蔡谟《汉书音义》考索

本文通过对比裴骃《史记集解》和颜师古《汉书注》,认为裴骃《史记集解》所引《汉书音又》即蔡谟所著。这部著作是南朝至唐代以来《汉书》最为通行的注本,也即《隋书·经籍志》著录的《汉书》一百一十五卷本。在此基础上,又就《汉书音义》的成书、流传、价值等问题略作考索。     

黎庶昌及其《古逸丛书》考论

光绪七年(1881)黎庶昌出任日本公使期间,在其随员杨守敬的配合下,搜访了大量国内亡佚而复见于日本的善本古籍,汇刻成《古逸丛书》,受到海内外士林的普遍赞誉,至今仍有搜访、整理、汇辑、校刻文献的示范性典型意义。本文爬梳填籍,勾稽史料,详细叙述了黎庶昌搜访刊刻《古逸丛书》的具体经历,并以《日本国见在书目》、《玉篇》、《文馆词林》、《姓解》、《史略》、《太平寰宇记》诸书为例,逐条撮述流传原委,考证版本真伪,辨别异同得失,同时也订正了今人如余嘉锡、郑天挺等人的一些讹误。从中不仅可以如实了解《古逸丛书》的文献价值,而且也可以重新评价黎庶昌使“数千百年坠简复还旧观”的学术贡献。     

明人夏言词版本述略

夏言词别集版本众多,夏氏诗文别集亦有多个版本系统.通过对其词别集和诗文别集的考述,有助于完善夏言词研究的文本资料,推动明词研究.     

元校残本《韩非子》流传者述——《韩非子》善本考述及其序跋题识辑录之三

元代何犿所校的《韩非子》由于与宋刻本差异较大且所校年代较早而为研究者所重视,其写本虽已失传,但尚有翻刻本传世,这就是明代万历己卯(1579年)三月刻成的《韩子迂评》。本文专门考述《韩子迂评》的刻书过程与流传情况,纠正了陈启天《增订韩非子校释》与陈奇猷《韩非子新校注》中的误说;并附录了有关序跋题识,以免研究者再为其附录之误文所误。     

何晏《论语集解》版本考辨

何晏等人所撰《论语集解》,自成书后一直流传不废,本文对其版本源流作了大致考察,勾勒出了它在我国唐代、宋明时期、清代以来三个阶段的递藏情况,并对其在日本国的情况作了考辨,文章还考察了《论语集解》的版本存佚,介绍了现存的重要版本。     

《三国志》日译本得失谈

随着全球化时代的到来,汉籍古典名著的今注今译工作,越来越受到学术界的重视。就《三国志》而言,近二十年以来,中文及外文译本已多达十来种。然而有些译注者疏于校释,以至时有错谬。日本学者今鹰真等三人的《正史三国志》。(含裴注)日译本,有些地方还胜过了中文今译本。本文对日译本与中文今译本的译文进行了初步比对,从语言解释、底本校勘等角度列举了二者的得失,藉以说明进行汉籍今译工作时中日学术交流的重要性。     

Hobbes ou la crise de l'état baroque

Thomas Hobbes in Leviathan presented a paradigm of the social contract that has proven foundational in Western political thought. A proper understanding of the philosopher’s thought is thus of paramount importance. I argue that today’s case for a religiously tolerant Hobbes has missed an important part of the historical record. I first consider an obscure but important document, the second edition of the Humble Proposals. It demonstrates that leading members of a seventeenth century Christian denomination, the Independents, considered a state-enforced confession of faith. Independents are generally seen as tolerant, and one of the arguments for Hobbesian toleration is that Hobbes endorsed them. But the second edition of the Humble Proposals aligns with the possibility in Hobbes that the civil sovereign will impose part III of Leviathan on the Universities and treat its contents as a legally required confession of faith – one that may be necessary for security, and the avoidance of civil war. Hobbes’s endorsement of Independency alone cannot be used to argue that his work leads to religious toleration. The evidence I present reinforces an earlier assessment and alongside other evidence points to the return of the intolerant Hobbes.     

The Preaching of the Master: Thomas Aquinas’s University Sermons on Happiness

ABSTRACT

The single task of the Parisian masters of the thirteenth century was to read Scripture, a task they performed by way of the famous legere, disputare, praedicare. Although intimately connected these three are rarely studied in relation to each other. Thomas Aquinas’s sermons on the beatitudes (Matthew 5. 1–10) can be compared to his commentary on Matthew and the Summa Theologiae. This opens up a new perspective on the sermons, addressing some of the questions they raise. The edition of Aquinas’s sermons by Louis Bataillon is instrumental in performing this task and will therefore be considered in greater detail. The present article seeks to contribute to Medieval Sermon Studies by way of a more theological approach and to present to theologians the importance of a greater appreciation for the sermons of the masters.     

由出土竹简《文子》看今本《文子》的成书祖本

今本《文子》的成书问题历来说法不一,1995年河北省文物研究所定州汉简整理小组在《定州西汉中山怀王墓竹简〈文子〉的整理和意义》一文中,提出了“残本”一说,但由于文中缺乏深入论证,学术界对此并未取得一致意见。本文通过比较《文子》今本与简本之间的差异以及对今本中不见于简本文字来源的考索,从三个方面论定今本《文子》确是据一种残本《文子》增补而成。     

Reeditando al completo el teatro mayor de Cervantes

This is a review essay on the supplementary volume of the edition of Miguel de Cervantes’s Comedias y tragedias, coordinated by Luis Gómez Canseco and published by Biblioteca Clásica de La Real Academia Española in 2015. Composed of articles and annexes written by reputed Cervantists and aided by an abundant bibliography, this supplementary volume offers excellent introductory studies to each of Cervantes’s dramas—including La conquista de Jerusalén recently attributed—and constitutes a great tool to teach a monographic course on Cervantes’s major theater.