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1
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Issues on Yu Renzhong’s Version of Chunqiu Guliang
Jijie
Yu Renzhong (?-?) from the Song Dynasty
created a block-printed edition of Chunqiu Guliang
Jijie. This edition is the earliest version of Chunqiu
Guliang Jijie. The book was collected in the Tieqin
Tongjian Library and is curently exhibited in Taiwan’s
National Palace Museum. Li Shuchang (1837–1897)
reproduced an edition of Chunqiu Guliang Jijie. Another
version of Chunqiu Guliang Jijie was published in
Sibucongkan. The version in Sibucongkan was based on a
photocopy of the version of Chunqiu Guliang Jijie in the
Tieqin Tongjian Library and the photocopies of the first
six volumes of Guyicongshu. The photocopying process
through which Sibucongkan was compiled resulted in
various corrections and distortions in the copied
version. After their original publications, Guyicongshu
and Sibucongkan were reprinted numerous times. The
manuscripts’ original appearances were modified in
reprints. Thus, the original publications and reprints
of Guyicongshu and Sibucongkan should be regarded as
different versions. Yu’s early version served as the
source materials for the Chunqiu Guliang Annotation;
annotations were later added. This version profoundly
influenced subsequent versions.
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Chien, I-kuang
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2
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Analysis of the Ideology of Conservatism in Pi Xi-Rui’s
Classical Theory
This article mainly explores the content of
Pi Xi-Rui’s ideology about taking conservatism as the
attributes of Chinese Classics, which is also analyzed for
its relationship with Pi’s statement on modernization and
reformation. Through literature survey and analysis, this
article investigates Pi’s books written in his late years
named “The History of Chinese Classics,” “The General
Theory of Chinese Classics,” and other related books in
his early times. The research result shows that the reason
why Pi proposed the ideology of conservatism of Chinese
Classics was established in clarifying the strategies of
Confucian Classics in Western Han Dynasty. The Confucian
Classics in Western Han Dynasty was considered by Pi the
ideology closest to the original ideas of Confucius, and
can be the theoretical basis of Confucius’ idea of
reformation. Pi thought that for scholars in the late Qing
Dynasty, to understand the Han Dynasty’s Classics, they
must first get rid of the empty talk of thought from the
Song Dynasty and thus study Zheng Xuan’s commentaries
regarding the study of Yishu in the Tang Dynasty. By
studying Zheng Xuan’s ideology and analyzing the statement
towards contemporary and ancient Chinese, the
understanding of Confucian Classics in Western Han Dynasty
could be retraced. Through the two-step exploration, the
path of reviving the contemporary Classics in Western Han
Dynasty was identified. Through the analysis of Pi’s
conservatism, we can deeply understand the relationship
between the purpose of Pi’s writing on “The History of
Chinese Classics” and his thought of modernization, from
which we can also have a more objective understanding of
the nature of conservatism in Chinese Classics.
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Chiang, Lung-hsiang
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3
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The Division between the Philosophical Doctrines of
Wang Dao and Wang Yang-ming
When Wang Yang-ming served as a central government
officer in Beijing in 1511, Wang Dao attended his
philosophical discussions and had been one of his finest
students and close friends. Two years later,
intellectual disagreements and unpleasantness between
Wang Dao and Wang Yang-ming transpired. The most
important reason for the discord is that Wang Dao was
gradually influenced by Zhu Xi School, which had a
number of different ideas from Wang Yang-ming’s. Wang
Dao developed Zhu Xi’s ideas and accused Wang Yang-ming
of having mystical theories about the nature of mind.
Later, Wang Dao wrote numerous articles that were highly
critical of every major doctrine that Wang Yang-ming had
proposed. However, Wang turned to formulate
philosophical doctrines from Confucian, Taoist and
Buddhist classics on his own instead of following Zhu
Xi’s. This article reconstructs the critical period in
Wang Yang-ming's philosophical development and the
intellectual movement he sought to foster.
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Liu, Yong
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4
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How Much Were Famous Elites Worth? --Development of
Elites’ Social Networks through Literary Activities
and Their Management of Fame and Fortune in the Ming
and Qing Dynasties
" The
civil service examination was competitive in the Ming and
Qing dynasties; the numbers of successful examinees were
limited. Apart from devoting themselves to the country and
people as officials, were there any other life choices for
elites? This article investigates how elites displayed
their literary competence and looked for meanings and
possibilities of life. Since the mid-Ming, it had become a
unique social trend for city elites to develop social
networks through social and literary activities. A group
of men called “famous elite” (ming-shih) pursued fame,
fortune, and friendship in terms of promoting these
activities. It is a research worthy topic to understand
the sociocultural meanings of these activities by means of
looking into how famous elites were “created” and their
impacts on the society. In business cities, elites were
more active in participating in social and literary
activities through which they strengthened their social
networks and raised social status. The more fame elites
gained, the more fortune they pursued. This “mechanism”
was important in the promotion of social and literary
activities and unique and rich literati culture.
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Wang, Hong-tai
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5
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“Body-Time” and “Language-Time”: “In Search of Lost
Time” of Hijikata Tatsumi’s Butoh
In
the alternative time and space that Hijikata Tatsumi
(1928-1986) creates through his body and language, extreme
movements with sensibility are seen here and there. The
schizophrenia-like temporal topology has transformed
dancing and writing into master skills that simultaneously
fold and expose themselves. The body of Butoh is taken as
the storage of memories. The “I” in which Nonego and
Nonhuman “do not belong to any childhood or past”
constantly shuffles in Yameru Maihime and pursues the
metamorphosis and dislocation of time. The memories in the
body and language of Hijikata present deepest refrain
regarding the difference and repetition of art. They are
folded into the construction of heterogeneity in space and
time and condensed into the real life events of Hijikata
about his homeland “Touhoku.” All memory is a kind of
deterritorialization. Memory restarts the past that is
constantly renewed and creates the new future that has not
yet existed. In other words, restarting memory refers to
the creation of “people who have not yet been born”—the
purpose of repeating the intensity and difference of time
is to express certain untimely power that constantly
shuffles in the divisions of reality. The combination of
“body-time” and “language-time” in Hijikata’s Butoh shows
certain sensational arrangement that initiates cross-field
movements. It embeds the differences of becoming and
presents the strongest intensity of events at every moment
when affects interact with each other.
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Hsu, Shao-yun
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