“Bao wei quan” 保位權, Chapter 20 of the Chunqiu fanlu 春秋繁露

This work provides an annotated translation, together with a brief commentary, of the “Bao Wei Quan” chapter, the 20th chapter of the Chunqiu fanlu. The Chunqiu fanlu is an important Chinese Confucian text. It is ascribed to a pivotal Former Han (206 BCE – 9 CE) scholar, an exegete of the Gongyang zhuan 公羊傳, Dong Zhongshu 董仲舒 (ca. 195–115 BCE). This text offered to readers an ideal of rulership that remained highly relevant to the development of the ethical and political discourse of Chinese Confucianism. Despite its importance, the Chunqiu fanlu has only very recently been fully translated into a Western language, ¹1 See Luxuriant Gems of the Spring and Autumn, attributed to Dong Zhongshu. Edited and translated by Sarah A. Queen and John S. Major (New York: Columbia University Press, [December] 2015).View all notes and is one of the rare major classical Chinese texts which still lacks a full Japanese translation. Thus, the purpose of this work is to contribute to the ongoing Chunqiu fanlu translation project and to present to the reader some of the form and content of this influential work.     

论东林学派高攀龙与孙慎行性善论中的道教因素

东林学派站在纠正阳明后学流弊的立场上,反对性无善无恶说.东林学派的重要学者高攀龙与孙慎行都主张性善说,而援引道教中的善恶果报与忠孝成仙思想为他们性善说作补充.两人思想中的道教因素,与吴会地域的道教文化影响,以及当时的政局和残酷的政治纷争有关.     

元代靳德茂墓志考释

2007年,焦作市中站区出土了靳德茂墓志及彩绘陶俑。通过对墓志的考释可知,其与《东庵集》等文献所记载内容较为一致。它们可以验证元朝的某些历史事实。这批出行方阵彩绘陶俑,明显具有蒙古文化特征。这些出土文物,对元代医政、选官制度以及怀孟路的研究均具有重要意义。     

从董其昌的题跋看他的书画鉴定

董其昌是晚明的书画大家,他借禅论书画,其书画的理论和鉴定意见,至今仍有很大影响。通过对他的一些书画题跋的分析,可以发现,这些题跋作为艺术创作的心得体会,有很多是言前人所未言的创见;但作为书画鉴定的方法和判断,则有不少是错误的。进一步剖析和考订,可以看出,董其昌的鉴定方法往往是命题式的。而支配这种方法的思想,除去禅的外表,仍是晚明占主导地位的阳明心学。     

试论刘宋东宫武官制度

刘宋的东宫武官在南北朝军事逞胜的外环境和刘宋皇权不断加强的总趋势下得到了较大发展。刘宋四帝对于东宫武官制度采取了不同的态度和政策。宋武帝恢复晋末罢废的太子二率,增设太子三校、三将等职官;文帝时二率、三校成为东宫主要武官职;孝武帝大力罢省东宫武官,削抑东宫势力;明帝则再度恢复东宫三校,并新增东宫直阁等武职。总而言之,宋之东宫武职呈现出明显的强弱跌宕、阶段性变化,这既是刘宋诸任皇帝权力强弱异势的现实表现,也是刘宋皇权重振之路的曲折反映。     

原始农耕信仰与祖先英雄崇拜的现代展演——湖南新晃侗族傩戏“咚咚推”调查

有"中国戏剧的活化石"之称的傩戏"咚咚推"保存了侗族先民遗留下来的多种傩戏剧目,向世人展现了侗族人民各种繁复有序和神秘有趣的习俗,是侗族先民原始农耕信仰的现代展演;"咚咚推"以盘古大王和飞山大王为傩神,除了在表演时对傩神举行各种请、迎、会、送的舞祭仪式外,演出的剧目也表现了作为移民后代的天井寨人为增强家族凝聚力而保持的祖先英雄崇拜。"咚咚推"作为天井寨人独有的一种戏剧形式,为研究南方民族在迁徙过程中的文化传承与文化交融提供了极为难得而生动的活动文本。     

惠栋托名撰集《尚书郑注》考

有关惠栋托名王应麟著书一事,曾引起清中叶以来的许多学者关注。除《左传贾服注》与《论语郑注》外,清代学者还指认惠栋托名撰集另一部著作——《尚书郑注》。前两部著作由惠栋撰集,为今日学界所认可,但由于后一部著作鲜有人知,遂使其托名问题成为疑案。本文以清代文献中有关惠栋"托名"的说法为基础,据段玉裁所见的惠栋辑本《尚书郑注》和惠栋《九经古义》中的相关案语,论证出上海图书馆、国家图书馆藏旧题王应麟所撰的清钞本《古文尚书》即惠栋托名之作《尚书郑注》。经校对分析后,可以确定上图、国图藏本《古文尚书》属于同一版本系统。这一系统存在多种钞本,李调元刊刻《郑氏古文尚书》所据的"原本"即为其中之一。惠辑本《尚书郑注》曾在清代学术界广为流传,李调元对该著的订补与刊刻之功不可磨灭。     

Echoing the Environment in Kam Big Song

Kam big song is an important genre sung within Kam (in Chinese, Dong) minority communities in southeastern Guizhou, China. It has traditionally served as a medium for transmitting historical, philosophical and ecological knowledge. Since the 1978 reforms, this region of Guizhou has been increasingly drawn into the national labour economy and has experienced a surge in economic development. The ensuing youth migration to urban centres, growing school attendance rates, and a marked rise in television viewing have led to a decline in Kam singing amongst younger generations. Nevertheless, in recent years certain forms of big song have featured increasingly in staged Kam cultural performances intended for broader audiences. Kam big song was recognised as a form of National Intangible Cultural Heritage (ICH) in 2006, and was included on UNESCO's Representative List of the ICH of Humanity in 2009. This study draws upon various big songs that I learnt during almost twenty-four months of musical research in rural Kam regions from 2004 to 2011. It illustrates the cultural and ecological significance of this musical tradition, and the importance and complexities of its maintenance at a time of social transformation.     

伤时骂世 群丑狂欢——论《东郭记》传奇的戏剧冲突

明末作家孙钟龄的传奇作品《东郭记》取《孟子》＂齐人有一妻一妾＂故事敷衍成篇,在嬉笑怒骂中刻画了群＂丑＂形象,寄寓作者对世态炎凉敏锐的内心感知以及深切的悲凉之情。本文以戏剧冲突为中心,从戏剧冲突的内容、表现方式和艺术效果三方面展开论述,从中感悟作品深刻的意义内涵及强烈的艺术感染力。     

惠栋荀学思想刍议--以《荀子微言》为中心的考察

惠栋是乾嘉汉学吴派宗主,经学熟洽,著述等身.《荀子微言》是他的一部重要荀学著作,也是汉学家专治《荀子》的肇始之作.惠栋节选《荀子》篇章,作案语阐述微言.他以《易》理解《荀》义,以"绘事后素"释"礼后",由"尊儒"论重"师法",由辨"危、微、精、一"以驳程朱,均透露出松崖的学术旨趣,体现了《荀子微言》真正"微言"之所在.在《松崖笔记》、《九矅斋笔记》、《易微言》、《九经古义》等著作中,惠栋多处论及《荀子》,反映其"尊荀"思想.在清代中叶的荀学复兴运动中,惠栋占有重要一席.