Pub Date : 2021-11-01DOI: 10.1215/15982661-9326229
Ye Xu
Abstract:The aim of this article is to discuss how the Chinese loanword fó (佛) was incorporated into pre-Old Korean (pre-OK), Old Korean (OK), and Western Old Japanese (WOJ) on the basis of textual research using various primary sources from China, Korea, and Japan. The author proposes that two routes exist to explain the borrowing of the Chinese word fó (佛) into pre-OK, OK, and WOJ: one route from the Six Dynasties to the Korean Three Kingdoms period to Japan’s pre-Nara period, and one from the Sui and Tang dynasties to the Unified Silla and Koryŏ periods.
{"title":"Fó (佛), Pwuche (仏体), and Hotoke (保止氣)","authors":"Ye Xu","doi":"10.1215/15982661-9326229","DOIUrl":"https://doi.org/10.1215/15982661-9326229","url":null,"abstract":"Abstract:The aim of this article is to discuss how the Chinese loanword fó (佛) was incorporated into pre-Old Korean (pre-OK), Old Korean (OK), and Western Old Japanese (WOJ) on the basis of textual research using various primary sources from China, Korea, and Japan. The author proposes that two routes exist to explain the borrowing of the Chinese word fó (佛) into pre-OK, OK, and WOJ: one route from the Six Dynasties to the Korean Three Kingdoms period to Japan’s pre-Nara period, and one from the Sui and Tang dynasties to the Unified Silla and Koryŏ periods.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"237 - 253"},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46570210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1215/15982661-9326199
M. Riotto
Abstract:The issue of trickster in old Korean literature has yet to be discussed in a broadly comparative way in a scientific context. Using a structuralist approach, this article addresses the anthropological theme of the “divine trickster” in some stories from ancient Korea and the ancient West. In particular, by examining three famous episodes from Korean folklore alongside three cases from Western fantastic literature, this article investigates the strategies aimed at acquiring the feminine element as represented by high-ranking foreign women. Starting with the hunting mentality of prehistoric society, where man tries to prevail with intelligence over his prey, the article reviews literary episodes from different anthropological contexts (Indo-European societies, Semitic societies of the Near East, and ancient Korean society), underlining their similarities and differences, but always highlighting and emphasizing the presence of a divine trickster. Ultimately, together with the common denominator of the progressive masculinization of the various societies, we note a more passive role of women in the Korean stories, which appear to be of more recent codification than their Western counterparts, and therefore seem more inspired by cultural patterns of patriarchal orientation.
{"title":"Play a Trick and Get a Queen: “Divine Tricksters” in Ancient Korea (and Beyond)","authors":"M. Riotto","doi":"10.1215/15982661-9326199","DOIUrl":"https://doi.org/10.1215/15982661-9326199","url":null,"abstract":"Abstract:The issue of trickster in old Korean literature has yet to be discussed in a broadly comparative way in a scientific context. Using a structuralist approach, this article addresses the anthropological theme of the “divine trickster” in some stories from ancient Korea and the ancient West. In particular, by examining three famous episodes from Korean folklore alongside three cases from Western fantastic literature, this article investigates the strategies aimed at acquiring the feminine element as represented by high-ranking foreign women. Starting with the hunting mentality of prehistoric society, where man tries to prevail with intelligence over his prey, the article reviews literary episodes from different anthropological contexts (Indo-European societies, Semitic societies of the Near East, and ancient Korean society), underlining their similarities and differences, but always highlighting and emphasizing the presence of a divine trickster. Ultimately, together with the common denominator of the progressive masculinization of the various societies, we note a more passive role of women in the Korean stories, which appear to be of more recent codification than their Western counterparts, and therefore seem more inspired by cultural patterns of patriarchal orientation.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"161 - 189"},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49063536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8873892
Seunghye Lee
Abstract:The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art collection reveals what was available in the art market of the time and what was considered worthy of being collected in a royal museum. Through close examination of Korea's first museum and its collection, this study traces the recontextualization of religious icons into art objects and the historical implications behind the category of "Buddhist statues."
{"title":"Korea's First Museum and the Categorization of \"Buddhist Statues\"","authors":"Seunghye Lee","doi":"10.1215/15982661-8873892","DOIUrl":"https://doi.org/10.1215/15982661-8873892","url":null,"abstract":"Abstract:The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art collection reveals what was available in the art market of the time and what was considered worthy of being collected in a royal museum. Through close examination of Korea's first museum and its collection, this study traces the recontextualization of religious icons into art objects and the historical implications behind the category of \"Buddhist statues.\"","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"51 - 81"},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43438374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8873945
Sung-jun Son
In the early twentieth century, the political environments of China, Japan, and Korea were heterogeneous, encompassing various discourses and orientations. Using biographies of George Washington, this article examines the particularities of the texts created through such translations. In relay translations of biographies of Washington, Fukuyama Yoshiharu 福山義春 (Japanese, published 1900) sought an ideal model of Confucian ethics; Ding Jin 丁錦 (Chinese, published 1903) represented Washington as a strong warrior who won independence after a long fight; and Yi Haejo 李海朝 (Korean, published 1908) offered a portrait in which the warrior figure recedes and the Confucian image is again reinforced. Despite the gap between the political environments of Japan and Korea and the absence of a direct connection between them, Fukuyama's and Yi's editions share more overlapping features with each other than with Ding's. Properly recognizing and highlighting individual translation and adaptation practices that do not converge on the norms of national discourse will expand the horizons of the national discourse itself.
