿覺浪道盛身上，正好得到充分的展現，本文藉著覺浪道盛的例子，省察當時叢林詩論的特徵以及他對語言文字獨到的認識。最後就當時反對者的意見來看他們反對叢林論詩風尚的理由與論證。
本文要說明的是明末清初的佛教具有高度的社會關懷與文化成就，他們的論詩風尚與主張也具體反映了當時的文化趨勢與價值體系與佛教之間的複雜對應關係。
Poetic Criticism of the Buddhist Mastersof
the Ming-Ch'ing Transition
LIAO
Chao-heng
This article
discusses the Buddhist attitudes towards literature and the key features
of their poetic criticism during the Ming-Ch'ing transition. This
article sketches the contours of such poetic criticism by examining
their origin, evolution, progress, and character. Opposing views to
theirs are discussed, too. This study provides a foundation for
understanding: 1) Buddhist cultural criticism; 2) the interaction
between intellectuals and the Buddhists; 3) the mutual influence between
traditional Chinese poetic criticism and Bud dhism; and 4)
seventeenth-century Chinese Buddhist hermeneutics.
There has
been a long tradition of Buddhist priests assuming literary roles since
the T'ang dynasty. However, in terms of quantity and quality, the
situation of seventeenth-century China is unprecedented. The eminent
literary monk of Sung China, Te-hung Chüeh-fan, who created the
idea of ""Wen-tzu Ch'an'' (Ch'an Buddhism as/in language), was
considered as an ideal. He was not only known for his literary gift, but
also for his uprightness and loyalty to the country. This foregrounds
the principal direction of seventeenth-century Buddhist poetry, one that
combines social concerns and Buddhist thought. This article focuses on
the master of the Ts'ao-Tung sect, Chüeh-lang Tao-sheng, to examine
the Buddhist poetic criticism and Chüeh-lang Tao-sheng's
accomplishments. Opposing views to his are discussed, too. This article
will clarify the complex relationship between Buddhism and contemporary
systems of values
.
Keywords:
Ming-Ch'ing transition poet-monk
Hsüeh-lang Hung-en
Chüeh-lang Tao-sheng Ta-hung Chüeh-fan
物的神話--晚明文震亨《長物志》的物體系論述
毛
文
芳
提
要
四庫館臣常以「掉弄筆墨」、「強作雅態」等語彙來嘲諷晚明文人的著作，隱含了對當代遊戲書寫的貶抑。晚明《長物志》一書，作者文震亨援引晉朝王恭「長物」的典故而來，卻扭轉王恭「平生無長物」的傳統意涵，鄭重地將閒適遊戲多餘無用之物，一一作誌品評，《長物志》展現了晚明奇特的物觀與書寫姿態。本論文由符號學的角度出發，參酌法國學者羅蘭•巴特的《神話學》與尚•布希亞《物體系》二家的學說，探察《長物志》符號語意系統建構出來的種種意涵。
本文第一部分為緒論，由「長物」一詞，探討晚明新興的物觀與書寫，並提出本文的理論基礎。第二部分為物的氣氛論述，首先探察物的詩意修辭，其次以起源的懷慕、文化時間的標誌、古物現在的異質文化風格、熱情與裝飾等角度，討論超越邊緣性的古物收藏。第三部分為物的評價論述︰先探究「古雅」如何建構為物的終極價值，次討論兩重意識形態的論述面向，再次分析《長物志》一書如何以文化威權的語言策略，締造新的流行文化。第四部分為結論，筆者以長物成為非長物、古物的神話包裝、以反流行締造新流行、虛擬變成真實等四個面向，為本文作結。
A
Mythological Study of Things―The
Case of Wen
Chen-heng's
Chang-wu chih from the Late Ming
MAO
Wen-fang
Many works from the Late Ming period were regarded as playful
writing and thus evaluated either sarcastically or negatively by the
compilers of Ssu-k'u ch'üan-shu. A writer in this period who
authored Chang-wu chih, Wen Chen-heng borrowed the term
"superfluous things'' from the Chin dynasty author Wang Kung, who
had been famous for his leisurely way of writing. Wen, however,
surprised us with a new interpretation of the term. Wen solemnly
classified lots of so-called superfluous things and treated them with a
special atmospheric discourse. Chang-wu chih represents a new way
of viewing superfluous things and a new writing attitude of people of
the Late Ming period. In this thesis, I adopt a semiotic framework and
employ two theories for reference: they are from Mythologies by
the French cultural anthropologist Roland Barthes, and Le Systeme des
objets by the sociologist Jean Baudrillard. I try to illustrate the
deep, complex semiotic and mythological structure that Chang-wu chih
reveals.
