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Title
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Author
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1
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Discussing the Expression Characteristics of Sima
Qian’s “A Letter to Ren An” from the
Views of Genre and the Timing of the Writing
Some researchers raised questions or doubts
about Sima Qian’s “A Letter to Ren An,” though this
letter has been commended by different generations of
scholars. We, however, found that their perspectives
were obviously different regarding the understanding of
the genre. Through careful investigation of this letter,
readers might be assailed by doubts. Consequently it is
necessary to discuss issues related to this letter.
Grounded in the content and expression style of the
letter, this article begins with a re-examination of the
interpretation and evaluation which previous scholars
have made. Next the author will explore the timing for
writing this letter and the reaction from the receiver
in terms of the referred intention and structural
features. Such analyses elaborate on Sima Qian’s
creative writing strategy that “A Letter to Ren An”
embraces implications related to some political events.
By providing a comprehensive understanding of this
letter, the author seeks to clarify uncertainties about
the above issues and thus an appropriate evaluation of
Sima.
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Lee, Hsi-chen
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2
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From “Fu on the Goddess” to “Luo
River Goddess”: the Creation, Mimesis and
Transformation of the Goddess in Writing
Song Yu’s “Fu on the Goddess” was a work
that pioneered the use of fu-writing on ‘goddess.’ Of the
dramatic increase in the number of literary pastiches of
Song Yu’s during the Han, Wei and Six Dynasties, Cao Zhi’s
(192-232) "Luo River Goddess" was the only
comparable work. This paper analyses the ecriture of
goddess in the "Fu on the Goddess" from the
perspectives of literature and myth. Although the goddess’
image seems complex, she actually has antecedents in
ancient myths who represent the goddess of Mount Wu who
was characterized by love and beauty. The narrator’s
poetic and ambiguous encounter with the goddess works as a
counterbalance to prejudice and desire and a test of his
ability to take on reality of life. Cao Zhi claimed that
he was moved by the romance narrated by Song Yu. Cao’s
description of the goddess and the encounter itself both
are imitation of Song Yu’s fu. However, by changing the
perspectives, Cao Zhi experienced the trial brought by Luo
River Goddess during his course of writing. Experiencing
the feelings of joyous live, apprehension, escape,
confusion, re-invention and reflection, Cao Zhi learned to
free himself from the importance of outcomes, and make a
decision during the turning point of his life.
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Lee,Wen-yu
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3
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A Discussion of Different Titles with Similar Musical
Content in the Qin Repertoire, Its Ambiguity and
Interpretation: An Analysis of Group Works Liang Xiao
Yin, Qiu Sai Yin and Chang Chang Ci
During the long-simmering transmission and
popularization, most of the qin repertoire, based on
several kinds of regional interactions, have been
collaboratively accumulated by various qin artists
throughout different times. In that case, the
correlation between a title and the content of a musical
piece could vary significantly; for example, an
identical title could represent several different
musical pieces, or a musical content with its many
varieties could have been titled differently. Such
specific relations between the title and the content of
qin repertoire mirror diverse thoughts and styles of qin
artists in different times and spaces, providing us with
abundant inspirations and values in the fields of qin
research and musicology.
This article, through the analysis of three group works
─ Liang Xiao Yin, Qiu Sai Yin and Chang Chang Ci, aims
to historicize the second relation ─a musical content
with its many variants of titles and perceptions by qin
artists. The term “ambiguity” here, is to elaborate the
varied forms and expressions of the same musical
content. Another term “interpretation” in this article
embraces the way in performance as well as the
understanding in the process of collaborative mode of
creativity in cultural tradition of qin music
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Liang, Jeng-i
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4
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The Prometheus of Formosan Philosophy: Hung
Yao-hsün’s Ontological Construction and
Contribution
Despite his pioneering analysis on Taiwanese
cultural subjectivity, Hung Yao-hsun’s philosophical
significance has not been studied. The aim of this paper
is threefold. It first argues that, contrary to
conventional wisdom, Hung not only introduced western
ideas, but also founded Formosan Philosophy: His
adaptation of German Philosophy to cultural issues during
the period of the Japanese colonization of Taiwan—just as
with the Kyoto School in Japan and the New Confucianism in
China—should be considered a part of the genuine thinking
revolution in East Asia. This paper next examines the
causal relationship between his philosophical theory and
the spatial-temporal world in which he lived. It argues
that Hung’s interest in the nature of Taiwanese folk
society is an advanced enquiry of his investigation of
fundamental ontology. Finally, this paper clarifies Hung’s
significant contribution to academic freedom during
Taiwan’s period of martial law.
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Hung, Tzu-wei
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5
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Between Reality and Contrivance: Body Performance and
Class Imagination in Sarah Waters’
Fingersmith
Sarah Waters’ Fingersmith (2002) has been acclaimed
for the most suspenseful work within her popular Victorian
quasi-trilogy. Full of twists and turns, it soon made the
bestseller list and has been serialized on film by the
BBC. With its solid narrative structure and precise
setting in Victorian England, it is categorized as a
historical crime fiction; with its same-sex love plots
between two heroines, it is also deemed a lesbian novel.
The protagonist is Susan Trinder, an orphan in the care of
Mrs. Sucksby whose London slum household hosts a transient
family of petty thieves. Susan helps Richard Rivers seduce
a wealthy heiress, Maud Lilly, who is raised in a country
house named Briar, where she lives a secluded life under
the care of her uncle. Susan and Maud are set to change
their identities in a treacherous double-cross: they
perform, either knowingly or unknowingly, roles of
mistress and maid in the contrived performance as well as
in their reality of life. Their performances involve an
imitation of body gestures and an intimacy of feminine
garments. Exploring the confusion between contrivance and
reality in the novel, this paper aims to analyze various
modes of performance derived from class implications and
delves into how Waters complicates the significance of
body performance.
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Yeh, Ya-ju
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