Contribution and Modern Public Debt:On the Nature of Patriotic Public Debt in the Late Qing Dynasty and the Early Republic of China

There are different opinions about the first modern domestic debt in China.The theorists judge whether a certain public debt has modernity according to whether it has modern public debt form,ignoring the inconsistency between form and content,institutional provisions and actual implementation.The modern nature of public debt must have both the form and content of modern public debt.Based on the analysis of the issuing background,system design,collection and repayment of patriotic bonds in the late Qing Dynasty and the early Republic of China,it is considered that the part of patriotic bonds subscribed by the Qing royal family is still the nature of donation and return,while the part subscribed by ordinary businessmen and people in the early Republic of China has a modern nature.The dual nature of patriotic bonds is closely related to the social background when the bonds are issued.

Functional Features and Layouts of Yangzhou Residential Gardens in the Late Qing Dynasty and the Early Republic of China: A Case Study of Residential Gardens of Officials, Merchants and Literati

On the basis of analyzing socio-economic structures, social classes and their relations in the late Qing Dynasty and the early Republic of China, this paper took residential gardens of three principal groups(officials, merchants and literati) for example, analyzed functional features and layouts of the gardens, explored artistic characteristics and cultural connotations of the local residential gardens, so as to provide references for the conservation and construction of historic and cultural cities, design and expression of modern urban livable spaces.

Social Classes and Cultural Connotations of Yangzhou Home Gardens during the Late Qing Dynasty and the Republic of China

During the late Qing Dynasty and the early period of the Republic of China(1870-1930),the social classes in Yangzhou were basically dominated by officials,businessmen,and scholars.In the building number,scale,and functional evolution of their home gardens,these three classes were different,reflecting abundant connotation of characteristic of the time and regional culture,revealing the inheritance path of Yangzhou culture,as well as the richness and diversity of home gardens in Yangzhou during the late Qing Dynasty and the early period of the Republic of China.

CHINESE LADY'S DAILY WEAR IN LATE QING DYNASTY AND EARLY REPUBLIC PERIOD

The goal of this research is to describe and analyze women’s wear in the late Qing Dynasty andearly Republic Period(late 19th c.—early 20th c.),with an emphasis on the daily informal orsemi-formal wear,though some formal or ceremonial costumes such as wedding dress will also beincluded.This study will use Chinese costumes and textiles from many museums to fill in theblanks left by previous research and to give a more detailed and accurate description.It will alsouse historical documents to find the original names of these items and to illustrate a general conceptof their usage on different occasions.The different categories of women’s wear will be described in the following order:①robes orcoats;②jackets;③waistcoats or vests;④skirts;⑤pants and leggings;⑥shoes and socks;⑦headdresses;and⑧others.Of every category,the textiles,decoration,cut,form,style,colourand motif will be discussed.The way in which these items were combined will also be discussed.The comparison between women’s wear and men’s wear,women’s and children’s informal andformal dress will be given.Here are some tentative conclusions.First,the Manchu and Han style coexisted and mixedwith each other and were worn by both Manchu and Han women.Second,the basic silhouettesand cuts were relatively stable and conventional,while the decorations and details(openings,fasten-ings,pleats,vents,collars and hemlines)were different.The former represented accepted socialstandards while the latter could be a matter of personal taste.Third,women’s wear in that periodwere highly stylized,miscellaneous,elaborate,detailed,multicolored and multi-thematic.

Research and Discussion on the Stereotyped Writing Criticism Genre during Late Ming and Early Qing Dynasties

In this paper, we conduct research on the stereotyped writing criticism genre during the late Ming and early Qing dynasties. Eightpart essay writing is a comprehensive strong style, its four topics from the fi ve classics, and its basic form is gradually formed in the evolution of the core imperial examination in China. Review especially on origin, teachers not only with the righteousness that try post poems strategy is so far producing precious examination style also with basic prose. Although some scholars also mentioned as this period literature genre that presents regional features mainly by the local cultural history environment, family relations, economic basis and other factors, but ignores the literature community in the form of the regional literature genre has played important role in the general process. Under this basis, this paper proposes the novel ideals on the corresponding issues that will help understand and analyzes the characteristics of stereotyped writing more.

Research and Discussion on the Stereotyped Writing Criticism Genre during Late Ming and Early Qing Dynasties

In this paper, we conduct research on the stereotyped writing criticism genre during the late Ming and early Qing dynasties. Eightpartessay writing is a comprehensive strong style, its four topics from the fi ve classics, and its basic form is gradually formed in the evolutionof the core imperial examination in China. Review especially on origin, teachers not only with the righteousness that try post poems strategy isso far producing precious examination style also with basic prose. Although some scholars also mentioned as this period literature genre thatpresents regional features mainly by the local cultural history environment, family relations, economic basis and other factors, but ignores theliterature community in the form of the regional literature genre has played important role in the general process. Under this basis, this paperproposes the novel ideals on the corresponding issues that will help understand and analyzes the characteristics of stereotyped writing more.

