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[[alternative]]From thought produces language, and language directly corresponds to thought--The Theoretical Model and Thinking of Pang Ya's“Shi Yi Gu Shuo”
No full text[[abstract]]本文以龐塏《詩義固說》為討論對象，針對《詩義固說》中之根源、生發、實踐與效應等四個層次加以拆析。其中根源與生發具有連動關係所以合併解釋，而實踐與效應涉及詩學形式與表現所以聯合論之。透過這樣的討論可以發現，龐塏《詩義固說》之根源是以儒家「詩言志」說為主要理論範型，在此範型下引申解釋禪宗之意，認為凡事必引歸自己，詩必由胸次出發，如此一來情景自然現成。然其內在核心並不由這樣的內容發展出詩學之藝術特質，反而導入道德趨向，以禮義為內在情志之本質，以「辭達」為其情志表現的實踐效應，藉由「詩依題行」與「以賦為主」等雙軸，規範詩語言符號與創作主體內在思理之對應，務使創作主體之「志」落實為「詩」，進而以上述理路為其匡範詩學應所以如是之固說。[[abstract]]This article takes Pang Da's“Shi Yi Gu Shuo”as the object of discussion, and analyzes the four levels of“Shi Yi Gu Shuo”in terms of its origin, growth, practice and effect. Among them, the root and germinal have a linkage relationship, so they are combined to explain, and practice and effect involve poetic form and performance, so they are combined. Through this discussion, it can be found that the root of Pang Da's“Shi Yi Gu Shuo”is based on the Confucian theory of“poetry expressing will”as the main theoretical model. Under this model, it is extended to explain the meaning of Zen, and believes that everything must be cited to oneself. Poetry must start from the chest, so the scene is naturally ready. However, its inner core does not develop the artistic characteristics of poetics from such content, but leads to the trend of morality, taking ritual and righteousness as the essence of inner emotions, using“ci Da”as the practical effect of emotional expression, and using“poetry” as the practical effect of emotional expression. According to the dual axes of“inscription line” and “fu-based”, standardize the correspondence between the poetic language symbols and the inner thinking of the creative subject, so that the "will" of the creative subject can be translated into“poetry”, and then use the above-mentioned rationale as a guide. Fan Shixue should be so insistent
[[alternative]]Examples of Vietnamese Folk Literature and Historical Materials in“Guang Ji Hua Wen”
No full text[[abstract]]《廣集華文》是法國人吳低旻（1869–1945）於越南阮朝啟定二年（1917） 以監督學政的身分，在河內所出版的一套文選，「撮取群書並諸章程共五百零八章，分為四卷」（卷一「摘取內書」，卷二「摘取外書」，卷三「公文總覽」， 卷四「黎庶通書」），廣蒐中國漢籍、越南漢籍和中越漢字公私文書，是 19 世紀末、20 世紀初的重要文獻彙編。這部《廣集華文》是考察傳入越南的中國漢籍的珍貴管道之一，同時它所載錄的越南漢籍與中越各式漢字公私文書， 也是我們認識越南漢籍和 19-20 世紀越南歷史、政治、社會、生活的重要文化資產。本文就其卷之四「黎庶通書」中 167 篇越南各地的民間文書（內容包括民間契約、來往書信、儀式文書、社會文件等四大類），擇要介紹。這些民間文書篇篇都有相關人物姓名、籍貫與時間，可以看得出來都是越南庶民百姓社會生活的實錄，具有研究越南民俗的寶貴文獻價值，值得關心中越文學與民俗研究者注意。[[abstract]]“Guang Ji Hua Wen” is a set of articles published in Vietnam Hanoi by Wu Di Min （Edmond Nordemann, 1869-1945） in the second year of Khải Định Nguyễn dynasty （1917） in the capacity of supervising academic administration. “A total of 508 chapters were selected from a group of books and articles of association, divided into 4 volumes” （volume 1 “Extract inner books”, volume 2 “extract outer books”, volume 3 “Overview of Official Documents”, volume 4 “Almanac of Li Shu”）. It contains public and private documents of Chinese and Vietnamese-Chinese characters and it is an important collection of documents in the late 19th and early 20th centuries. This book is one of the precious channels to investigate the Chinese books introduced into Vietnam. Meanwhile, the books in Vietnamese Chinese and various public and private documents of Chinese characters in China and Vietnam recorded in this book are also the important cultural assets for us to understand the books in Vietnamese Chinese and the history, politics, society and life of Vietnam in the 19th and 20th century. In this paper, 167 folk documents from different parts of Vietnam （including contracts, correspondence, ritual documents and social documents） are selected from the fourth volume of “Almanac of Li Shu”. These documents have the names, native places and time of the relevant people, it can be seen that they are records of the social life of the common people in Vietnam, with valuable literature value for the study of Vietnamese folk customs, worthy of the attention of Chinese and Vietnamese literature and folk researchers
