How to Make a Story Beautiful： On Aesthetic Dialectics of Liao zhai zhi yi

How to write a beautiful story？ It is an important question to Chinese writers because novel has not been regarded as a formal genre until late Qing Dynasty. Pu Songling answers this question with his work Liao zhai zhi yi （Strange tales from a Chinese studio）. This paper aims to study his narrative arts. There are four sections included. In part 1, this paper introduces a definition of the aesthetic dialectics and its embodiment in Chinese classical literary theory; in part 2, this paper takes the Liao zhai story as example to interpret Pu Songling＇s dialectic relation between description and narration; in part 3, I will show how Liao zhai presents beauty by unexpected but reasonable changes; and in last part, I give more importance to the stories concerning ordinary things for the reason that Pu Songling could make them interesting and beautiful. In the end, the paper concludes that Pu Songling is successful storyteller by using dialectic arts, which should be learned by Chinese writers.

Congratulations to Prof.Wanming Zhai,associate Editor-in-Chief of JMT,elected as an academician of Chinese Academy of Sciences

ongratuations to Wanming Zhai, Ph.D., associate Editor-in-Chief of Journal of Modem Transportation （JMT）, who was among the 51 newly elected academi-clans announced by Chinese Academy of Sciences （CAS） on Dec. 9, 2011. Dr. Zhai is a professor at Southwest Jiaotong University, deputy director of Traction Power State Key Laboratory, and director of Key Laboratory of High-Speed Railway Engineering.

Yue Sheng Zhai: A Century-Old Delicatessen Shop

Founded in 1775, Yue Sheng Zhai Delicatessen Shop has a history of operation of more than 200 years. Its pickled beef and mutton and seasoned stowed mutton have a good taste and savour, and are very popular among Beijing residents. They became choice dishes at the imperial court of the Qing Dynasty. According to the Chronicle of the Capital of Beijing’s Shops and Lanes, "

On Artistic Dissemination of Image Text in Urban Media of Late Qing Dynasty: Taking Dian-shi Zhai Pictorial (1884-1898) as the Core Research Object

The Dian-shi Zhai Pictorial was founded under the conflict of new and old culture in the late Qing Dynasty.Based on China,it innovates and adjusts the characters and pictures in the pictorial.This pictorial perfectly integrates news and art in the form of artistic dissemination of pictures and texts,and adapts to the needs of the society for news and new knowledge at that time.At the same time,Wu Youru,the editor in chief and main painter of pictorial,reflected some problems in the artistic dissemination of pictures and texts.

Changes of Wearing,Eating,Housing,and Going Out:Discussion From Dian-shi Zhai Pictorial(1884-1898)

Dian-shi zhai Pictorial,originated in 1884,is the first pictorial of news and current affairs in China’s modern history.Its elegant and prevailing expression forms greatly broadened the audience range of the publication and became an important graphic material for studying the transformation of social life in the late Qing Dynasty of China.This paper mainly introduces the changes of social life in Shanghai in the late Qing Dynasty and provides a spacious research perspective for the above studies.

On Characters in Cities in the Late Qing Dynasty: Taking Dian-shi Zhai Pictorial (1884-1898) as the Core Research Object

Dian-shi Zhai Pictorial(1884-1898)is the earliest and most influential news pictorial in modern China,creating a new form with pictures and text.Taking Dian-shi Zhai Pictorial as the research object,this paper mainly studies how the pictorial uses words to shape the image of characters in cities,especially the image of women,and analyzes the shaping of urban characters’identity,personality,social status,and behavior in different news reports,so as to understand the image of urban characters and civil activities in the late Qing Dynasty.At the same time,the accurate use of words and the attitudes and values contained in pictorial have important reference significance for modern media.

Confessional Poetics of Abjection in Women Poetry: A Comparative Analysis of Sylvia Plath’s “Daddy” and Zhai Yongming’s “Mother”

Becoming famous in 1960s,American confessional poetry,in response to High Modernism as impersonality and totalobjectivity,shifted focus on personal experience.When such confessional flow rushed into China in 1980s,it provided Chinese poets a confessional voice to write and investigate significant issues of world,life and society.Thus,writing in different languages and periods does not stop them to implement the same mission:to adopt a confessional voice,represent trauma as blackness and darkness in women experience and bring light,meanwhile,achieve one’s own truth and liberation.

