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The Qinghua “Jinteng” Manuscript: What it Does Not Tell Us about the Duke of Zhou 清华“金坛”手稿:它没有告诉我们的关于周公的事情
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P01
M. Gren
This study suggests that the so-called “Jinteng” manuscript held by Qinghua University should be read independently of its received counterpart. When read on its own terms, the manuscript provides a straightforward account of rituals surrounding the Duke of Zhou’s ascension to the throne after the demise of King Wu. As such it represents a continuation of King Wu’s abdication in favor of his meritorious brother, as recorded in the Yi Zhou shu . Read in this light, the fourth century BCE manuscript provides further evidence for the prominence of abdication doctrines during the Warring States period, an intellectual tradition that was deemed subversive in the early empire and became gradually obliterated over the course of the Qin-Han dynasties.
Cet article propose de lire le manuscrit dit “Jinteng” conserve a l’universite Qinghua independamment des textes recus qui lui correspondent. Considere par lui-meme, le manuscrit offre une relation claire des rituels ayant entoure l’accession au trone du duc de Zhou apres la mort du roi Wu. De ce fait, il represente le prolongement de l’abdication du roi Wu en faveur de son vertueux frere telle qu’elle est relatee dans le Yi Zhou shu . Considere sous cet angle, ce manuscrit du IVe siecle avant notre ere offre de nouveaux arguments en faveur de l’importance des doctrines sur l’abdication a l’epoque des Royaumes Combattants, alors que cette tradition intellectuelle etait consideree comme subversive au debut de l’empire et qu’elle est progressivement tombee dans l’oubli sous les Qin et les Han.
本研究认为,清华大学持有的所谓“金腾”手稿应独立于其收到的副本进行阅读。如果按原样阅读,这份手稿提供了一个关于周公在武王死后登基的仪式的简单描述。就像《易州书》中记载的那样,它代表了武王退位的延续,支持他有功绩的兄弟。从这个角度来看,公元前4世纪的手稿为战国时期退位学说的突出地位提供了进一步的证据,这一思想传统在帝国早期被认为是颠覆性的,并在秦汉时期逐渐被抹去。
文章中提出了“金腾”保留清华大学独立文字稿的原稿。考虑到这一点,我们的手稿提供了一种新的关系,即礼仪和随从的关系,即“周公爵的登基”和“吴公爵的登基”。De ce fait,将代表le '退位的l ' ab退位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l ' ab王位的l '。考虑到sous et angle,《六世纪先锋派手稿》提供了新的论据,支持l '重要性学说,支持l '退位,支持l 'epoque des Royaumes combatters,支持l '传统知识分子,认为共产主义具有颠覆性,支持l '帝国的首次登场,支持l ' lele est进步,支持l 'oubli sous,支持秦汉。
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引用次数: 3
India in the Chinese Imagination: Myth, Religion, and Thought . Edited by John Kieschnick and Meir Shahar, 2014 中国人想象中的印度:神话、宗教和思想。John Kieschnick和Meir Shahar编辑,2014年
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P07
Zhang Chao
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引用次数: 0
The Chinese Market Economy, 1000-1500 . By William Guanglin Liu, 2015 中国市场经济,1000-1500年。作者:刘光林,2015年
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P11
R. Glahn
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引用次数: 2
An Ambivalent Historian: Ouyang Xiu and His New Histories 矛盾的历史学家:欧阳修和他的新史学
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P03
Chia-fu Sung
This article examines the historiographical practice of Ouyang Xiu (1007-72) in the context of his scholarly and official career and of the development of traditional Chinese historiography. By focusing on where, when, and how Ouyang’s two “new histories” of the Tang and Five Dynasties were produced, I suggest that Ouyang displayed an ambivalent relationship to the Northern Song official historiographical operation both in terms of modus operandi and of the format of the final text. Acting deliberately inside and outside the Historiography Office, he wrote not only new histories but actually new “old” histories, in the sense that Sima Qian’s classical model was creatively restored. Historiographical novelty calls for contextualization, and in this case, Ouyang’s newness is embodied in the creative tension between his contemporary predicament and the applicability of various classical paradigms.
