Case Records as Medical Stories: A Song-dynasty Doctor’s Narration of His Own Medicine-Xu Shuwei (1080-1154)

The key point in studying or teaching the history of Chinese medicine is on the doctrines underlying it and on its perception of the body,physiology,pathology,and its treatment.Namely,there is often a tendency to focus on reading and analysing the classical canons and therapy-related texts including formularies and materia medica collections.However,focusing on these sources provides us with a one-sided presentation of Chinese medicine.These primary sources lack the clinical down-to-earth know-how that encompasses medical treatment,which are represented,for instance,in the clinical rounds of modern medical schools.Our traditional focus on the medical canons and formularies provides almost no clinical knowledge,leaving us with a one-sided narrative that ignores how medicine and healing are actually practiced in the field.This paper focuses on the latter aspect of medicine from a historical perspective.Using written and visual sources dating to the Song dynasty,clinical encounters between doctors and patients including their families are depicted based on case records recorded by a physician,members of the patient’s family,and bystanders.This array of case records or case stories will enable us to narrate the interaction between physicians and patients both from the clinical perspective and from the social interaction.This paper will also discuss visual depictions of the medical encounter to provide another perspective for narrating medicine during the Song dynasty.Medical case records and paintings depicting medical encounters are exemplary of the potential of Chinese primary sources for narrative medicine.

Reacting to Epidemics:The Innovative Imperial Public Health System during the Late Northern Song Dynasty

Song China was a period in which China experienced a great increase in its population.Concurrently,the Song dynasty also experienced a rise in the frequency of epidemics and two major wars with the Western Xia and Liao dynasties during the 1000s and 1040s.The consequences of these changes were exacerbated by the increased geographical mobility of certain social groups such as traders and examinees attending civil service examinations.Thus,casualties of wars,epidemics,or disease,especially of people whose families were far away and could not care for them were left without care and“their corpses often lay bare along the roads.”This new social environment created a need for general relief.The Northern Song government(960-1127 CE),especially during the reign of Emperor Huizong,established an innovative public health system to address this issue.The public health system included poorhouses,public hospitals,and pauper’s cemeteries.The first were more of charity organizations,whereas the latter two promoted public health by providing medical services for the poor and burial for those that nobody cared for.In terms of rationale behind these institutions,on the one hand,they constituted an attempt to get the poor and homeless off the streets while providing them relief or burial.On the other hand,it seems that Huizong’s deep concern with medicine propelled him to design and implement a comprehensive public health system oriented to prevent contagion and outbreak of epidemics.This article depicts the background,the organization,and the functions of the system.The article also discusses the conditions and reasons that gave rise to such a unique undertaking by the Northern Song government.

Reading of Qin Bamboo Slips

This book contains a total of 44 articles in 16 groups of Qin bamboo slips,through the interpretation of characters,words,sentence analysis,chapter identification,and interpretation of literary meaning,the original esoteric and difficult documents are dismantled layer by layer,and the relevant historical background is introduced,in an effort to enable readers to obtain a complete background of knowledge needed to understand Qin bamboo slips.

新近面世之秦桧碑记及其在宋代道学史中的意义

我们在明初学者吴讷的文集中发现了秦桧所撰的《宣圣七十二贤赞像记》。此碑记用"道统"来指称宋高宗与周文王及孔子的关系。学界一般认为"道统"一词乃是朱熹在1181年创造的,因此,秦桧碑记之面世,对了解宋代思想史有几个重大意义。一、我们发现"道统"一词有丰富的"前史"且可追溯至北宋末期。二、在早期的用法中(秦桧碑记亦然),"道统"乃指称古代圣/王传承至徽、高宗的文化/政治权威,是着落于君王与体制的、公的"道统"。三、朱熹创造私的"道统",将权威归诸学者,从而有二程之兴与他自己的继起,以传承道统;这是对帝王权威修辞的严厉挑战。四、这或可解释何以宋代君王和较为保守的儒者对朱熹于1189年在《中庸章句序》陈述的道统观充满敌意。五、十三世纪初,朱熹所创造的私的道统观和较早出现的帝王道统观并存着且相互竞争。尽管理宗在1241年认可道学为国家正典,然而,分析相关文献可知:君王仍坚持他们才是道的传承者。