宋本《诚斋集》的东传、递藏及著录

杨万里《诚斋集》宋端平二年(1235)全集刻本,目前仅日本存一部。此本当为明成化四年(1468)日本室町幕府将军足利义政委派京都建仁寺住持天与清启访华,于成化五年归国时带回,此后一直秘藏于建仁寺。江户末期该寺天章禅师酷爱杨万里,曾据此本刊行《千虑策》三卷、《东宫劝读录》一卷。明治二十年(1887)古泽滋从建仁寺梧庵禅师手中购得此本,带往东京,明治二十八年或稍前转入宫内省图书寮(今宫内厅书陵部)。入藏图书寮前,此本曾经西村兼文数次著录;入藏后不久,又有岛田翰《古文旧书考》予以详细揭载。然此本之缺叶、错简、点逗、批注等问题,诸家著录尚有缺失,故文末拾遗补缺,以期此本著录庶臻完善。

《冷斋夜话》“王安石改苏轼《胜相院经藏记》”事考辨

《冷斋夜话》记载,王安石在读到苏轼《胜相院经藏记》之后相当赞赏,并将苏轼原稿“日胜日负”的“负”字改为“贫”字,这一改动最终得到了苏轼的认可。不过,这两处文字在《冷斋夜话》的不同版本以及后世引用中存在截然相反的情况,历代学者对王安石究竟是“改贫为负”还是“改负为贫”、苏轼的定本所用为何字以及此事的真伪都有不同意见。根据有关史料,王安石当是通过李琮读到苏轼此文并表示赞赏的;苏轼的原稿与定稿都是“日胜日贫”,改字之事乃子虚乌有。这则亦真亦假的轶事折射出宋人讲求“以一字见工拙”的文学创作与鉴赏观念以及他们对王、苏两人理想关系的想象。

“刘铨福题跋”的鉴核

“刘铨福题跋”是判定《红楼梦》甲戌本是否为甲戌年(1754)曹雪芹手笔的重要材料。本文认为,“刘铨福题跋”并非刘铨福所写。一方面,持肯定态度的学者之论证逻辑有待商榷;另一方面,细究题跋写于散页等原始面貌,更可确证其不可靠性。厘清这个问题,有助于红学辨伪工作的进一步深入。

An Overview of the Achievements of Modern Research on the Flying Shadow Pavilion Pictorial

The current academic research on the Dian Shi Zhai Pictorial founded in 1884 has been perfected,but there is very little research on the Flying Shadow Pavilion Pictorial,which can be said to be derived from Dian Shi Zhai Pictorial terms of both content and form,and which was founded by the Haiist painter Wu Youru in 1890 in order to reward the increasing number of admirers,but it is still in the initial stage.Flying Shadow Pavilion Pictorial consisted of four parts:pictures of ladies in Shanghai costumes,news about current affairs,pictures of animals,and compilations of women,each of which was accompanied by the then popular notebooks,which were popular at the time among the then readers because of the matching of pictures with text and the mixing of narratives and discussions.This paper takes Flying Shadow Pavilion Pictorial as the main object,summarizes the existing literature about Flying Shadow Pavilion Pictorial,points out the deficiencies of the current research on this basis,and points out the development trend of Flying Shadow Pavilion Pictorial in the future research.

论《郡斋读书志》别集类提要的史传色彩和文学性

晁公武《郡斋读书志》别集类提要是志人提要而不是志书提要。晁氏剪裁大量史料组成提要并且在其中寄寓褒贬,发扬史家精神,还巧妙运用“议者”这一角色,用史家按语进行人物品评,表现历史判断,使得别集类提要展现出浓烈的史传色彩。形成这一风格特色的原因,一是晁氏具有强烈而深切的历史意识,并想要取得参与当代历史诠释的话语权;二是受晁氏的性格和仕宦经历影响。其中,《郡斋读书志》别集类有些提要呈现出“小说化”和“诗化”的特征,表现出相当的文学性。这是因为晁氏撰写别集类提要多用“文学之辞”,通过辑录细节描写表现人物形象,并多以诗句入其中;他还参照笔记体著作的故事性以及传奇色彩,为晁氏别集类提要的文学性增添了光彩。

明清北京城“凸”字形城廓整体保护研究

明清北京城“凸”字形城廓与传统中轴线是北京城市总体规划中的两个重点,通过调研明清北京城“凸”字形城廓的保存现状,发现皇城、内城、外城三重城廓局部空间的标识性需要增强。更重要的是,城廓的整体保护应与中轴线相结合。城廓与中轴线具有共通的突出普遍价值,共建了北京老城的核心空间框架,能够共同体现中国古代营城建都时的“宅中”思想。因此,明清北京城“凸”字形城廓的整体保护要与传统中轴线相结合,更完整的城廓空间能有助于北京城“中”字形空间框架的展示,有助于城廓与中轴线价值的保护与传承。

