1,721,023 research outputs found
Identification of white spot syndrome associated baculovirus (WSBV) target organs in the shrimp Penaeus monodon by in situ hybridization
No full textThe Interpretations of “Guanju” in the “Confucius on Poetry” Section of Shanghai Museum Collection of Chu Bamboo Manuscripts: A Critical Analysis
No full text本文乃針對《上海博物館藏戰國楚竹書 ( 一 ) ‧孔子詩論》中有關〈關睢〉諸簡 ( 第十簡、十一簡、十二簡、十四簡 ) ，綜合加以論考，以推闡其對〈關睢〉篇可能之詮釋意涵，並對現今學者之說略作檢討。 經由本文所論，認為第十簡「〈關睢〉之改」句，當以讀為「改」為宜。第十簡「〈關睢〉以色喻於禮」句當結合帛書〈五行篇〉第二十五章之「說」文以釋之，所謂「喻」乃「由小好喻乎所大好」。〈孔子詩論〉對〈關睢〉之詮釋蓋以為詩之前半部乃言「好色」，後半部則反納於禮，此即是「改」，且於情思之境界有所提昇，故云：「〈關睢〉之改，則其思益矣。」又：第十四簡「其四章則喻矣。以琴瑟之悅，擬好色之願；以鐘鼓之樂， (下缺) 」究 之，〈孔子詩論〉或有可能分〈關睢〉為四章，此有別於毛《傳》之分為三章或鄭《箋》之分為五章，在《詩經》學史上具有特殊之意義。This paper investigates several bamboo slips drawn from the "Confucius on Poetry" (孔子詩論) Section of Shanghai Museum Collection of Chu Bamboo Manuscripts (《上海博物館藏戰國楚竹書》), Volume One. The bamboo slips under investigation include the Tenth, Eleventh, Twelfth, and Fourteenth, all of which involve the interpretation of "Guanju" (關睢). The purpose is to elucidate the implications of these slips for our understanding and interpretation of "Guanju". In addition, views of contemporary scholars will also be briefly discussed. By way of this investigation, we believe that "the change of Guanju" (「〈關睢〉之改」) in the Tenth Slip ( 第十簡 ) should be read as "change" (「改」). Also in the tenth slip, the phrase "Guanju uses lust to explain the rites" (「〈關睢〉以色喻於禮」) should be read simultaneously with "sayings" in Silk Inscriptions (boshu) "Five Elements" Chapter 25. Finally, the author of "Confu-cius on Poetry" seems to have divided "Guanju" into four chapters, which is different from the three chapters of Mao Zhuan or the five chapters of Zheng Jian. This significant difference has its special meaning in the history of the studies on the Book of Odes
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Hermeneutic Issues in the Study of the Shijing
No full text《詩經》為中國古代一部重要經典，有關《詩經》之訓解，自先秦以來，歷代不絕，構成研究《詩經》之重要文獻。若欲研究《詩經》，則對於《詩經》文本及其相關文獻之解讀，乃是重要之探討起點，倘若解讀不當，則易造成誤判或得出錯誤結論。因此，文獻解讀為《詩經》研究中不可忽視之問題。
本文將針對以下幾方面，舉出一些實例加以討論：
(一）《詩經》文獻解讀必須符合訓詁之基本原則
(二）《詩經》文獻解讀必須具備《詩經》學之基本知識
(三）《詩經》文獻解讀不可忽略其他領域之相關知識
(四）《詩經》文獻解讀須前後論理一致圓融自足
(五）《詩經》文獻解讀應避免作過度銓釋
經由以上之討論，希望能突顯文獻解讀在《詩經》研究中之重要性，並期待《詩經》研究者能更重視此問題。The Shijing is one of the most important classics of ancient China. Since ancient times, interpretation of the text has continued, unbroken through countless successive generations, producing an important body of literature on the research of the text. If one desires to research the Shijing, then an important starting point is the interpretation of various editions of the text and related commentaries; If the hermeneutic approach is inappropriate, then one can easily arrive at erroneous judgments or conclusions. Therefore, within the field of Shijing studies, textual hermeneutics is an issue which cannot be overlooked.
This article shall focus on the following aspects of textual hermeneutics within the study of the Shijing:
(1) Shijing textual interpretation must conform to the fundamental principles of traditional exegetic technique (shungu).
(2) Textual interpretation of the Shijing, one must rely on a fundamental understanding of Shijing scholarship.
(3) Shijing textual hermeneutics cannot neglect related knowledge from other fields.
(4) In interpreting the Shijing, one must always strive for the most reasonable, consistent and internally coherent explanation.
(5) In Shijing textual hermeneutics, one should avoid making excessive annotations.