Cet article etudie la pratique historiographique de Ouyang Xiu (1007-1072) dans le contexte de sa carriere d’erudit et de fonctionnaire et dans celui du developpement de l’historiographie chinoise traditionnelle. Me demandant ou, quand et comment les deux “nouvelles histoires” dues a Ouyang, celle des Tang et celle des Cinq Dynasties, ont ete redigees, j’en conclus que l’historien a entretenu une relation ambivalente avec le mode de production historiographique officiel, tant du point de vue du modus operandi que de celui de la forme finale du texte. Agissant deliberement a l’interieur et a l’exterieur du Bureau d’historiographie, il composa non seulement des “nouvelles histoires”, mais egalement des nouvelles “anciennes histoires” au sens ou le modele classique de Sima Qian s’y trouvait retabli de facon originale. L’innovation en histoire implique la contextualisation, et dans le cas present la nouveaute de Ouyang reside dans la tension creatrice opposant ses difficultes du moment et l’applicabilite de divers paradigmes classiques.
本文从欧阳修的学术和仕途以及中国传统史学的发展脉络来考察欧阳修的史学实践。通过关注欧阳唐和五代的两本“新史”是在何时何地产生的,以及如何产生的,我认为欧阳在操作方式和最终文本的格式方面与北宋官方史学操作表现出矛盾的关系。他在史学办公室内外刻意行事,既写新史,又写新“旧”史,从某种意义上说,他创造性地恢复了司马迁的经典模式。史学的新颖性要求语境化,在这种情况下,欧阳修的新颖性体现在他的当代困境与各种经典范式的适用性之间的创造性张力。
Cet(中央东部东京)的文章我们实际historiographique de欧阳修(1007 - 1072)在contexte de sa carriere d 'erudit et de fonctionnaire et在celui du开发署de l 'historiographie chinoise traditionnelle。我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你,我需要你。在《史学界》和《史学界》的共同审议下,将编纂《新史》,编纂《古史》,编纂《司马迁经典》,编纂《新史》,编纂《古史》。“历史隐含的创新”和“语境化”是“欧阳的创新”,“欧阳的创新”和“欧阳的创新”是“欧阳的创新”,“欧阳的创新”是“欧阳的创新”,“欧阳的创新”是“欧阳的创新”,“欧阳的创新”是“欧阳的创新”,“欧阳的创新”是“欧阳的创新”,“欧阳的创新”是“欧阳的创新”。
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引用次数: 2
From Warhorses to Ploughshares: The Later Tang Reign of Emperor Mingzong. By Richard L. Davis, 2015 从战马到犁头:唐明宗的后唐统治。理查德·l·戴维斯著,2015年
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P08
H. Clark
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引用次数: 0
Constructing a Playful Space: Eight-Legged Essays on Xixiang ji and Pipa ji 建构戏谑空间:西乡集、琵琶集八足散文
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P06
Yinghui Wu
This article examines the “playful eight-legged essay” as a form of literary parody and discusses its circulation in printed editions of The Story of the Western Wing and The Story of the Lute in late imperial China. The rise of the playful eight-legged essay was part of a philosophical and literary tradition of “game-playing,” and occurred in the context of publications that appropriated canonical genres for fashionable entertainment. Reading the playful compositions against the generic conventions of the standard examination essay, on the one hand, and the original drama commentary, on the other, the author explores the playful eight-legged essay as an increasingly autonomous mode of critical commentary that was independent from, yet still associated with, the dramatic text. Employing dramatic impersonation, the essays opened up a playful space for the staging of passion and extended the appeal of the original play by involving the reader in its imaginative performance.