存国以重宗庙:公羊学“祭仲行权”义理发微--兼与《孟子》比较

在公羊学中,“祭仲行权”可以是一个伦理学问题,但更多是一个政治哲学问题。实际上,《公羊传》之所以提出“祭仲行权”,就是为了以“借事明义”的方式阐明一个重要的政治原则:君死国亡之际,存国以重宗庙。而在公羊家的解释中,从董仲舒《春秋繁露》言祭仲“重宗庙”,到何休《春秋公羊解诂》言祭仲“知国重君轻”,其中义理皆本于此。睽之于《孟子》,何休论“权”虽然出于《公羊传》,但对《孟子》“权”说亦有所资用。然而,孟子合于《公羊传》者,实在于其社稷为重君为轻的政治主张,这才是何休资其“权”说以释“祭仲行权”的缘由所在。

以《冷斋夜话》为例看宋代诗话的文本生成机制

诗话是古典诗学的主流形式之一,却常被今人批评缺乏逻辑性,这种误解是忽视诗话逻辑表达特殊性的结果。以《冷斋夜话》为例,从话题的选择与编排、受众的预设与引导、热点的争议性阐释、群体的助推性互动等多重角度来看,宋代诗话虽非按照概念逻辑组织成篇,但传播逻辑清晰可见,并对诗学理念与方法的呈现有决定性影响。正因如此,厘清文本生成机制,对于深入了解宋代诗话的内在理路,更合理地与国外诗学比照得失,均有启发意义。

刘声木书目著录及其文学批评史意义

刘声木是清末民初著名的目录学家,通过目录著作中的类目设置、版本著录及附注记述,载录了数量可观的古代文学批评资料。刘声木书目的著录特色主要体现在关注评点文献、具有家学意识以及留意女性撰述三方面,其《苌楚斋书目》对《桐城文学渊源考·撰述考》更是起到补充作用,二者共同呈现了桐城派文人著作的文献面貌与传播网络,呈现出清末民初评点之学向经、史、子、集四部的渗透,并且有意识地展现评点本在清末民初文人群体之间传播、流通与保存的动态过程。从中国文学批评史的视域下考察刘声木书目,既能照见“诗文评”在晚清民国的赓续与新变,同时有助于理解古代诗文评向古代文学批评史学科的转型。

Guang-ming Zhai: a Brief Biography

Guang-ming Zhai Petroleum GeologistProfessor-engineer and vice chairman of the Expert Committer of the Advisory Center of China National Petroleum Corporation Professor Guang-ming Zhai was born in Yichang City of Hubei Province in October 1926.He graduated from the Department of Geology of

论翟永明新世纪以来的“新白夜”书写——以诗集《全沉浸末日脚本》为例

20世纪90年代以来,翟永明的诗歌写作日渐从“黑夜”书写向“白夜”书写转化。21世纪以后,诗人迈入社会现实多方面,将对个体生命思索延伸至对人类整体的关怀。近期出版的诗集《全沉浸末日脚本》中,诗人拓展“白夜”范围,在题材选择、内容表现和写作技巧应用上,对以往写作有所继承,又有开拓的新意,展现“新白夜”特色。经由文本分析,诗人注重写作的多变和吸引力,以创造科幻空间想象人类未来情境,以女性情怀思考人类整体命运境况,以跨界的写作实践和生动的语言建构诗性的空间,在历史、现今和未来的穿越里树立诗歌写作的新范式。

从认知诗学看《冷斋夜话》禅诗修辞对《诗经》的格义

佛家既有出世也有入世,甚至以出世之心做入世之事,在中国化及世俗化过程中,受到过儒家等传统文化的影响,为方便说法而对《诗经》等有所格义,尤其是宋代的禅诗修辞等方面。以惠洪《冷斋夜话》为例,在认知诗学视角下,借鉴桐城姚鼐之法进行分类、鉴赏及考证,通过对禅林笔记中的禅诗修辞进行结构分析、情思体悟及格义探讨,可以发现:禅与诗关系密切,且佛家存在禅诗修辞,源自《诗经》格义而非古印度,具有自身特点及意义,综合“不立文字”与“不离文字”而成“不执文字”,在继承儒家对偶、新用、方言、用典、婉曲、夸张、比喻、反语等手法时,又融入禅语、禅理及禅悦而有所发展。希望对地方禅诗的研究及佛儒二家关系的探讨有所裨益。