Earticle

楚辞應該要意味在戰国时代楚地方被创作的作品和在汉代汎楚地方被创作的地方文學作品。故现在被流传的楚辭作品中，只有屈原的7個作品(〈天問〉，〈卜居〉，〈漁父〉，〈遠遊〉，〈離騷〉，〈九章〉9章，〈九歌〉11章)25篇，宋玉的〈九辯〉和〈招魂〉2篇，漢代淮南小山的〈招隱士〉1篇是眞正的楚辭作品。淮南王劉安上交漢武帝〈離騷〉以下屈原的作品以后，對這些作品因爲武帝的爱好，为长安为中心，模仿楚辞的形式，哀痛屈原又模仿〈離騷〉的所有作品不能称为楚辞，事实上正确地应该叫为楚辭體漢賦。那之后后汉人王逸的《楚辞章句》爲首，宋代晁補之，朱子和洪興祖等以《重編楚辭》《楚辭集注》《楚辭補注》的名字编辑楚辞作品。而無视南方楚地方的地方文學的特色，憂愁ㆍ憤懣ㆍ慷慨ㆍ哀悼等有抒情性的後代楚辭體作品都叫为楚辭。然後编辑成真正意义上楚地方的地方文學的意思为模糊了。又是楚辞的‘辞’是原来有着神語性句子，卽跟神或死者有关係的句子。就是说人间献给神的祝辭或神给人间的句子。还有帝王的政治外交行为也是神聖的意义的句子则盟約，命令布告文相关的。楚辞的‘辭’的来源是祝献给神的‘辭’。楚辞是来源楚地方特色的神相关的巫歌體文学的作品。跟项羽的〈垓下歌〉和劉邦的〈大風歌〉是楚地方特色的民謠體来源的楚歌是不一样的。

"Zi Zhu" is a Chinese word for "self annotation" and is normally used by poets. This paper analyzed Su-Shi's poems and its "Zi Zhu" in order to define the purpose and characteristics of "Zi Zhu". "Zi Zhu" offers both objective and subjective informations. General helping informations in comprehending a poem can be looked upon as an objective whereas informations on poet's daily life can be looked upon as a subjective. These informations are important in understanding the poems of Song Dynasty because the poems in that era reflects the daily lives of poets, so one can say that "Zi Zhu" is essential in comprehending the poems of Song Dynasty. The most important thing about "Zi Zhu" is that it is made for the third party. As being an annotation written by the poet himself, "Zi Zhu" has a stronger influence on the readers than other annotations. "Zi Zhu" helps the readers to comprehend and feel the nuance of the poet but at the same time it also restricts the liberty of interpretation, which leads to say that "Zi Zhu" has its duplexity.

20世纪30年代以后出现的明清小品文选集是按照现代文学理论上的散文文体概念进行界定，在明清时期以“小品”的名称出现，实际出版流通的版本當中进行选定的文类。在此界定基础之上，本论文从20世纪30年代以后出版的小品文选集和笔记类选本中选取有关美人和女性记事方面的材料，对明淸绅士所持的女性观进行分类阐述。笔者总结了三種不同的女性观：第一类是明代中期以后绅士对女性持有的传统女性观。第二类是以传统女性观为基础的一種演变形态。由于社会经济地位的低下和阶级的差异，女性遭受到更多的压迫，绅士们一方面要维持和加强传统的儒家女性观，另一方面要求女性满足自己的欲望，提高女性的性商品化价值，因此对女性的态度变得更加地开放。这種双重态度是对传统女性观的一種虚伪转换，故将此定义为虚伪式女性观。第三类是审美式女性观，将女性既看成個性的存在又视为艺术上欣赏的对象。

本論文針对鲁迅散文詩集《野草》中所出現的“生存”及“死亡”之各種面貌，來對魯迅的思想世界做深層的觀察。為了深入瞭解《野草》，筆者選擇了“死亡”這個主題，其原因不僅僅是因為《野草》中談論到許多生物和人類的死亡，也因為筆者認為魯迅透過《野草》來多方面、深層的思考死亡。首先，鲁迅在這本詩集的序言——《题辞》上提起了“野草”的生存和死亡。鲁迅將死亡以後的階段設定為“朽腐”，不僅因為死亡本身有其重要性，也因死亡之後的過程也將死亡做了一個終結。以此為基礎，此論文在死亡的境界中分成三種方向；各自從生存到死亡、從死亡到朽腐、從死亡及朽腐到生存。以這三種方向來觀察《野草》中發揮著何種想像力。《野草》內的各種存在為走到黑暗而非光明的過程，因此可以看出有走向死亡的意向。再加上鲁迅將已經經歷死亡過程的個物過渡到朽腐。已死去之物雖然肉體無法動作，但知覺上卻要在活著的狀態下痛苦地等待朽腐。進展到死亡的路也並不平順，從死亡前進到朽腐的時間更加感到孤獨，不僅如此即使疲累卻還要前進的理由在於為了嶄新的誕生而走的過程。筆者認為《野草》在詩的現實中，為了將死亡昇華到新生的力量加以作用，許多存在之物死亡後須再次誕生。因而為死亡及朽腐帶來快樂的過程其原因就在此。