Cet article etudie les adaptations plaisantes des “dissertations en huit jambes” comme forme de parodie litteraire et en examine la diffusion a travers les editions imprimees du Pavillon de l’ouest et de l’ Histoire du luth a la fin de l’empire. L’emergence de telles adaptations, inscrites dans une tradition ludique a la fois philosophique et litteraire, est contemporaine de la parution d’ouvrages qui detournaient les genres canoniques a des fins de recreation elegante. La lecture de ces dissertations amusantes que propose l’auteur se refere a la fois aux conventions presidant a la composition des dissertations d’examen et aux commentaires d’œuvres theâtrales proprement dits. Il en ressort que le genre de la dissertation parodique a acquis une autonomie croissante en tant que commentaire critique independant des œuvres dramatiques tout en y restant associe. En s’appropriant la voix des personnages des pieces, de tels textes ouvrent un espace de fantaisie propice a la mise en scene des passions et renforcent l’attrait des œuvres originales en impliquant le lecteur dans leur realisation imaginee.
本文考察了“俏皮八腿小品”作为一种文学模仿形式,并讨论了其在中国帝国晚期《西厢记》和《琵琶记》印刷版中的流通情况。有趣的八腿散文的兴起是哲学和文学“游戏”传统的一部分,发生在出版物挪用规范体裁用于时尚娱乐的背景下。一方面,阅读与标准考试作文的一般惯例相反的俏皮作文,另一方面,阅读原始戏剧评论,作者探索了俏皮的八腿文章作为一种越来越自主的批评评论模式,它独立于戏剧文本,但仍然与戏剧文本有关。通过戏剧模仿,散文为激情的上演开辟了一个有趣的空间,并通过让读者参与其富有想象力的表演来扩展原剧的吸引力。
这篇文章研究了《文学作品的改编》、《文学作品的模仿》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》、《文学作品的传播》和《文学作品的传播》。“文学的出现”是改编,“文学的传统”是文学的哲学,“文学的传统”是文学的哲学,“文学的传统”是文学的传统,“文学的传统”是文学的传统,“文学的传统”是文艺的传统,“休闲的传统”是高雅的文化。论文题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目题目。我将用我的论文风格来模仿我的论文风格来模仿我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格来评论我的论文风格。他的“恰当的声音,人物的声音,作品的声音,故事的文本,展现的空间,幻想的场景,激情的场景,强化的场景,独创的场景,隐含的场景,演讲者的声音,实现的想象。”
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引用次数: 1
The Beginning of the Subtle School of Taoism 一切道經音義妙門由起: An Official Perception of Taoism in the Early T’ang Period. By Florian C. Reiter, 2014 道教微妙学派的开始:唐初官方对道教的看法。作者:Florian C. Reiter, 2014
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-11-29 DOI: 10.1163/15685322-10245P09
T. Barrett
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引用次数: 0
Capital Punishment in East Asia, edited by Itaru Tomiya, 2012 《东亚的死刑》,富宫伊塔鲁主编,2012年
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-10-03 DOI: 10.1163/15685322-10213P17
F. Constant
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引用次数: 0
Building a Sacred Mountain: The Buddhist Architecture of China’s Mount Wutai , written by Wei-ch’eng Lin, 2014 《建造一座神山:中国五台山的佛教建筑》,林伟成著,2014
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-10-03 DOI: 10.1163/15685322-10213P10
B. Faure
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引用次数: 0
Qin jiandu heji 秦簡牘合集 [Compendium des manuscrits Qin sur lamelles de bambou et tablettes de bois], sous la direction de Chen Wei 陳偉, 2014. Qin jiandu heji秦簡牘合板上秦集[概要》手稿,竹子和木头片])的领导下,Chen Wei陳偉,2014)。
IF 0.4 3区 社会学 0 ASIAN STUDIES Pub Date : 2016-10-03 DOI: 10.1163/15685322-10213P08
M. Kalinowski
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引用次数: 2
期刊
T'oung Pao
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