The
first part of this essay is prefatory, exploring, from the term
"superfluous things, '' the new view of things and mode of writing
in the late Ming, and setting forth the theoretical foundation of this
study. The second part is a discourse on the atmospherics of things,
first surveying the poetic rhetoric of things, then discussing the
transcendence of boundaries by the collection of antiques, through such
themes as nostalgia for origins, indices of cultural time, the exotic
styles of antiquities in the present, passion, decoration, and so forth.
The third part is a critique on the evaluation of things: first to be
discussed is the way "ancient elegance'' was constructed as
ultimate values for things. We then turn to a discussion of double
consciousness, followed by an analysis of how the linguistic strategies
of Chang-wu chih, as a cultural authority, created a new popular
culture. In the fourth part, the conclusion touches on four aspects:
treating "superfluous things'' as "extraordinary things''; the
mythological packaging of antiques; creating new popular culture by
opposing popular culture; and the treatment of simulacra as realia.
Keywords:
superfluous things mythology
the Late Ming
Wen Chen-heng system of objects
semiotics
現代新儒學研究之省察
劉
述
先
提
要
近年來大陸廣泛流行的「現代新儒學」一詞，定出了一份十五人的名單，我順著這條線索做出了一個三代四群的架構︰
第一代第一群︰梁漱溟、熊十力、馬一浮、張君勱
第一代第二群︰馮友蘭、賀麟、錢穆、方東美
第二代第三群︰唐君毅、牟宗三、徐復觀
第三代第四群︰余英時、劉述先、成中英、杜維明
而港、臺、海外則流行「當代新儒家」一詞，那是指由熊十力開啟，唐、牟、徐發揚光大，而為第三代的杜維明等所繼承的一條線索。這一架構配合二十世紀二０年代對五四的反激，四0年代抗戰的刺激，六0年代港、臺的流徙，八十年代海外的傳播，四波的發展，乃可對這一思潮有一比較全面性的掌握與中肯的了解。
A Reexamination of
the Investigation of
“Contemporary New Confucianism”
LIU Shu-hsien
In recent years Mainland China conducted research of the
so-called "[Contemporary] New Confucianism'' (hsien-tai hsin-ju-hsüeh).
A list of fifteen names was adopted. I follow up this line of approach
and find a structure of "Four Groups in Three Generations'' as
follows:
First Generation, First Group:
Liang Shu-ming, Hsiung Shih-li, Ma I-fu, Carsun Chang
First Generation, Second Group:
Fung Yu-lan, Ho Lin, Ch'ien Mu, Thomé H. Fang
Second Generation, Third Group:
T'ang Chün-i, Mou Tsung-san, Hsü Fu-Kuan
Third Generation, Fourth Group:
Yü Ying-shih, Liu Shu-hsien, Ch'eng Chung-ying, Tu Wei-ming
On
the other hand, in Taiwan, Hong Kong, and overseas, another term,
"Contemporary Neo-Confucianism'' (tang-tai hsin-ju-chia),
has been adopted. It refers to the movement initiated by Hsiung Shih-li,
succeeded by T'ang Chu n-i and Mou Tsung-san, and promoted by Tu
Wei-ming and others overseas. Thus, the term "New Confucianism''
refers to the movement in the broader sense, while the term
"Contemporary Neo-Confucianism'' stands for the movement in a
narrower sense. The distinction would help remove a lot of unnecessary
confusions and controversies.
My structure--combined with the
observation of four waves of development in the nineteen-twenties,
forties, sixties, and eighties--would provide a nice bird's-eye view of
the movement developed so far, and also clues to look forward toward the
future.