[[alternative]]On Praying as a Way to Practice Buddhism--A Study of Pray Text by Master HsingYun
No full text[[abstract]]星雲大師在 1967 年 5 月 16 日開創了佛光山佛教事業體系，力行人間佛教， 宗風獨特，但卻三根普被，為普羅大眾接受，目前道場遍及五大洲，有「佛光普照三千界，法水長流五大洲」之稱。星雲大師「人間佛教」，強調三好「做好事、說好話、存好心」，四給「給人信心、給人歡喜、給人希望、給人方便」，三好四給為佛光人的信條，也開創了星雲大師由三好四給以進入「慈心三昧」的修行途徑。星雲大師的祈願和祈禱相通。「三好四給的慈心三昧」落實在日常生活中， 相對於以往念經抄經打坐而後的祈願回向，再加上與基督教天主教人士的交往，祈禱、讀經、聖歌是基督宗教最主要的修行方法，星雲大師發展出「祈願文」的修行途徑。星雲大師祈願文的形式和內容，和傳統的祈願差異很大，形式上除了語言的口語化外，也長篇幅化。內容上也加上情感化的差異。星雲大師祈願文，從小我、大我到無我的境界，從「我願」、「願汝」、「願他」、「願眾」、「自覺行佛」，最後達到留白處「言語道斷,心行處滅」我法二空的禪修祈願境界。[[abstract]]Master XingYun created the Buddhism business system in Fo Guang Shan on May 16, 1967. He practiced Buddhism in the world. The style of Buddhism is unique and accepted by the general public. At present, the temple covers five continents. Master HsingYun's“Human Buddhism”emphasizes the three goodnesses of“doing good deeds, saying good things, and keeping a good heart”, four givings for“giving people confidence, giving people joy, giving people hope, and giving people convenience.”It also created a way for Master HsingYun to enter the“Samādhi of Compassionate Mind”from three goodnesses and four givings. Master HsingYun's wishes and prayers are connected. The“Three Goods and Four Givings of Compassionate Samadhi”is implemented in daily life. Compared with the past prayers after chanting, copying, and meditation, plus the interaction with Christians and Catholics. Praying, scripture reading, and hymns are the most important practice methods of Christianity. Master HsingYun has developed a“pray text”practice method. The form and content of Master HsingYun's prayers are very different from traditional prayers. In addition to the colloquial language, the form is also long. Emotional differences are also added to the content. Master XingYun's prayers, from the small self, the big self to the state of no self, from“I wish”,“May you”,“May him”, “May all the people”, “Conscientiously practice Buddha”, and finally reach the blank space“Words”The way is broken, the mind is destroyed at all times.”Our meditation and prayer realm of two empty
[[alternative]]Chaos and ignorance, transcending rebirth--A new exploration of the story of “scapegoat for accidental death” in “Liaozhai Zhiyi”
No full text[[abstract]]本文主要以《聊齋誌異》的〈王六郎〉與〈水莽草〉為研究對象，抉發二文之詮釋空間再開展的可能。過往之研究一般將〈王六郎〉與〈水莽草〉兩篇文本置於「水鬼漁夫」類型故事中討論，因此多聚焦於主人翁的自我犧牲情節，而寓以「己所不欲，勿施於人」之道德性解讀，連帶也在某程度上影響著〈水莽草〉、〈王六郎〉的閱讀詮釋。然而〈王六郎〉、〈水莽草〉二文本與「水鬼漁夫」類型故事雖有其相似性，並同受「暴死相代」民俗信仰影響，但在特殊的情節營設裡卻改換了「暴死相代」之關鍵與核心意涵，據此可見二文與「水鬼漁夫」類型故事有其不同的人文關懷。本文以二文本置換俗信之關鍵與核心為論述焦點，爬梳吾人在其中可見的文本的轉向、關懷轉向，並深廣其詮釋可能。