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本文的研究目标在于阐明战国时代诸子百家的“写作écriture”與當时的代表性学术机关―稷下學宮的相关性｡ 为此, 本文以战国时代儒家和道家的代表写作≪莊子≫及≪荀子≫为研究对象, 分析了它们与稷下學宮之间的影响关系｡ 本文是笔者关於历代中国写作方式與知识制度之间相关性研究的一个组成部分｡ 战国时代的作品采取了多種写作方式, 围绕着中原的話語discourse霸权展开竞争, 百家争鸣, 堪称是“写作的戰國”｡ ≪莊子≫ㆍ≪韓非子≫等作品中的寓言, ≪孟子≫中的“连锁論斷”, ≪荀子≫中对描写对象的频频罗列, ≪荀子ㆍ正名≫及≪墨經≫等作品中以严密的概念定义―以名举实, 以及以政治性的论證为基礎的辩证性论证―持之有故, 类取类予, 这些与前期的≪論語≫, ≪老子≫, ≪墨子≫等的写作抗衡, 可以称颂其为“写作的戰國時代”｡ 尤其是≪荀子≫和≪莊子≫综合运用了多種写作方式, 體现了战国时代出现的新的写作理论｡ ≪荀子≫积极靈活地运用了辩證, 寓言, 论述等写作方式以證明自身论述的客观性和正確性｡ ≪莊子≫也在自身的陈述过程中最大限度地限制了说话人的介入, 从而證明自身叙述的客观性和正確性, 其中还使用了诸多寓言以实现这個目标｡ 战国时代的写作目标是证明自身陈述的客观性和正确性｡ 笔者认为它受到了不同学派的学者聚集稷下學宮, 高谈阔论互相争辩的直接影响｡

The aim of this article is to affirm the importance of Dunhuang edition Wenxindiaolong. Because of loose treatment it is underestimated by now. Especially the interpretation of refined calligraphy needs cautious scrutiny.The dating of Dunhuang manuscript, firstly, can be adjusted to Gaozong(高宗) Period due to the fact that this manuscript is avoiding a character of his name. Secondly scholars have misinterpreted ‘網’ into ‘綱’, so we must change the involved passage and its meaning. We can find more examples of this type. Thirdly we can newly interpret the meaning of ‘寫送’. Somewhat like homonym in English ‘寫’ means ‘瀉’. The text of pre-Song(宋) dynasty, more or less, is the product of many persons who participate in writing, copying, printing and so on. So we must fully examine and prove the genuineness of text. The text need eternal re-reading

Our discussion is centered around the derivational mechanism and it's restriction on the formation of two types of compound verbs (i.e., verb-complement types and verb-object types) in Chinese. Based on the correspondence between Chinese sentence structure and word structure in terms of grammatical relation and liner order of their constituents, this paper attempts to show that these two types of compound verbs are better treated with highly lexicalized syntactic operations, others would follow morphological rules and process in the lexicon.

我們不難發現, 李商隱與西崑詩派的詩歌創作有着深刻聯繫. 因爲西崑詩派詩人們公開地提唱學習李商隱詩, 所以在≪西崑酬唱集≫中所見的李商隱詩的因素極爲明顯. 因而, 一些評論家以此斷定西崑派詩完全是剽竊李商隱詩的外在形式, 而在藝術上毫無價値. 還有另一些評論家將李商隱目爲西崑體詩的“開創者”, 而批判李商隱詩單純地追求藝術技巧. 那么, 這樣的評論是不是公允妥當? 本文認爲, 李商隱與西崑詩派的詩歌創作之間的“作用”與“反作用”, 不是那么簡單地得到結論的一個問題, 應當加以進行全面的考察. 西崑作家學習李商隱, 他門有不少詩篇的內容深受李商隱的影響. 例如, 在李商隱的詩作中, 常見的題材是有關南朝及唐代的馬嵬事變, 西崑體詩人也有類似題材的唱和. 可是, 李商隱的“無題詩”大多隐约､ 朦胧，表现含蓄､ 委婉，因此具有模糊性和不确定性, 西崑體詩人的愛情詩有所不同, 對當時皇帝眞宗的“諷諫”的意圖比較突出. 對西崑體詩人詩歌創作的標準來說, 他們一方面用“典麗”的辭藻而糾正白體末流低俗的弊端, 另一方面驅使大量的典故和前人的佳词妙语，以求對皇帝的幽深的諷諫. 這樣的標準, 李商隱與西崑體詩人也是不盡相同的. 總的來說, 我們不可否認李商隱與西崑體詩人之間濃厚的“親緣性”. 可這不是意味着李商隱詩與西崑派詩完全相同. 卽使他們的詩歌在外形的在面貌上有頗多類似的一面, 不只在詩歌創作動機上有一定的區別, 而且在詩歌發展史上的地位也有相異.