林语堂的抗争精神

提起林语堂（1895，10，10—1976，3，26），一般人和这个名字联想在一起的，不外是“幽默”、“闲适”、“小品文”、“生活情趣”等这类不动干戈、不伤和气的字眼。这样的联想当然是其来有自的，在他等身的著作中，林语堂毫不讳言快乐是无罪的，而追求快乐是生活的目的。如果仅从这个角度来论林语堂，“抗争”这两个字几乎和他扯不上关系。但是，林语堂一生在幽默闲适之中始终带着一种对正统道学的鄙视，这种鄙视，正是一种抗争。他之所以对苏东坡，袁中郎等人大致其景仰之意，并为东坡立传，

从人的尊严到核心价值:对科技高速发展下社会变化的回应

随着高科技主导的全球化进程对当今世界的不断影响,道德实践对于人坚守人性和成为科技产品的主人而非奴隶而言至关重要。人,作为为自身和他者诉求幸福的存在,应该被视为全部道德生活的基础。科技迅速发展所呈现出的自主性和系统性特点,可以看作是人类强大的内在活力的产物。在人类诉求自身与他人幸福的过程中产生了诸如爱和道义等核心价值观。由此,个人应该形成委身和批判的道德品质,并因为这些品质,人将在行动和反思的生活方式中感到自在。

Between Human and Animal： A Study of New Year＇s Sacrifice, Kong YijL and Diary of a Madman

A subtle aspect of Lu Xun＇s writing, running through several of his works of fiction, is his animalistic portrayal of some of his most well-known characters. Scraping away their humanity as he writes, Lu Xun depicts Kong Yiji, Xianglin Sao, and the infamous Madman crawling on their hands and knees, working like draught animals, and abandoning all rational thought. In short, all three end up occupying an ambiguous space between the realms of human and animal. This paper attempts to examine how Lu Xun＇s description and situation of these characters suggests, aside from the standard agendas of May Fourth writing in general, a certain, shared metaphysical conundrum. Drawing on the work of Giorgio Agamben to take the hiatus between human and animal as an occasion for ontological possibility, I will investigate how the dehumanized portrayal of these characters situates them at the threshold of a new becoming： one which has not yet been realized, but which is also rendered impossible either through the character＇s death or return to health. Examining Lu Xun＇s works in this way not only recognizes his major emphasis on social critique, but suggests both that his thought on Chinese society pierces through to the level of metaphysical inquiry, and that the relationship between human and animal marks a productive entry point for this sort of questioning.

＂The Becoming Self-Conscious of Zawen＂： Literary Modernity and Politics of Language in Lu Xun＇s Essay Production during His Transitional Period

While Lu Xun＇s early works of fiction have long established his literary reputation, this article focuses on the form and content of his zawen essays written several years later, from 1925 to 1927. Examining the zawen from Huagai ji, Huagai ji xubian （sequel）, and Eryi ji （Nothing more）, the author views these as ＂transitional＂ essays which demonstrate an emergent self-consciousness in Lu Xun＇s writing. Through close reading of a selection of these essays, the author considers the ways in which they point toward a state of crisis for Lu Xun, as well as a means of tackling his sense of passivity and ＂petty matters.＂ This crisis-state ultimately yields a new literary form unique to the era, a form which represents a crucial source of Chinese modernity. From sheer impossibility and a ＂negating spirit＂ emerges a new and life-affirming possibility of literary experience.