Keywords:
New Confucianism Contemporary
Neo-Confucianism
The structure of "Three Generations
in Four Groups''
The development in four waves
吐生與厚德--土的原型象徵
楊
儒
賓
提
要
本文探討土在五行學說定型化以前的象徵意義。本文從兩件儀式--籍禮與祭土、一種祭祀機制--社及三位神話人物--女媧、大禹、黃帝入手，探討「土」的象徵意義。本文認為土最重要的象徵為創生、厚德與權力。土的權力象徵在「黃帝」身上特別彰顯出來，他代表一種秩序原理。創生與厚德則成為儒家生生的形上學及謙遜、篤實、慎終追遠諸德的源頭。
本文是筆者「五行原論」系列文章中的一篇，此系列文章將五行視為道體的原型象徵，它自身擁有不可化約的質性。本文的目的是要增補儒家體用論的客體面。
Birth
and Thickness―The Primordial
Symbolic
Meanings of Earth
YANG
Rur-bin
This article examines the symbol of
earth in early China, in the period in which the system of Five Agents
was not yet formed. I explore this issue from one religious institution,
two rituals (the chi ritual and the offering to the altar of
earth) and three mythical personalities and events (Nü Wa, Yu the
Great, the Yellow Emperor). This article suggests that the fundamental
symbolic meanings of earth in early China were birth, thickness, and
power. The element of power was specially embodied in the image of the
Yellow Emperor, who conquered the mythical monster Ch'ih-Yu and four
other emperors. He represents a principle of order. The ideas of birth
and thickness were adopted unconsciously by Confucianism. Confucianism
was based on the good earth of the Yellow River plain. Unavoidably, its
philosophy was deeply penetrated by the symbolic meanings of the yellow
earth. In Confucian metaphysics, it was expressed as unending life, as
well as modesty, honesty, integrity, and respect for ultimate things
such as the respect towards origin.
This article is one in the series of my
"The Origins of the Five Agents or Five Elements.'' I want to
emphasize the objective aspect of the theory of substance and function
in Chinese metaphysics.
Keywords:
birth thickness archetype
power earth
馮友蘭的抉擇及其轉變
翟
志
成
提
要
在中共立國前夕，擺在馮友蘭等「大知識分子」面前，本來有留在大陸、赴臺或去國這三條道路可走，而馮友蘭和絕大多數大知識分子選擇了留在大陸。從歷史家的「後見之明」來看，他們的抉擇，不僅使他們在中共治下身心飽受摧殘，而且也造成了中國學術文化史上的巨大斷層，無疑是「一著之差，全盤皆輸」，稱之為「集體失誤」並不為過。但若回到當時的歷史環境，留大陸接受中共的統治，又是被絕大多數大知識分子普遍認為對自己、對民族、對國家前途都最為有利的選擇，而馮友蘭作此抉擇時，更充分運用其理性和常識，對各種有利和不利的因素都作了慎重周詳的評估。本文的第二部分〈「去」或「留」的抉擇〉，指出從當時軍事、政治、經濟等多重因素，都顯示了國府在中國大陸的失敗已成定局，而馮友蘭和其他的大知識分子，亦早已對國府徹底絕望；為了不願當白華、不願為國府殉葬，留在大陸對他們是最好的選擇。文章中還特別從馮友蘭本人對清華大學、對中國文化的責任感，以及他對自己和自己哲學系統的未來前途的「自我感覺良好」，較深入地剖析了他選擇留平的心理因素和時代背景。
本文的第三部分〈「集體失誤」〉，首先，指出了造成馮友蘭等大知識分子「集體失誤」的二個主要原因︰其一是低估了國府的生存能力，其二是高估了中共的理性。正是這兩個具有高度不確定性的變項在後來的發展出乎了所有人的預料，使得馮友蘭和絕大部分大知識分子一起掉進了中共改造思想的網羅。其次，論文還指出思想改造的實質，正是要把知識分子改造成中共的「馴服工具」。再次，論文還著重分析了中共藉以改造知識分子的兩種手法︰其一是通過控制全部生活資料和毫不留情地使用恐怖和暴力，從外部施以高壓；其二是通過壟斷道德資源和獨佔真理，從內心加以誘逼。這種無比強大的自力和他力的內外交煎，是任何凡人的血肉之軀無法抗拒的。在中共一波未平一波又起的思想改造運動的長期煎熬之下，中國知識分子從精神到肉體都不免飽受摧殘。最後，論文還指出了馮友蘭在思想改造運動中吃苦最多的根本原因，乃緣於被毛澤東挑選為全國性的「反面教員」，如此一來便使他在歷次運動中成了大批判的眾矢之的。他必須公開地自我誣蔑和自我否定自己的一切，這不僅使他身心受盡折磨，而由其一手創造的新理學系統，也因之灰飛煙滅。本文第四部分〈餘論〉，則著重評述馮友蘭在文革結束後恢復舊業和恢復自我的成績及其限制。
The Choice and
the Changes of Feng Youlan
CHAK Chi-shing
On the eve of the Chinese Communist take-over, the great Chinese
intellectuals faced only three alternatives: remaining in Mainland
China, escaping to Taiwan, or going abroad. Like most, Feng Youlan chose
to stay in Mainland China and thus shared the intellectuals' common
destiny of physical torture, spiritual suffocation, and public
humiliations. Some historians consider that the choice of most Chinese
intellectuals, which marks a dramatic fault-line in the cultural history
of Chinese academia, was a "collective misjudgment.''