80年代中期以≪一个和八个≫､ ≪黄土地≫为代表的第五代电影的繁荣, 開創了中国電影事業的一番新局面. 第五代导演共同的經歷和文化背景使得他們都具有相同的对於歷史的眷戀和批判, 对於女性話題的关注, 对於傳統思想及民俗化符號的象征性追求, 他們都試圖站在人文关懷的角度去批判與反思. 本文就以具有較强反思及寓意象征的作品, 陳凱歌≪黄土地≫､ ≪孩子王≫的影像語言來講述寓言式的民族意識及文革時期敎育的反思｡ 陳凱歌的第一部作品≪黄土地≫借助於画面, 色彩, 鏡頭運動等電影本體元素進行了大膽独立的美学追求和藝术創造.以廣闊沉重的黄土高原寄寓压抑的民族､ 歷史､ 文化, 以濁浪滾滾的黄河流水寄寓悲滄的人物命運, 另外鼓乐齐鳴的迎親隊伍, 活躍有力的安塞腰鼓舞, 烈日下的祈雨祭等中国的民風民俗来象征中華民族的堅忍耐苦的精神及愚昧頑固的劣根性. ≪孩子王≫透過各種画面構圖寄寓了過多的象征､ 隐喻, 而使观众有着隔离感, 但它透過对文革后期教育的反思､ 知青老杆强烈的自我意識,折射出对文化､ 人的尊严和人的價值的思考寓意｡ 余秋雨说過: “寓言象征是藝術創作的正路, …不理解寓言象征, 就不会理解百分之五十以上的20世紀佳作”｡ ≪孩子王≫影片中的輪形敍事造型與象征文化的字典與老杆之間的矛盾; ≪黄土地≫中八路軍顾青與从沉睡中被叫醒者翠巧之矛盾痛苦等都是一個封闭的性的､ 温馨的､ 愚昧的'铁屋子'｡ 陳凱歌透過他的作品以他独特的影像語言吐露他内心的話語｡ 古代寓言本是假借一個故事的内容来進行道德劝戒､ 揚善惩恶｡ 如今, 寓言在一幅画, 一首詩, 一具雕像, 一场戱等各种藝术作品中成長着｡ 21世紀是影视媒體时代, 不可否認電影是一個很好的大众媒体, 電影寓言化也正在蓬勃成長｡ 近年来, 由於國內社會經濟成長迅速,政治稳定等各種因素, 人們傾向重物轻情､ 重外轻裡､ 重私轻众的個人主义愈来愈深, 反之对於民族意識､ 歷史文化､ 人文关懷等思想漸漸淡化｡ 回顾80年代民族文化特色較强的第五代导演前期作品, 審视它們的启蒙性､ 教育性電影語言, 得知启蒙語言的内在矛盾和張力､ 实現的艱難性和效果的有限性｡ 然而作品裡面蕴含的深刻而沉重的思想内涵無疑是让人深省的｡

Understanding of Chinese characters outside the Chinese cultural bloc has oscillated between two main axes. One viewpoint has emphasized the characters’ ideographic features whereas the other one has emphasized their phonetic ones yet, neither viewpoint properly explains the multi-faceted qualities of Chinese characters, which cannot be described solely as ideographs or phonographs. I proposes to point out that one must accurately understand the phonetic characteristics and semantic context hidden behind the mask of ideographs. From its nascent stage, the system of Chinese characters has progressed by embracing the tension between ideographs and phonographs. Thus, I intend to highlight that it is the interrelationship between ideographs and phonographs that has generated the meaning of Chinese characters throughout the history of this writing system. The formation of meanings in Chinese characters does not rely solely on either the semantic links of ideographs or on speech-based phonetic symbols. In general, if we regard the function of writing as mere recording of speech, this view limits too narrowly the meanings generated through display of writing. This is especially true of Chinese writing which keeps some distance from an exact recording of what was spoken. Thus, we must pay attention to the multiple facets exhibited throughout the history of Chinese writing and its interpretation and also understand clearly that Chinese writing has evolved in the midst of the tension between the two axes of phonetic and semantic features. This understanding of Chinese writing will let us see that this very tension was indeed the source of the vitality, creativity, and adaptability of Chinese characters.

