说花园庄东地甲骨卜辞的“丁”——附:释“速”

最近公布的殷墟花园庄东地甲骨卜辞中,多次出现一位当时还活着的、称为“丁”的人物,从卜辞内容可以看出其地位甚高。本文主要通过指出这批卜辞中与历组一类占卜同事的一组卜辞,肯定了“丁”就是当时的商王武丁。以“丁”称呼时王武丁,究竟应该如何解释尚待进一步研究。同时,也可以进一步推定这批卜辞的时代,当为武丁晚期而非整理者认为的“武丁前期”。此外,这批卜辞中多次出现的一个整理者隶定作“”的字,应释为“速”,意为“召”、“召请”。旧有殷墟卜辞中一个或释读为“眚”、“软”、“喘”等的字,应释为“” ,读为咳嗽之“嗽”。     

The worship of general Yue Fei and his problematic creation as a national hero in twentieth century China

National heroes are important in the development of nationalist thinking. One important figure in this context is General Yue Fei (1103–42), who unsuccessfully fought the invading Jurchen in the twelfth century. Shortly after his execution, a temple was built in his honour in Hangzhou. Local chronicles show that this temple was constantly renovated in later dynasties. Due to his continuous worship as a loyal warrior—even during the Qing dynasty—his temple became a powerful site of identity. His veneration as a national hero in the course of the twentieth century has, however, posed a problem to a post-1911 China that felt compelled to sustain a multi-ethnic nation-state, whilst at the same time facing the difficulty of not being able to do without General Yue Fei. This article shall make it apparent that his resurrection as a national hero in the twentieth century was possible because of certain narrative strategies that had already been propagated by the Manchurian rulers of the eighteenth century.     

肥致碑及相关问题

肥致碑,1991年出土于河南省偃师县(今改市)南蔡庄一座东汉墓内。偃师县文物管理委员会编写的发掘简报见《文物》1992年第9期。简报发表后,备受海峡两岸学者的关注。20年来,公开发表的研究文章不下20多篇。文章内容相对集中在碑文的释读、肥致碑的性质、碑文记述与墓内被葬者的问题、碑文反映的东汉社会风气和碑文的书法艺术等五个方面。后面两个问题,研究者的看法基本一致,兹不赘述。前三个问题,看法     

Loyalist Tattoos and Tattooed Generals in the Song Dynasty

According to Yue Fei’s biography, when the legendary general was slandered and interrogated for treason, he tore the shirt off his body, exposing four characters tattooed on his back: “Exhaust one’s loyalty in service of the state.” This study looks at two components of the Yue Fei story—patriotic tattoos, and tattooed generals—and examines their meaning in the broader stretch of Song dynasty history. Yue Fei was not the Song dynasty’s only tattooed general who came to a tragic end. The Northern Song’s Di Qing was a tattooed soldier whose military merit allowed him to rise to the highest levels of power in the empire. Di Qing’s story makes it clear that tattooed generals were objects of suspicion and ridicule at court due to their military tattoos, a trait that linked them to the criminals and lower class men that manned the Song armies. Though military tattoos sometimes had a loyalist ring to them, they were carried out on a mass scale, and were a characteristic of coercion rather than fervent loyalism. This study shows that underneath the nationalist historical narrative of the Song dynasty, of which Yue Fei is a famous example, there lies a different story of social conflict within the Song state. Rather than a story of Chinese fighting non-Chinese and of traitorous and cowardly officials struggling with loyal patriots, this study offers a narrative of a social conflict between high-born clear-skinned officials and low-born tattooed military men.     

论“匆匆不暇草书”——兼及《非草书》的可靠性

“匆匆不暇草书”不是张芝的自述,而是时人对张芝草书的称呼,《非草书》成书时间在汉献帝初平以后,今《法书要录》本与张怀瓘所见或有出入,但主要内容是一致的,决不可能面目全非。     

试论费宏的思想与学术

费宏是政治家,而不以学术名家.他的学术思想以孔子儒学为基础,以程朱理学为依归,接受丘濬的影响,心仪真德秀之学,推尊<大学衍义>.政治上,他与王阳明对立,因而在学术上,对王氏心学之诱惑愚诞、背弃圣贤亦持否定态度.他的政治思想体现在正君爱民的治国之道、严体宽济的刑罚之道、损上益下的富民之道、崇教进学的育人之道等方面.     

民族英雄的尺度：《白话本国史》教科书案研究

1935年,国民党上海市党部以吕思勉《白话本国史》"丑诋岳飞,推崇秦桧"为由而责令修改;有人以此控告商务印书馆与吕思勉,法院决定不起诉。《白话本国史》中的岳飞叙述,不利于在民族危机中激发民族意识来抵抗日本侵略;但其中反军阀思想,有利于国民党加强中央权力,又为南京政府所需要。该案的处理方式反映了国民党政府对民族英雄叙述的尺度:尊崇岳飞为民族英雄,突出其反抗外族侵略的一面,希望借助其抗金形象来振发国民志气;同时把岳飞叙述限制于抗金事迹中,弱化其武将身份,警惕其对军阀政治的影响,以加强国家统一。     

从费孝通的两份文献看1956年西南地区少数民族工作

1956年,西南许多地区发生了少数民族事件,一些人通过各种渠道向中央反映情况。费孝通因为与贵州民族工作有较深的渊源,接受了威宁两位苗族知识分子的请求,向全国人大常委会民族委员会和贵州省委反映有关情况。1956年4月,中央决定再次检查民族政策的执行情况。通过认真检查,在肯定建国以后民族工作取得成绩的同时,也发现在民主改革和社会主义改造中贯彻执行党的民族政策、培养使用少数民族干部和民族统战工作方面存在一些问题。针对检查出来的问题,贵州各级政府提出了改进民族工作的意见,并开始对民族政策执行中的缺点和错误进行纠正。     

Micro-narratives in Contemporary Chinese Art: A Case Study of Cao Fei's Pearl River Delta Anti-heroes

This paper investigates the representation of micro-narratives in contemporary Chinese art by examining the multi-layered narratives in Cao Fei's Pearl River Delta Anti-heroes performed at the opening of the 2^nd Guangzhou Triennial in 2005. I consider Cao's work as a hyper-realistic portrayal of the micro-narratives of the Pearl River Delta region in a mediated form highly influenced by the media, entertainment industry and popular culture of the region and Hong Kong. Theatricality, kitsch and the distinctive local essence of South China are revealed in the form of a TV soap opera and the use of colloquial Cantonese throughout the performance, along with occasional Putonghua or Mandarin. Language as a signifier of cultural politics has been deployed as an indispensable tool to empower the region within the broader body politic of the People's Republic of China.