{"title":"The Translating Subject beyond Borders","authors":"Sung-jun Son","doi":"10.1215/15982661-8873945","DOIUrl":"https://doi.org/10.1215/15982661-8873945","url":null,"abstract":"\u0000 In the early twentieth century, the political environments of China, Japan, and Korea were heterogeneous, encompassing various discourses and orientations. Using biographies of George Washington, this article examines the particularities of the texts created through such translations. In relay translations of biographies of Washington, Fukuyama Yoshiharu 福山義春 (Japanese, published 1900) sought an ideal model of Confucian ethics; Ding Jin 丁錦 (Chinese, published 1903) represented Washington as a strong warrior who won independence after a long fight; and Yi Haejo 李海朝 (Korean, published 1908) offered a portrait in which the warrior figure recedes and the Confucian image is again reinforced. Despite the gap between the political environments of Japan and Korea and the absence of a direct connection between them, Fukuyama's and Yi's editions share more overlapping features with each other than with Ding's. Properly recognizing and highlighting individual translation and adaptation practices that do not converge on the norms of national discourse will expand the horizons of the national discourse itself.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"83-103"},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45719890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8873955
Sora Kim
We take the cardinal directions for granted, but they are social constructs. Directionality is relative to how we locate central points, and these choices reflect a sense of direction in a society. This article illustrates how the notion of “center” changed in Korean society by comparing land registers of the Korean Empire (1897–1910) and the Japanese colonial period (1910–45). The colonial government prioritized mapping with scale, contours, and cardinal directions. As a result, the entire country was mapped to conform to a procrustean order. By contrast, there had been no cadastral map for centuries prior. Instead, the location of each parcel was described in textual information with four cardinal points. The author argues that fundamental difference between the two notions of “center” lay in the consciousness of the relationship between the human and the natural. The difference was expressed through the contrast in their respective conformity and flexibility, standardization and diversity.
{"title":"Where Is North?","authors":"Sora Kim","doi":"10.1215/15982661-8873955","DOIUrl":"https://doi.org/10.1215/15982661-8873955","url":null,"abstract":"\u0000 We take the cardinal directions for granted, but they are social constructs. Directionality is relative to how we locate central points, and these choices reflect a sense of direction in a society. This article illustrates how the notion of “center” changed in Korean society by comparing land registers of the Korean Empire (1897–1910) and the Japanese colonial period (1910–45). The colonial government prioritized mapping with scale, contours, and cardinal directions. As a result, the entire country was mapped to conform to a procrustean order. By contrast, there had been no cadastral map for centuries prior. Instead, the location of each parcel was described in textual information with four cardinal points. The author argues that fundamental difference between the two notions of “center” lay in the consciousness of the relationship between the human and the natural. The difference was expressed through the contrast in their respective conformity and flexibility, standardization and diversity.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"105-122"},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45930486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8873872
Youenhee Kho
This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.
{"title":"Meritorious Heroes","authors":"Youenhee Kho","doi":"10.1215/15982661-8873872","DOIUrl":"https://doi.org/10.1215/15982661-8873872","url":null,"abstract":"\u0000 This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45282817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8901264
Thomas Jülch
{"title":"Buddhist Apologetics in East Asia: Countering the Neo-Confucian Critiques in the Hufa lun and the Yusŏk chirŭi non by Uri Kaplan (review)","authors":"Thomas Jülch","doi":"10.1215/15982661-8901264","DOIUrl":"https://doi.org/10.1215/15982661-8901264","url":null,"abstract":"","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"123 - 125"},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44703528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/15982661-8873882
Yiwen Li
During the premodern era, folding fans were among the few handicrafts that China imported from Japan. The availability of Japanese folding fans in China changed along with Sino-Japanese relations. They were rare during the Northern Song due to the suspension of diplomatic relations, but after the Ming court reestablished a tributary relationship with the Ashikaga shogunate in the early fifteenth century, many more Japanese folding fans entered China via tribute trade. The scholar-officials, who generally admired the delicate Japanese-made folding fans, chose to emphasize different values of the fans in different contexts. The Japanese folding fans were “useless tribute” in the scholar-officials' public writings, but in reality the “Japan” brand actually increased the commercial value of the fans in the market.