Policy Blending, Fuzzy Chronology, and Local Understandings of National Initiatives in Early 1950s China

This article proposes the concept of policy blending to improve our understanding of the densely interactive quality of political initiatives in early 1950s China. Using three cases studies, I argue that policy blending, defined as the process by which previous political experiences shaped the implementation and interpretation of those subsequent to them （sometimes in ways contrary to the government＇s intentions）, occurred frequently during this period, to the extent that people＇s understanding of the first years of Chinese Communist Party rule cannot be separated from this phenomenon. Using examples from marriage registration, the Marriage Law and the national discussion of the 1954 draft Constitution, I advance the historiographical argument that the early 1950s should not be demarcated by, or taught mainly with reference to, ＂temporally encapsulated＂ policies with clear beginnings and ends （i.e., policy ＂a＂ occurred in year ＂b,＂ followed by policy ＂c＂ in year ＂d＂）. Rather, policies seeped into each other, producing a blurry--but sometimes accurate--＂impression＂ of state power. I further suggest that the concept of policy blending can be helpful in understanding subsequent political initiatives as well.

Gendered Narrative and Feminine Modernity:Free Indirect Discourse in Lin Huiyin’s“In Ninety-Nine Degrees of Heat”

In the modern Chinese literary scene,Lin Huiyin(1904-55)was a prominent woman writer who applied free indirect discourse(FID),a“new”narrative device,into her creative writing.In some of her works,FID is not only a new way in which to realize a modern narrative style but also a discreet way to provide her own voice.The existence of slippage between the narrator and character-focalizer deliberately destabilizes the reader,somehow swaying between the narrators authoritative and the character's initial characteristics.In this way,this narrative strategy allows Lin to establish a kind of private space for herself within which to query authority,thereby escaping the material world dominated by male writers at that time.For instance,in her well-known short story,aln Ninety-Nine Degrees of Heat^(Jiushijiu du zhong),Lin Huiyin employed this typical narrative strategy,illustrating the modernity of her creative writing and revealing some meanings of social and gendered narratives.

Allegory, the Nation, and the March of Time： An Essay on Modern Chinese Literature in Honor of Fredric Jameson

In this essay I engage with Fredric Jameson＇s theoretical works and ideas, especially his concept of national allegory, and examine their possibilities and limits for use in literary analysis of Modem Chinese Literature. In particular, I examine the themes of the nation and the passage of time in the works of Yu Dafu, Lao She, Xiao Hong, and Zhao Shuli and argue for evidence of a historical development from cyclical narrative to messianic and utopian linear time in their novels. While Yu Dafu＇s ＂Sinking＂ （Chenlun） and Lao She＇s Camel Xiangzi （Luotuo Xiangzi） both display a desire to break free from cyclical time and narration, the narratives fold back into themselves. In contrast, Xiao Hong＇s The Field of Life and Death （Shengsi chang） mediates between two different temporal schemes and marks a transition to the linear developments prevalent in Socialist Realist novels such as Zhao Shuli＇s Sanliwan Village （Sanliwan）. While Jameson＇s earlier works on Realism, Marxism, and the ＂Political Unconscious＂ all provide valuable insight into Modem Chinese Literature and the novels mentioned, Jameson＇s engagement with Chinese authors has also opened up new ways of examining Chinese literature.

In Light of Concreteness： Wang Anyi and the Bildungsroman of the Cultural Revolutionary Generation

Based on detailed textual analysis, the article argues that Wang Anyi brings the abstract idealism of the second-generation of PRC into a productive collision with its concrete Other--from its parents＇ generation to the resilient national bourgeoisie to quotidian sensuousness embodied by the world of its female counterpart. In so doing, as the author seeks to show, the novel presents a compelling narrative of the self-education, growth, and formation of the generation of the Cultural Revolution without reducing it to ideological stereotypes rampant in China after 1976. While delving into the structure and style of fiction, the article takes as its focus the confrontation between abstraction and concreteness; Self and Other; superstructure and infrastructure, or social consciousness and social existence, at a philosophical level in order to construct a phenomenology of the experience of post-revolutionary Subjectivity.