Through a discussion of the above points, I hope to emphasize the importance of textual hermeneutic principles in the study of the Shijing and advocate that Shijing scholars pay more attention to this issue
Studies in the Chang-chu Commentary of the Han Dynasty
No full text漢代解經之作數量繁多，而立名各異，有故、傳、說、章句、微、通、條例、注等名稱。漢代章句著作今雖多不傳，在漢代經解中實具有重要之地位，對後代義疏之興起亦深具影響。本文在前賢研究基礎上，對漢代章句學之相關問題加以論考，全文分為四節： 一、漢代章句之起源。 二、章句學之增繁與刪減。 三、章句學之內容。 四、章句學之評價。經由以上四節之論考，期能對漢代章句之學有較清楚之認識。The commentaries to the Classics in the Han dynasty are voluminous, and are entitled differently, such as ku, chiian, shuo, chang-chii, wei, t'ung, t'iao-li, chu, etc. Although not many chang-chii commentaries are extant, they are important to the interpretative activities of the Han scholars and bear significant influence to the later yi-shu commentary. This article, based on pervious scholarship, explores in four sections issues in the chang-chii commentary. The four sections are: 1.The origins of the chang-chii commentary. 2.The sophistication and simplification of the chang-chii commentary. 3.The content of the chang-chii commentary. 4.The evaluation of the chang-chii commentary. It is hoped that we can reach a better understanding of the Han chang-chii commentary through the discussion in the four sections
“Feng-ya-cheng-pian” and Traditional Interpretation of “Book of Songs”
No full text今人詮釋《詩經》，雖多以不在重視「風雅正變」之說，然「風雅正變」說在《詩經》詮釋傳統中實具有相當重要之地位，並曾產生極為深遠之影響。本文針對《詩經》詮釋傳統中之「風雅正變」說加以探討，全文主要分為以下四節：一、「風雅正變」說釋義。二、「風雅正變」說之起源問題論考。三、「風雅正變」說之解經特質。四、「風雅正變」說之流衍與反動。本文結論認為《詩經》「風雅正變」說在《毛詩．關雎．序》（世稱〈詩大序〉）中已略具雛形，至鄭玄解《詩》乃大加敷衍 ;其說具有「寓作於述」、「強調《詩經》鑑誡功能」、「說經務求融通」等解經特質。又自漢，歷經魏、晉至唐，在《詩經》詮釋上，「風雅正變」說皆居於主導之地位。宋代疑經風氣興起，此說乃受到批評，爾後質疑者代不乏人。透過本文之探討，期對「風雅正變」說之含義、起源、解經特質及流衍等，有較具系統之瞭解。Even though most people today tend to overlook the idea of “feng-ya-cheng-pian” (風雅正變) when interpreting the Book of Songs, this concept played an important role in and had a major influence on traditional interpretation of the Book of Songs. In light of this, this paper attempts to reach a clearer understanding of this concept by looking at its meaning, origin, characteristics, and development of the concept. Discussion in this paper is divided into four sections, as follows: 1. the meaning of “feng-ya-cheng-pain”; 2. the origin of the term; 3. characteristics of the concept; 4. the development of and the reaction against the concept. Herein we conclude that the notion “feng-ya-cheng-pian” appears in a preliminary form in the “mao-shih-kuan-chu-hsu” (more commonly referred to as the “shih-ta-hsu”) and was fully fleshed out by the time of Cheng Hsuan's commentary on the Book of Songs. It characteristics include tendencies to “cloak interpretation in description”, “an emphasis on the prescriptive role of the Book of Songs”, and “an emphasis to achieve overall consistency in intepretation of the classics”. This notion played a primary role in interpretation of the Book of Songs from the Han Dynasty, through the Wei and Chin Dynasties, and into the Tang Dynasty. By the time of the Song Dynasty, though, the prevailing atmosphere of doubting the classics led to this notion coming under criticism, a trend that has continued into the present
Paper Manufacturers’ Marks Stamped in the Rare Chinese Books of the Qing Dynasty
No full text本論文以清初至乾隆間之刻本及稿、鈔本作為主要研究對象，兼及部分嘉慶、道光間之鈔本，擬對此時期古籍中所鈐之紙廠印記加以研究。所謂「紙廠印記」乃是紙張製造者在紙張製造完成後所鈐之印記，此與古籍中所鈐之藏書印性質不同。本文將對此時期紙廠印記之內容、形制以及其中較特殊印記形成之原因等加以探討，並進而論述其在版本鑑定及造紙史研究上之價值。全文計分為以下五節：一、清代中文善本古籍中所鈐紙廠印記之內容與形制。二、紙廠印記之確認與考證。三、紙廠印記呈現長條形片段面貌之原因蠡測。四、紙廠印記在版本研究上之價值。五、紙廠印記在造紙史研究上之價值。希冀經由本文之探討，對清代中文善本古籍中所鈐紙廠印記之內容、特徵及其在學術研究上之價值，有初步之瞭解。This study researches the paper manufacturers’ marks in block-printed books, manuscripts, and transcripts of the early Qing Dynasty and Emperor Qianlong’s period (1736-1796) as well as some transcripts during the reigns of Emperor Jiaqing (1796-1820) and Emperor Daoguang (1821-1851). Different from the book collectors’ marks commonly found in ancient Chinese books, the paper manufacturers’ marks are stamped at the end of papermaking process. The study analyzes these marks’ contents, forms and stories, and evaluates them in terms of edition verification and papermaking history. The following five sections are included: (1) the contents and forms of paper manufacturers’ marks in rare Chinese books of the Qing Dynasty, (2) verifications of these marks, (3) the possible reasons why these marks are long, rectangular, and partial, (4) their value in editionology, and (5) their value in the history of papermaking. Hopefully, the above exploration will give readers an initial understanding of their value in academic research
- …
