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1
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"On Narrative and Genre in Pre-Qin
Historiographical Documents: “The Fall of the Luan
Clan of Jin” as an Example "
This paper attempts to analyze how “the
fall of the Luan clan” of the Jin state
（晉「欒氏之滅」） is interpreted in various
historiographical documents in pre-Qin and early Han
periods, and discusses the association between the genre
and the narrator’s viewpoint and intention of those
particular documents.
The paper compares the differences in narrative—
including aspects of plot, character image, theme, and
viewpoint—between the Zuo Commentary and Sayings of the
States, indicating that the two books, though only
slightly different in plot, represent “realities” of
diverse views. It discusses in what way the content is
associated with the genre in the narrative of the
pre-Qin and early Han historiographical texts, both
archaeological findings and textual records, with
particular emphasis on “The Chronicles” in Tsinghua
Bamboo Slips II. By comparing the Spring and Autumn
Annals, the Zuo Commentary, Sayings of the States,
Records of the Grand Historian, and “The Chronicles” ,
the paper points out that “The Chronicles” is of a
different genre from the Spring and Autumn Annals. The
paper ends by focusing on pre-Qin and early Han
historiographical documents regarding “the Fall of the
Luan clan,” such as the Gongyang Commentary, Guliang
Commentary, The Annals of Lu Buwei, Shizi, etc. By
illustrating the differences in genre among the books
aforementioned, the present study expects to explain the
relationship between narrative and genre in
historiographical texts from pre-Qin to early Han
periods.
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Lee, Long-shien
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2
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The Construction of the "Zhengyu" Theory in
Zhongyuan yin yun
Zhou Deqing's (1277-1365) Zhongyuan yin yun
annotates that his book serves as “a model for zhengyu and
a rectification of bianya.” Based on this statement, this
article will explore his Rules for Composing the
Traditional Northern Opera with Correct Sounds in the
book. In addition, according to Zhou's understanding of
""entering tones are situated between breathing
and speaking,” the author will investigate Zhou's
construction of zhengyu theory.
This article is divided into four sections. After an
introduction in section one, section two explicates the
linguistic background and meaning of the above mentioned
statement. This statement signifies that the pronunciation
in Zhou’s book was deemed standard in the Central Plains,
rectifying the disadvantages of various dialects, and
differentiating divergences among Guang yun and various
types of operas in Chinese dialects. Section three
compares the following rhyming phenomena: level tones
divided into voiceless and voiced level tones, entering
tones recategorized into level, rising, and departing
tones, and a lack of closed entering tones and rhyming.
Section four analyzes the subject dialects that Zhou
rectified, especially the Wu dialect in Song-Yuan southern
drama.
Grounded in the differences between Zhongyuan yin yun and
Guang yun, Zhou fulfilled the objective of “a model for
zhengyu” and brought the aim of “a rectification of
bianya” to a successful conclusion through the comparison
of central pronunciation with the Wu and other dialects.
Not completely agreeing with what Guang yun argues, he
viewed dialects as having deficiencies and meanwhile
accepted them as pronunciation in common practices. His
goal of composing Zhongyuan yin yun was to historicize the
changes of sounds and therefore normalize pronunciation
for traditional Chinese opera.
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Li, Huei-mian
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3
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Exploring the Aesthetics of Visual Images Penetrating
Through Curtains in The Complete Collection of Ci from
Song
One of the earliest items used to separate
the indoor and outdoor areas in traditional Chinese
architectures, curtains could create the far-reaching
tranquility and a peaceful atmosphere when hung. In
addition to protecting and respecting personal privacy,
hanging curtains could also add the aesthetics of visual
images. Thus, not only could large public spaces or
private spaces be separated by them, but also a variety
of different artistic effects could be created. This
paper looks at how curtains are used in The Complete
Collection of Ci from Song, specifically analyzing the
following two aspects: 1) examining visual images and
aesthetics when the moonlight, ornamentals, swallows,
and so on are depicted penetrating through hanging
curtains and entering indoor spaces, and 2) enumerating
the variety of lights and shadows that were created by
the sunlight or moonlight penetrating through hanging
curtains.
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Huang, Shu-cheng
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4
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An Investigation of the Yi Mansion Library: With
Emphasis on the Newly-found The Catalog of Books
Displayed in Ying Tang
The
Yi Mansion Library is regarded as one of the most
important and largest collection of books in the Qing
dynasty and even throughout the history of private
libraries in China. However, it has not been given the
attention it deserves.
The academic field has long harbored misconceptions on the
sources, circulation, and size of the library, as well as
the time the Catalog of the Yi Mansion Library was
compiled, the courtesy names of the masters of Yi Mansion,
etc. (especially regarding the fact that many books came
from Xu Qianxue and Ji Zhenyi’s old collections).
Furthermore, the Anle Tang of the Yi Mansion is sometimes
mistaken for Emperor Qianlong’s Mingshan Tang or Leshan
Tang. With the help the newly-found book The Catalog of
Books Displayed in Ying Tang in Yi Mansion and other new
materials, this essay sets forth some new ideas on
different aspects of the Yi Mansion Library by surveying
hundreds of books from the library currently found in more
than twenty libraries throughout the world and
investigating it in a systematic way.
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Hou, Yin-guo
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5
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An Analysis of the Claim that 'Mental Karma is the
Most Significant' in Buddhism
This paper is an investigation of the claim in Buddhism
that ‘mental action (manaskarman) is the most
reprehensible for the performance of evil action.’ There
are five parts to the analysis: Firstly, I analyze the
chapter in the agama sutra where the claim first appears,
so as to illuminate the basic view substantiating the
claim that ‘mental karma is the most significant (of the
three karmas)’. Secondly, I analyze arguments for and
against this claim given in the Satyasiddhi??stra,
pointing out that the emphasis on ‘mental karma’ is to
stress the ‘mind as the root of everything.’ All dharmas
have mind as their basic premise onto which follows the
formation of good or bad karma. Thirdly, I point out that
the emphasis on ‘mental karma’ stems from the view that,
unlike actions of body and speech, mental processes are
karmic processes in themselves. This is illustrated by the
close connection between manas, cetana, sa?sk?ra, and
karma. This does not however imply that actions of body
and speech are unimportant. On the contrary, body and
speech facilitate the formation of karma, expanding its
effects and reinforcing the depth and strength of the
agent's intention. Fourthly, the emphasis on ‘mental
karma’ functions as an important criterion for judgments
of good/evil and right/wrong, which carries its own
ethical implications worthy of consideration. Towards the
end of this section, I offer a preliminary reflection on
the possible limitations of the claim. Lastly, I suggest
that the emphasis on ‘mental karma’ not only challenges
the philosophical tradition of ancient India, but further
allows for reflection and dialogue within the study of
contemporary ethics and philosophy. As such, further
research on this topic is both meaningful and worthy of
pursuit.
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Lin, Chien-te
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