＂Literal Translation＂ and the Materiality of Language： Lu Xun as a Case

With his insistence upon the literal rendering in Chinese of foreign texts, especially regarding syntax, Lu Xun＇s understanding of＂literal translation＂ strikes a rather distinct note in the modern Chinese literary scene. The intention behind this method, namely, the aim to ＂retain the tone of the original,＂ reveals a generative perception of language that takes language as not just the bearer of the already existent thought, but as the formative element of thought that has meaning in itself. This paper seeks to delineate the structural constitution of the materiality of language as grasped by Lu Xun. By comparing the notion of the ＂tone＂ to Wilhelm yon Humboldt＇s notion of the ＂inner form ~of language＂ and situating it within the genealogy of qi, as well as tracing its link with Zhang Taiyan＇s idea of＂zhiyan,＂ I will attempt to reveal the philosophical and historical basis of Lu Xun＇s principle of ＂literal translation＂ and its significance for Chinese literary modernity in general.

Some Remarks on the Earliest Poetry of Guo Moruo （1904-12）

This is a study of the earliest poetry by the modern Chinese writer Guo Moruo （1892-1978）, composed between 1904 and 1912. He became famous mostly due to his ＂early poetry＂ composed in the 1920s, such as Niishen （The Goddesses）, but he was also an author of autobiographies. His autobiography Shaonian shidai （Childhood） and the poems published in the volume Guo Moruo shaonian shigao （Guo Moruo＇s childhood poetry）, are analysed here in comparison with the traditional Tang poetry.

Building Power： Conspicuous Consumption, Projection of Identity, and Female Power in the Late Seventh and Early Eighth Centuries

This article explores propaganda and self-portrayals among women rulers in seventh and eighth century Tang China, a unique era in which court politics were dominated by female leaders. I analyze the way in which these leaders themselves wished to be rhetorically constructed, the images and allusions with which they desired to be figured, and the way in which they were rhetorically reconstructed by later writers after their deaths. I focus on the theme of auspiciousness--in particular, the definition of the ＂natural＂ in relation to gender identity and power. Female imagery is deployed in late seventh- and early eighth-century works to create the image of a particular brand of far-reaching, generative power possessed and/or desired by the leaders of the time. Beyond revealing the images and allusions with which the female power-holders wished to hear themselves be described and exalted, and what occasions were deemed worthy of exalting, these works offer a fascinating counterpoint to materials which retroactively defame this image. The rhetorical strategies and images later used to delegitimize and denigrate the power of these women often represent opposite treatments of themes present in the court literature from the Zhou-Jinglong era. This paper argues that reconstructions of these women＇s identities as female power-holders indicate the prerogative of later writers to reshape their images in accordance with their own judgments, conceptualizations, and fears of female power.

The Curious Case of a Robot Doctor： ＂Human,＂ Labor and Expert Systems

While Amazon Mechanical Turk project refreshes the long-term dream of artificial intelligence by incorporating human beings into the automation of information circuits, it also calls attention to the role of technical platforms in reorganizing the division and mode of labor under the current information capitalism. This essay examines this transformed labor regime by outlining the discourses and imaginaries of Artificial Intelligence （AI） in late 197os and 198os China when expert systems-an artificial intelligence system designed to provide expert consultation in the absence of human experts-first appeared. I argue that these discourses and imaginaries surrounding expert systems were tied to the anticipation of a coming information society, and to the fetish of expert knowledge, and a shift from Mao＇s class-based politics to a depoliticized realm of professionalism. Bringing together the material, technical development of AI, the intellectual discourse of Post-Mao 1980s, as well as the imaginary domain of science fiction, this essay rethinks the politics of the ＂human＂ in the social context of Post-Mao＇s era. Keywords expert systems, labor, the interface, professionalism, depoliticization

