FROM NIETZSCHE'S PHILOSOPHY OF HISTORY TO KANT'S—AND BACK

Reflecting on Anthony Jensen's Nietzsche's Philosophy of History, this essay describes Jensen's account of the three‐stage development of Nietzsche's historiographical practices and metahistorical positions: from his early philological writings, through The Birth of Tragedy, and into the mature philosophy of history that Jensen uncovers in Toward the Genealogy of Morality and Ecce Homo, which, so Jensen argues, consists in ontological realism combined with representational anti‐realism. While Jensen notes the importance of a like‐minded readership for the success of Nietzsche's historiographical projects, the essay asks whether Nietzsche did in fact have such a readership and further emphasizes that the Genealogy and Ecce Homo are structured in such a way that they seek to create one. A similar structure is identified in Kant's “Idea for a Universal History from a Cosmopolitan Perspective.” The essay concludes by reflecting on the significance of this similarity in light of the doctrines of eternal recurrence that are expressed in both Nietzsche's late writings and Kant's youthful cosmology.     

The World Map as an Emblem: Abraham Ortelius and the Stoic Contemplation

Although the close association of word and image in medieval cartography is widely acknowledged, the significance of the relationship after the rediscovery of Ptolemy's Geography and throughout the Renaissance has been overlooked, despite Abraham Ortelius's choice of the term ‘Reader’ for users of the Theatrum orbis terrarum (1570). In this paper, the map of the world, which (as in Ptolemy's Geography) opens Ortelius's Theatrum, is analysed to show how Ortelius's concept of space was very different from Ptolemy's. Attention is drawn to the content of the texts on the map, to Ortelius's notion of geography as the eye of history, and to the importance in the Renaissance of the emblem as a conceit, or device, in the system of acquisition and transmission of knowledge. As in emblems, the words on Ortelius's map are not there to explain or to comment on what is seen but to give the image meaning; the purpose of the map is to invite contemplation of God's world. The map is contradictory, however; for Ortelius's accurate and up‐to‐date presentation of the physical world is qualified by a verbal statement that the world is ‘nothing’, a mere pinpoint in the immensity of the universe. It is concluded that Ortelius was not a geographer in the same way Ptolemy was, and that Ortelius was using geography as a philosopher and his world map as an illustration of his moral and religious thinking.     

西周金文中的同位语结构及其语序

在穷尽调查西周金文语料的基础上,将其中的同位语短语按内部构成情况归纳为三类,从中发现．同位语内部基本是所指越具体的项位置越靠后。比较复杂的由三项构成的同位语、套叠使用的同位语,西周金文均已有使用,表明当时汉语的同位复指系统已经比较发达。同位语在句中可充当主语、宾语、问接宾语、定语、兼语等。本文系根据笔者博士学位论文《西周金文语序研究》相关部分改写而成。     

Sacrament and Oath: A Theological-Political Displacement

This article pays attention to the historical displacement of the meaning of the word sacramentum at the moment in which theological reflection appropriates the civil meaning. By addressing this historical displacement, the present article reflects not only on the theological-political character of oaths, but also on the complex inventive character of political theology. In fact, that kind of appropriation involves multiple transferences of meanings from one realm to another – the political and the religious, what is constitutive of the theological-political approach. Attempting to grasp the topic, this article first examines the Biblical meanings of oath, covenant and sacrament; second, it looks at the meaning of sacramentum in the classical Roman tradition; and, finally, it recovers the meaning of sacrament in Tertullian, who is primarily responsible for the coinage of the term for theological reflection.     

郑玄校《仪礼》从今文本字不从古文通假字考

《仪礼》在汉代有今、古文两种本子.郑玄在给《仪礼》作注时,也对今、古文异文作了校勘,或从今文,或从古文.郑玄兼采今、古文的一条重要义例,就是从本字不从通假字：有从今文本字而不从古文通假字者,亦有从古文本字而不从今文通假字者,因为本字更能贴切地表达经义.遍索《仪礼》中郑玄从今文本字不从古文通假字之字例,凡90条,而一一考辨之.     

藤井省三的鲁迅作品新译——以《阿Q正传》为中心

鲁迅的作品在日本译本众多,藤井省三是当代鲁迅研究者的一位代表,他于2009年出版了自己的新日译本,挑战代表专家竹内好的翻译手法,突出“异化”,摒弃“归化”。藤井的新译本有着明显的和传统译本的不同,从中也可以看出日本鲁迅研究的新动向。     

黄彭年《选将论》考述

晚清知名学者黄彭年的成名之作《选将论》,是近代文人论兵的典范之作,曾轰动京师。但是,对此文信息的记载往往不符,最主要的两个问题便是此文字数与撰写时间未能吻合。本文通过《选将论》的稿抄本,对这些问题进行考述和条辨,并由此对《选将论》的写作特点进行了简要述评。     

Serious Play: Verbal Art and Performance

Language speaker-listeners do not merely mouth sounds or put together syntax; they perform to affect an audience. Anthropologists since Boas's time have written extensively about how speaker-listeners use language to amuse, amaze, persuade, and seduce. Joel Sherzer catalogs puns, jokes, word games, and poetry using examples from several languages. Josef Stern argues that the ability to understand metaphor is a rule-ordered part of language competence, rather than extra-linguistic idiosyncratic. Paulla A. Ebron looks at the ways Africans present themselves as verbal performers in various settings, focusing on Gambian jail musicians.     

Science in reflection

The predication of the eternal law served as premise and and foundation for the existence of the law of nature in the classical/medieval intellectual inheritance of Thomas Hobbes and his contemporaries. Unlike them, he makes no mention of the eternal law in his early writings, The Elements of Law Natural and Politic, and On the Citizen. His triple use of the expression eternal law of God in Leviathan is ambiguous and misleading. Instead , he is one of the first writers in English to assert the eternity of the law of nature. He does that by invoking a biblical-based expression, verbum aeternum. In On the Citizen, and its exegetical, theological identification with Christ, to establish that claim. In Leviathan he repeats his declaration that the law of nature is eternal nine times, spread across more than five Chapters and twelve hundred pages. Four of them are equivalently excised from the Latin Leviathan and the others remain brief assertions, unanalyzed and undefended, rendering their effect incidental and perfunctory. He also abandons the expression verbum aeternum (as well as eternal word, which he never uses).