本文考察海子在新时期诗坛上的经典化过程。本文的研究范围分为如下: 在诗人海子的形成和经典化过程中颇有影响力的人际关係; 海子死后进行的海子形象的确立过程; 通过语文教科书进行的经典化过程; 在大众文化话语中海子被接受的各種方式。诗人海子的成长離不开北京大学文学社团的人际關係。其中骆一禾是最重要的人物。海子死后，他们收拾海子的作品，将其出书，为了诗人海子的再生产打了基础。海子自杀后，當时的知识分子将海子解读为看破时代的先知，这裏我们能够看到1989年當时知识界的特殊心理。之后海子再解读为为诗而自杀的是个英雄。这種形象就成为代表海子的主要形象。海子的抒情诗《面朝大海春暖花开》选入2000年人民教育出版社高中语文课本，之后海子的这首诗就进入经典化的过程。虽然这首诗引起了教育界的不少论争，通过教科书《面朝大海春暖花开》就被认定为中国新时期诗歌的经典。21世纪以后海子的诗歌在大众文化话语中被普遍接受、再生产。《面朝大海春暖花开》已经是在海景房廣告裏常用的文字。幾名流行音乐将《面朝大海春暖花开》编歌曲，强调这首诗的抒情性。

Taiwan Aborigin writer, Rapongan Syaman reveales that he wants to separate from acultruation and to internalize tribal culture in 《Chilly sea, affection deepening》(1997) and then he wrote the early, the mid- term, the old period of his tribal life through ethnobiography method in《Reminiscence of wave》(2002) and 《The old seaman》(2009). Taiwan Aborigin unknown past have a lot of sociality and life value and the power that enables us to criticize our society and to reflect on ourselves and to speculate multicultural essence. This paper mentions how Rapongan syaman's consideration about Aborigin' future changes according to the stream of time. First, as of Ethnic group thesis, 《Reminiscence of wave》 takes up the position of ethnocentrism by dichotomous description strategy between Chinese and Aborigin. But 《The old seaman》 destroys the wall laid between Chinese and Aborigin, pursuing homogeneity. 《The old seaman》describes seamen absorbed in wildly attractive sea and true humanity transcending ehtnic part. Second, as of tradition and modernity, 《Chilly sea, affection deepening》 sticks on indiscriminate de- sinicize, rejecting modernization. But 《Reminiscence of wave》investigates the value of modern education and new knowledge from various angles. 《The old seaman》 accepts convenience of modernization and instrumental reason selectively, establishing value rationality simultaneously. In other words, 《The old seaman》 accepts modernization and pursuing ethnic traditional essence at the same time.

陶淵明〈述酒〉, 異於其田園飮酒等作之自然平淡, 用筆極隱, 故觀者不省, 甚至江西宗匠黃山谷(1045~1105)以爲讀異書所作, 多不可解, 固是個千年來不可解之大謎. 韓子蒼(1080~1135)以‘山陽下國’一語, 疑有感而賦. 之後湯漢(1198?~1275, 字 伯紀, 號 東澗)反覆詳攷, 然後知爲哀零陵王而作. 朝鮮晩醒朴致馥(1824～1894)之所作〈陶靖節述酒詩解〉, 據所了解, 是一部在韓國傳統時期陶淵明詩註釋之中唯一著作. 湯氏所注本無逐句批解, 意得其大要, 而盤錯隱互, 則蓋未盡釋然. 晩醒所解基本上是參考湯注而作, 而旣因切入點與之不同, 而獨到之見不少, 又每句有批解, 廣證史實, 彌補前人遺漏處亦不少. 比之於湯漢之後歷代諸家註釋, 晩醒所作亦不減其固有特徵. 眞可謂〈陶靖節述酒詩解〉一文是在陶淵明〈述酒〉詩注釋史上一朶奇葩, 値得內外學者一顧.