How Not to Have Nostalgia for the Future： A Reading of Lu Xun＇s ＂Hometown＂

This essay rereads Lu Xun＇s 1921 story, ＂Hometown,＂ by focusing on its nostalgic character. Against the background of a modernizing historical moment in China, the story is about a city-dweller intellectual coming back to his homeland, only to find that nothing there corresponds to his somewhat nostalgic and romantic expectations. For a long period, students of modem Chinese literature have read this story either as a critique of the feudal Chinese culture whose vestige still loomed large in rural areas at the time, or as a literary representation of Lu Xun＇s hesitation toward the belief in progress embraced by those who passionately participated the cultural movement. Through a rereading of this text I argue that, instead of shedding a critical light on the economically and culturally backward rural China, here represented by the ＂homeland＂ of the protagonist, or showing his hesitation toward the New Cultural Movement, Lu Xun＇s narrative of ＂returning home＂ indicates how the political radicality of the movement points toward a hope beyond program and calculation.

The Will to Allegory and the Origin of Chinese Modernism： Rereading Lu Xun＇s Ah Q--The Real Story

Through a formal analysis of this seminar work of Lu Xun, the author observes that the narrative and dramatic motivation of Ah Q--The Real Story is an intense yet futile search for a proper name and identity within a system of naming and identity-formation as the system, by default, repels the identity-seeking and ＂homecoming＂ effort of the sign in question （＂Ah Q＂）. Based on this observation, the author goes on to argue that the origin of Chinese modernism lies in a highly political awareness of one＇s loss of cultural belonging and thus one＇s collective alienation from the matrix of tradition and indeed existence. Departing from conventional reading of this work, often anchored in sociopolitical interpretations of class, nation, and group psychology centered on the ＂critique of national characteristics＂ discourse, this article maintains that the true ambition and literary energy of Lu Xun＇s masterpiece can only be fully grasped when one confronts this epic cul^tral-political struggle to regain a cultural system＇s power and legitimation to name one＇s own existence and define one＇s own value.

Tales of an Open World： The Fall of the Ming Dynasty as Dutch Tragedy, Chinese Gossip, and Global News

This essay explores different seventeenth-century accounts of the fall of the Ming dynasty in 1644--Chinese vernacular novels and literati memoirs, Jesuit histories, and Dutch poetry and plays--to investigate a developing notion of openness in both Europe and China. In Europe, the idea of openness helped to construct an early-modern global order based on the free flow of material goods, religious beliefs, and shared information. In these accounts, China＇s supposed refusal to open itself to the world came to represent Europe＇s Other, an obstacle to the liberal global order. In doing so, however, European accounts drew on Chinese popular sources that similarly embraced openness, albeit openness of a different kind, that is the direct and unobstructed communication between ruler and subject. This is not to say that Chinese late-Ming accounts of the fall of the Ming are the source of European ideals of liberalism, but rather to suggest that, at a crucial early-modern moment of globalization, European authors misapprehended late-Ming ideals of enlightened imperial rule so as to consolidate their own worldview, foreclosing late-Ming ideals in the process.

Ren, Geren and Renmin： The Prehistory of the New Man and Guo Moruo＇s Conception of ＂the People＂

This paper aims to contribute to the ongoing debate about the ＂socialist New Man＂ in modem Chinese literature. Focusing on the ideas of humanity, individuality and the people, it attempts to show the prehistory of the ＂New Man,＂ i.e., the emergence of the concept-figure of ＂the people＂ out of the discourse of human!ty. The making of a new historical subjectivity of ＂the people＂ was part and parcel of the singular historical experience of the Chinese Revolution and the precondition for its social experiments. Yet this issue receives insufficient critical attention. This paper gives an outline of this idea＇s genealogy, by concentrating on Guo Moruo＇s literary-intellectual trajectory. It will show how the enlightenment project and romantic historical imagination paved the way for the concept of the people, and how the new subjectivity of the people prepared for the ideal of the new man.