The Rise and Fall of Overseas Chinese Problem in the Early Republic of China

In the late Qing Dynasty and the early R epublic of China,foreign invasion made China suffer from an unprecedented humiliation,and the W estern powers initiated a commercial intrusion by forcing China to sign unequal treaties and open treaty ports. From this perspective,a deep exploration is made to study the corresponding influence and its function. The rule shows that the developing route of national politics,economy and culture can determine the trend of the development of overseas Chinese problem; in addition,it objectively reflects that the social nature is vital to overseas Chinese problem.

清末民初江苏地区家谱特点探析

清末民初,在动荡的社会环境下,家谱修撰成为部分家族承继血缘关系和家族文化的重要方式。江苏地区是修纂家谱最为密集的地区之一,对家谱的诸多方面进行了有益的补充。扬州吴氏、宜兴吕氏和无锡锡山秦氏三个家族的家谱具有完备的体例,重视家规族约的制定,并充实了对家族女子成员的记载内容。这些特点与当时的政治环境、经济基础和区域文化紧密相关,是传统文化和近代思想相结合的产物。

隐于书院:一种“中间状态”的出处选择——以元末徽州士人赵汸和郑玉为中心

元末朝廷和地方势力对士人的征召,多少存在竞争和笼络人才的意味。士人的出处机遇,从庙堂与山林的二元区分,转向元廷、地方势力和山林的多元格局。面对各方征召,徽州士人赵汸和郑玉抱以“旁观者”的不合作心态。随着徽州路脱离元廷控制,二人对于政治的疏离态度有所淡化,而“忠元”情结渐趋加深。志在山林却又难以与政治完全绝缘,兼具官方和民间双重性质的书院,成为士人安身立命的绝佳之所。隐于书院,是一种“中间状态”的出处选择。赵汸和郑玉的处境、心态和归宿,是观察古代尤其是易代之际士人生存境遇的一个窗口。

交往的情趣:元末明初江南诗人的风雅之好

元末明初诗歌创作呈现丰富、多面的色彩,江南诗人的题画唱和即为其中之一。在社会乱离背景下,江南诗人以题画表达时代之思、离别之情和隐逸之趣,体现出不同一般题画诗的创作趣味和文化内涵。他们以题画送别、交往唱和、共赏题诗等方式,共同促成了这一时期江南诗坛的兴盛景象。元末明初江南诗人在文学交往过程中展现的风雅之好,是构成该时期诗歌创作景观的重要面向。今人建构元末明初诗史图像,江南诗人的题画唱和之作应进入关注视野。

明遗民集序书写的纪传与想象

别集序在文体初创时期,就已经确立了传记写作的传统。明末清初的遗民通过诗文来回应国家和自我身份认同等问题。这种回应体现在别集序的书写中,使其中的纪传部分更加注重真实性的表达。然而,由于别集序的主观创作空间较大,真实与想象的成分在遗民的别集序中交织在一起,这无疑影响了通过“知人论世”的传统批评方法所得批评主张的有效性。此外,集序作者往往通过个人经历的想象和性情的投射来塑造遗民的形象。这种塑造可能源于作者真实情感的流露,也可能出于对经典文本的模仿。因此,遗民集序中的人物形象可能与他们的历史行为存在差异,这进一步影响了集序所传达的文学批评要素的接受和传播。

近代变局与庆宽的仕宦人生

庆宽是晚清民初的“奇人”,以民籍混入内务府旗籍,借助绘画的特长和办皇差的机会,在晚清拥堵的官场上,逐级升迁至候选内务府三院卿,积累了大量财富,也引发了官场侧目,遭到光绪帝下旨抄家的惩罚。戊戌之后,庆宽利用往日的关系网成为访日特使,又因为辛丑议约的劳绩,获得保举,恢复了原有旗籍和职衔。晚清最后十年,庆宽在仕途上做最后一搏,但最终止步于四品道台,遂决心离开官场。在民初的十年,庆宽以平民视角观察政局,时而以旗人身份筹划旗人生计,时而作为普通市民关注城市自治,逐渐淡出了时代舞台。

从对屈原的评价看初唐的文学批评思想

初唐人对屈原的评价表现出阶段性的变化:从肯定其“忠贞”精神,赞誉其诗“气质高丽”;到褒扬其忠正、赞美其诗才,却抨击“礼乐之道,坠于斯文”;再到褒扬其抒写真情,“不虚美”“不隐恶”,又斥责其诗“婉丽浮侈”。对屈原评价的阶段性差异,反映出初唐近百年间在文学复古与新变之间的摇摆性。