This article aims to make a textual analysis for the Tangyin bishi (Parallel cases under the pear tree), one of the earliest Chinese legal literature or case history, from the perspective of “law and literature.” The “law and literature” movement sheds light on the close interrelationship between law and literature. In defining the term “legal literature”, there might be two different approaches: “law in literature” on the one hand and “law as literature” on the other. “Law as literature”, in particular, reflects an increasing tendency to consider law as a “text” that needs literary or cultural interpretations. This approach, however, makes us rethink the Confucian legal tradition that was founded on humanistic concerns. Although the negative understanding of the Confucian legal tradition has been prevalent in modern jurisprudence, the very tradition may not be completely disconnected from contemporary legal culture in that it endeavored to overcome the gap between the law and social reality by consistently resisting the abstract, universal, and absolute application of the law. As a matter of fact, a new tendency to highlight humanistic concerns and pay attention to hermeneutic approaches in contemporary jurisprudence has resulted from the practical intention to resolve the gap between legal rules and legal realities. The Tang'in bishi is remarkable in that it explored the interrelationship between law and literature. More often than not, the text has been misunderstood as a classical narrative lacking in narrativity or underestimated as a legal text lacking in specialist knowledge. However, the Tangyin bishi should be reconsidered as a truly unique text on the ground that it attempted at constructing the paradigm of legal rationality or public rationality with literary patterns and representing the ideal of a Confucian judge in a wide variety of case examples. This article sheds light on the representation of “Confucian justice” in the Tangyin bishi, which attempts at crossing the thin line between law and literature, rationality and emotion, and ideal and practice. The text should not be taken as a simple moral fable. For it provides various case examples for practical legal reasoning.

本文旨在通过段玉裁的注释考察六书中“会意”的概念。首先比较了许慎的原文和段玉裁的注释，并通过数据展现了两者的差異；然后在此基础上搜集了段玉裁散见于個别汉字中关于会意字的观点，并对这些观点进行了总结。最后对“会意字”概念的本质性定位提出了进一步的思考。段玉裁所定义的会意字是由可以单独使用的成分所结合的合体字，同时也是以语义为中心的字体。但他认为这并不是一個绝对性的标準，会意字本身也会融入象形或者形声的原理，只不过存在程度上的差異而已。为了更合理地说明六书，本文认为首先应该了解六书原理的历史性。汉字形成的各種原理并不在同一时期产生，而是按照一定的先后顺序产生的。会意在这一历史过程中处于一個过渡的阶段。汉字由单纯的语义符合描写发展到由各種语义符合组合来进行描写，由此产生了语义符号和语音符号的组合方式。因此我们無法轻易确定会意字的范围，也無法轻易判断一個字是否是会意字。也就是说段玉裁对会意字概念理解的模糊性是有根据的。

本文根據朱德熙的主张，通过对韩国语“것”與汉语“的”的比较，对“的”进行的共时與历时的分析，以及阿尔泰语系对汉语影响的考察，提出了应该把被视为定语標記的“的”看作名词化標記的看法。儘管我们还不太清楚“的”是否一开始就是名词化標記，但自元代以来，“的”受到蒙古语名词化標記“ki”的影响，而完全替代了“之”、“者”、“底”，用法趋於多样化的事实是毋庸置疑的。而元代以後“的”的使用情况，更为它是受了阿尔泰语系的影响而确立了名词化標記地位的说法提供了强有力的说服力。

This paper intends to interpret the syntactic differences and theoretical constraint conditions between the scope adverb ‘dou(都)’ and ‘quan(全)'. To understand the syntactic differences, I investigated the objects and their features each adverb oriented. Through the linguistic concepts of cognitive model, like ‘individual cognition’, ‘whole cognition’, ‘sequential scanning’, and ‘summary scanning’, I tried to explain the syntactical and distributional differences two adverbs oriented.

交際能力是現代語言教學和語言能力評估的實際內容，同時也是教學和評估的目標。因此，明確地認識其構成因素是教學和評估的重要課題之一。本文先對Bachman(1990)、Bachman & Palmer(1996)、歐洲語言共同參考框架(2001)等提出的交際能力模型進行一番梳理後整理出漢語交際能力的構成因素。本文將交際能力中的語言要素分成兩大類：語言結構因素包括語音、文字、(構詞)形態、詞彙、句法等；語言運用因素包括句群、地域差異、語體(register)差異、文化因素等。本文對各項因素的理解能力和生產能力進行分析，并標出其必要性程度。漢語教學可以將本文的分析結果作為設計教學大綱、教育課程、教學策略的依據，語言能力評估也可以將其為設計測試細則(test specification)、標準設置(standard setting)的依據。