[[abstract]]This article mainly takes “Wang Liulang” and “Shuimancao” in “Strange Tales from a Liaozhai Studio” as the research objects, and decides the possibility of further development of the interpretation space of the two articles. Previous studies generally placed the two texts “Wang Liulang” and “Water Mangcao” in the “water ghost fisherman” type of story, so they mostly focused on the hero's self-sacrifice plot, and embody “what you don't want, don't The moral interpretation of “doing to others” also affects the reading interpretation of “Water Mangcao” and “Wang Liulang” to a certain extent. However, although the two texts of “Wang Liulang” and “Water Mangcao” have similarities with the “Water Ghost Fisherman” type of story, and are also influenced by the folk belief of “Scapegoat for Accidental Death”, they have been changed in the special plot setting. According to the key and core meaning of “Violent Death Interchanges”, it can be seen that Erwen and “Water Ghost Fisherman” have different humanistic concerns. This article focuses on the key and core of the replacement of common beliefs by the two texts, sorts out the textual turns and caring turns that we can see in it, and deepens its interpretation possibilities
[[alternative]]Genre Paintings in Gezi Book: Taking "Zui Xin Xiamen Shi Zhen Ge" and Other Three Gezi Book Albums as examples
No full text[[abstract]]歌仔冊中有描述市鎮街景與各行各業的文本，前者著重街道景觀與人物活動，呈現熱鬧的生活情境；後者宛如｢百工圖」，勾勒各行各業的職業特色， 和市場、商場等場景匯聚起來，便呈現了社會與時代的印記。這些描繪，若搭配唸歌藝術來表現，便宛如一部部的敘事詩，處處點染市井風情。因此， 本文以歌仔冊中的《最新廈門市鎮歌》（1916）、《嘉義行進相褒歌》（1934）、《四民經紀通俗歌》（1927）與《最新流行萬項事業歌》（1937）四部作品， 探討其中所刻劃的街市景觀與百工圖像，藉以了解其中顯現的市井風情。[[abstract]]There are texts describing the streetscapes of towns and various industries in Gezi Book . The former focuses on streetscapes and people's activities, presenting lively life situations; The latter is like a "Hundred Works Map", which outlines the professional characteristics of all workers of life, and when it is brought together with scenes such as markets and shopping malls, it presents the imprint of society and the times. These descriptions, if expressed in conjunction with the art of Folk Rhyme “Nian Ge”, are like narrative poems, tinged with the customs of the city in details. Therefore, this article uses " Zui Xin Xiamen Shi Zhen Ge " （1916）, “Jia Yi Xing Jìn Xiang Bao Ge” （1934）, “Si Min Jing Ji Tong Su Ge” （1927） and “Zui Xin Liu Xing Wa Xiang Shi Ye Ge” （1937） four works, discussing the cityscapes and images of various craftsmen portrayed in them, so as to understand the city style shown in them
[[alternative]]The Writing of Taiwan Folk Festivals in Kang Yuan's Poems--Using“Let's Sing Children's Folk Songs II－－Taiwan Folk Festivals” as an example
No full text[[abstract]]康原是一位極為特殊的臺灣文學作家，他的作品跨越散文、報導文學、詩歌創作等，不僅數量龐大，而且極具個人特色。尤其是他的詩歌作品題材廣泛，舉凡親情、時事、動物、植物、俗諺與節氣等，幾乎無所不包。在他的詩歌中，有一系列的「囡仔歌」，除了極具童趣之外，也深富教育意義。其中的《逗陣來唱囡仔歌Ⅱ—台灣民俗節慶篇》共收錄了 45 首與臺灣民俗節慶相關的詩歌。康原在創作時以不同的手法將臺灣的民俗節慶典故、內涵等呈現在作品之中，以達寓教於樂的效果，是非常特別創作主題，值得深入探討。因此，本文將以康原的《逗陣來唱囡仔歌Ⅱ—台灣民俗節慶篇》為主，分析康原以詩歌書寫臺灣民俗節慶的目的、創作技巧等。[[abstract]]Kang Yuan is a very special Taiwanese literary writer. His literature span prose, reportage, poetry creation. Not only in a large number, but also with great personal characteristics. In particular, his poems have a wide range of subjects, including family affection, current events, animals, plants, and solar terms, which are almost all-encompassing. In his poems, there are a series of " Children's Folk Songs ", which are not only very childlike, but also full of educational significance. Among them, " Let’s Sing Children’s Folk Songs II—Taiwan Folk Festivals " contains a total of forty-five poems related to Taiwan folk festivals. Kang Yuan used different techniques to present the stories and connotations of Taiwanese folk festivals in his works in order to achieve the effect of entertaining and entertaining. This is a very special creative theme worthy of in-depth discussion. Therefore, this article will focus on Kang Yuan's " Let's Sing Children's Folk Songs II—Taiwan Folk Festivals ", and analyze Kang Yuan's purpose and creative skills in writing Taiwan folk festivals in poetry