By analyzing the socio-political
situation on the eve of the Communist victory, this paper explains why
most great Chinese intellectuals in general, and Feng Youlan in
particular, believed that they had made the best choice both for their
own country and for themselves. These people had long given up hope in
the KMT and did not want to sacrifice themselves for the Nationalist
government. Due to underestimating the viability of the KMT in Taiwan
and overestimating the rationality of the CCP on the Mainland, Feng
Youlan and most of his great intellectual counterparts fell into the
Communist pitfall and were forced to be targets of thought reform
movements.
Since Feng was designated by Chairman
Mao as a negative example of a teacher (fanmian jiaoyuan) in
thought reform movements, he had to at the same time undergo a process
of endless public humiliations and a process of endless self-criticism.
In the former, Feng was often furiously criticized and attacked by his
colleagues and students for his "idealist thought'' and his
"poisonous teachings.'' In the latter, Feng had to admit to all
alleged crimes such as being an idealist, a reactionary, a
counterrevolutionary, and a revisionist, as well as to deny that he
himself and his philosophy had ever done any good for his country and
his people.
After the decline of class struggle and
the fading of Maoism in 1980s, Feng stopped self-criticism and resumed
his academic career. He left us seven volumes of his rewritten book
called A History of Chinese Philosophy as well as his
autobiography before his death in 1990. This paper depicts Feng's
self-criticism and self-reestablishment, explores his psychological
conflicts in being a negative example of a teacher, and evaluates his
academic achievements and limitations.
Keywords:
Feng Youlan intellectuals
thought reform
collective misjudgment
a negative example of a teacher
鄭玄《儀禮注》訓詁術語釋義例闡微
鄧
聲
國
提
要
鄭玄作為兩漢古文獻學的集大成者，對漢代訓詁學的發展起了很大的推動作用。其所著《儀禮注》是漢代以來隨文釋義的典範之作，訓詁內容豐富，訓詁方法也較完備。本文通過全面收集整理《儀禮注》之訓詁術語釋義的用例，對其加以歸類分析，力求較準確地反映出鄭玄注《儀禮》一書所體現出來的各種訓詁條例和訓詁方法，使能有裨于閱讀古注；並力圖通過這種
稽分析，能從總體上把握鄭玄運用訓詁術語簡明扼要釋義的方法，從而從一個側面反映出鄭玄注書的訓釋特色。
An Exploration
of the Exegetics of Cheng Hsüan's I li chu According to Its
Exegetic Terms and Principles
DENG Sheng-guo
A comprehensive scholar of Chinese
classical philology in the Han dynasty, Cheng Hsüan played a
decisive role in the development of the exegetics of Han dynasty and
later times. I li chu by Cheng Hsüan has been regarded as an
exemplary work of philology since the Han dynasty. The book is rich in
its materials and impressively consistent in its methods. Starting with
a thorough cataloging of the exegetic terms in I li chu, this
article classifies and analyzes Cheng's exegetic principles and
operations in his annotated commentary to the I li. Through deep
analysis, we strive to grasp the method of concise interpretation
through Cheng's application of exegetic terms and the resultant glosses.
This article sheds light on the characteristics of Cheng Hsüan's
commentaries on the Chinese classics.
Keywords:
Cheng Hsüan I
li chu exegetic
terms
exegetic principles exegetic characteristics
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