{"title":"Useless Tribute, Desirable Exotics","authors":"Yiwen Li","doi":"10.1215/15982661-8873882","DOIUrl":"https://doi.org/10.1215/15982661-8873882","url":null,"abstract":"\u0000 During the premodern era, folding fans were among the few handicrafts that China imported from Japan. The availability of Japanese folding fans in China changed along with Sino-Japanese relations. They were rare during the Northern Song due to the suspension of diplomatic relations, but after the Ming court reestablished a tributary relationship with the Ashikaga shogunate in the early fifteenth century, many more Japanese folding fans entered China via tribute trade. The scholar-officials, who generally admired the delicate Japanese-made folding fans, chose to emphasize different values of the fans in different contexts. The Japanese folding fans were “useless tribute” in the scholar-officials' public writings, but in reality the “Japan” brand actually increased the commercial value of the fans in the market.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"21 1","pages":"27-49"},"PeriodicalIF":0.1,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48262040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-20DOI: 10.21866/ESJEAS.2020.20.2.005
H. Lynn
email of the author: hlynn@mail.ubc.ca 255 Introduction The hallways of academia have been overflowing with “turns” since the 1990s: linguistic, affective, cultural, post-structural, post-human, relational, reflexive, temporal, narrative, experimental, and infrastructural turns are just some of the larger array of alleged innovations infusing a range of social sciences and humanities disciplines. Aside from prompting thoughts of Marie Kondo, perpetual pirouettes, and vertiginous perspicacity, these have encouraged researchers to focus on some areas of apparent lacuna. Among them the protean mobilities/ Mobilities and Migrations in Modern East Asia
{"title":"Mobilities and Migrations in Modern East Asia","authors":"H. Lynn","doi":"10.21866/ESJEAS.2020.20.2.005","DOIUrl":"https://doi.org/10.21866/ESJEAS.2020.20.2.005","url":null,"abstract":"email of the author: hlynn@mail.ubc.ca 255 Introduction The hallways of academia have been overflowing with “turns” since the 1990s: linguistic, affective, cultural, post-structural, post-human, relational, reflexive, temporal, narrative, experimental, and infrastructural turns are just some of the larger array of alleged innovations infusing a range of social sciences and humanities disciplines. Aside from prompting thoughts of Marie Kondo, perpetual pirouettes, and vertiginous perspicacity, these have encouraged researchers to focus on some areas of apparent lacuna. Among them the protean mobilities/ Mobilities and Migrations in Modern East Asia","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"20 1","pages":"255 - 269"},"PeriodicalIF":0.1,"publicationDate":"2020-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49151559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-20DOI: 10.21866/ESJEAS.2020.20.2.003
Wang Huang, Qiliang He
ABSTRACT:This article explores Tomboy (Huashen guniang 化身姑娘, 1936), arguably one of the most viewed films in China in the mid-1930s, and Yuan Meiyun's 袁美雲 (1917–1999) stardom in prewar Shanghai. Tomboy's popularity was a testimony to the rise of female stardom and female fandom in this decade. The 1930s also saw both the final triumph of the rally for women's rights since the May Fourth period and the Nationalist Party's pro-family, anti-woman backlash. Tomboy catapulted Yuan Meiyun to superstardom in the context of the cacophonous debates on new femininity in China in the relatively conservative mid-1930s. This article thus argues that because Yuan Meiyun exemplified a new type of woman who was modern, attractive, and independent but exempted herself from modern life's vices and hedonism, her eclectic womanhood both on the screen and in the media narrative gained widespread acclaim and thereby contributed to her success as a film star.
{"title":"Tomboy: New Womanhood, Stardom, and Chinese Cinema in the 1930s","authors":"Wang Huang, Qiliang He","doi":"10.21866/ESJEAS.2020.20.2.003","DOIUrl":"https://doi.org/10.21866/ESJEAS.2020.20.2.003","url":null,"abstract":"ABSTRACT:This article explores Tomboy (Huashen guniang 化身姑娘, 1936), arguably one of the most viewed films in China in the mid-1930s, and Yuan Meiyun's 袁美雲 (1917–1999) stardom in prewar Shanghai. Tomboy's popularity was a testimony to the rise of female stardom and female fandom in this decade. The 1930s also saw both the final triumph of the rally for women's rights since the May Fourth period and the Nationalist Party's pro-family, anti-woman backlash. Tomboy catapulted Yuan Meiyun to superstardom in the context of the cacophonous debates on new femininity in China in the relatively conservative mid-1930s. This article thus argues that because Yuan Meiyun exemplified a new type of woman who was modern, attractive, and independent but exempted herself from modern life's vices and hedonism, her eclectic womanhood both on the screen and in the media narrative gained widespread acclaim and thereby contributed to her success as a film star.","PeriodicalId":41529,"journal":{"name":"Sungkyun Journal of East Asian Studies","volume":"20 1","pages":"217 - 233"},"PeriodicalIF":0.1,"publicationDate":"2020-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46953011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：