论清末民初博览会事业中的民族主义

清末民初博览会事业蕴涵了丰富的民族主义。它产生的外部因素是西方“先进”所形成的“榜样”力量,以及西方帝国的霸权行径和经济侵略,内部因素是中国自身的落后,以及中国人所具有的“经世忧国”传统精神。它产生的路径基本是:先进的西方列强,对落后中国进行经济侵略,导致中国利权外溢,产生严重民族危机,具有“经世忧国”精神的中国人奋发图强,既积极学习西方,仿行西法,又反省自身落后,积极展开竞争,谋求改良、发展,其中,蕴涵了忧患、危机、反省意识及竞争、发展观念,最终目的是实现民族国家独立富强。这样的民族主义具有追赶性、内向性、开放性特征,且主要体现在经济层面,虽有过急追求发展的一面,但其价值目标及立足自身的方法取向是理性的。

清末民初讽喻联的“言文合一”趋向及意义

清末民初的讽喻性楹联在中国古代讽喻传统的基础上,与白话运动相结合,在音韵、句式、技巧等方面出现不同程度的新变。平仄规则的自由化、句式词汇的白话化、修辞技巧的谐趣化,使得清末民初讽喻联在“形”与“神”双重层面契合了“言文合一”理念,成为“我手写我口”的实践性文体。清末民初讽喻联最直接且最真实地反应了民众的心声,作为强有力的“战斗武器”,于嬉笑怒骂之中,剖析黑暗惨痛之现实。

末代武解元任作梅考

文章采用访谈法、文献法、田园考察法等方法,对清光绪二十三年丁酉科贵州武科乡试解元任作梅的生卒年、籍贯属地、武举乡试情况,以及任氏庄园景观进行了研究。结果发现,任作梅其人史书有载,三十五岁由文科改试武科乡试中式,成为贵州科举史上最后一位武解元。他见证了清末武科走向消亡的历史,其主持修建的任氏庄园成为研究古代武举制度的“活化石”。

舆论下的规制:清末民初法学教育的“跃进”式发展(1905—1927)

在近代“西学东渐”的历史潮流下,清末民初,社会舆论推动了西式法学教育的出现与发展,但受传统谋官心态以及逐利目的的影响,法学教育呈现“跃进”式的发展状况,致使民国初期各类法律学校数量一度激增至67所。面对此种乱象,社会舆论再度发挥监督作用,以谴责批评的方式助推政府通过教育管控、学校裁撤以及自我整改来规制此种乱象,并取得了明显效果。回顾清末民初法学教育“跃进”式发展的历史脉络,在看到其发展乱象的同时,也要认识到其在传播法律知识、培养法治理念和培育政法人才方面对近代中国的贡献。

Further study of sources of the imported cobalt-blue pigment used on Jingdezhen porcelain from late 13 to early 15 centuries

Based on the conclusion of modern scientific analysis: the cobalt-blue pigment applied on Jingdezhen official porcelain during Yuan Dynasty and prior to Xuande reign of Ming Dynasty (1271―1425) contains high iron and low manganese con- tents, and the cobalt during Xuande and after Xuande periods (after 1426) of Ming Dynasty contains high manganese and low iron contents, in combination with the traditional archaeological method, the related historical textual records were in- vestigated and analyzed, the imported cobalt employed on Jingdezhen official porcelain was studied comprehensively, systematically and logically. In fact, 'Su Ma Li Qing' (Samarra-blue) and 'Su Bo Ni Qing' (Sumatra-blue) are definitely different cobalt ores originated in different places, because of their very similar translitera- tions in Chinese, the confusion has appeared in ancient books for more than 400 years, which considered 'Su Ma Li Qing' and 'Su Bo Ni Qing' as the same co- balt-blue pigment. In this article the mistake was corrected, the possible producing places and the approximate eras of the two pigments imported to China and used at Jingdezhen were also suggested.

清末民初《西游记》英译研究

《西游记》是中国古典小说域外传播最为成功的作品之一,影响力甚至超过国内推崇的《红楼梦》。从英译动机、译介策略和译文特征方面入手,清末民初《西游记》英译的历史演进轨迹可划分为滥觞期(1884—1895)、开拓期(1896—1911)和发展期(1912—1930)三个阶段。译介队伍由初始的传教士拓展为作家、记者和汉学家等多元化译者;英译作品的传播经历了从报刊连载、文学史、作品集到独立发行的过程;取经前的故事内容译介频次高,反映了西方译者的翻译立场和审美价值。

清末民初本土科学教科书中“文化自信”的特征研究

新时代教育改革背景下,在课程与教材体系中贯穿文化自信成为教科书编写的现实需求。清末民初是中国教育新旧交替、中西文化碰撞交融的大变革时代,教科书中的文化内容也具备典型的时代特征。以清末民初商务印书馆出版的两套本土科学教科书为研究对象,从内容特征、融入方式两个维度对教科书中“文化自信”的内容进行分析,发现该时期科学教科书具有文化融入类别丰富、实用性特征突出、充分发挥文化的教育功能等特征。这一时期的科学教科书能够为当代教科书编写提供参考。