除了漢字文化圈以外的地區, 對中國文字的理解有兩種觀點 : 一種認爲中國文字就是象形文字, 另一種則認爲是表音文字. 兩種觀點都沒能反應出中國文字的多面性. 筆者認爲要正確理解中國文字, 不能局限於觀察象形的表面. 而且我們要基礎於中國文字表音的特點而應該掌握意味産出的具體情況. 因爲中國文字象形性和表音性同为文字意味產生的基礎，而且中國的文字體系從一開始就是由象形和表音的內在聯系共同發展而來的.

≪說文解字翼徵≫是朴瑄壽(1821-1899)撰述的一部專門硏究漢字的書, 它是現存的朝鮮時代唯一的文字學著作｡ 它以金文資料为依据, 對≪說文解字≫收錄的9353个汉字中1377个汉字或加以补充, 或进行反驳, 修正了文字解釋上的误谬, 補充了≪說文解字≫体系上的不足｡ 朴瑄壽的硏究方法和文字理论与当时中國學者相比颇为獨特｡ 他认为≪說文解字≫文字解釋上的误谬是由已变形的字形为依据进行解释而引起的｡ 为了弥补这一点, 他以当时最古老的字体-金文为依据, 讨论了每个汉字最原始的形, 音, 义｡ 这一文字研究方法和当时中国学者相比更为先进, 更为科学｡ 他打破了傳統的文字结构分析法-‘六書’理論, 提出了新的漢字结构分析法, 创立了自己獨特的文字学理論｡ 根據聲符的有無, 他先把汉字分成‘文’與‘字’, 再把‘文’細分成專聲, 專義, 聯從, 繁从等｡ 这是擺脫将近二千年的六書理論而提出的新的汉字结构分析法｡ 朴瑄壽分类‘文’與‘字’以後, 討論了部首和歸屬的問題, 又對漢字中存在的多音字现象、聲符相同而读音不同的現象、并将文字硏究的結果应用到經典和銘文的解释上, 对經典註釋提出异议修正了銘文考釋的誤謬｡ 可是, 在注释某些汉字时, 因中国音韵学方面的知识不足以充分而导致了不少错误｡ 不仅如此, 由于对汉字发展过程有些误解而有时把古今字或異體字分别分析成两个不同的字, 加上传统观念对于文字的解说和结构的分析等给予消极影响｡ 由此可见, 󰡔翼徵󰡕还具有不少缺点, 这也是不可否认的事实｡ 不过, 如果能够把这种错误先搁置一旁, 排除在外, 从󰡔翼徵󰡕中所发现敏锐的问题意识和解决办法等, 这将会给我们提供更为科学地、更为细微地剖析汉字内所存在的各种各样问题的线头｡

This study examines closely the linguistic characteristics of trade names(street commercial signs) on outdoor billboards collected in Beijing, the center of politics and economy of China. The summary of the research is as follows: 1. As for the languages used in the signs, people use both Chinese and English. In some cases, Chinese is used exclusively; in other cases, the mixed form of Chinese and English is used. However, the rate of using Chinese exclusively is not very high. Seeing from the point of shop types, clothing shops use English much more frequently than food shops. In the field of clothing, foreign goods are estimated higher in quality and in brand power, so even chinese original brands and commercial signs are advertised in English, emphasizing their stylish images by presenting themselves as foreign products. On the other hand, the preference for local food culture seems to remain strong. 2. As for the number of syllables, 4 syllable words are most frequently used, and 3 and 5 syllable words followed them. Seeing from the point of shop types, 3 syllables are most frequently used in clothing shops. In food shops, there are many 3 and 4 syllable words. There are differences according to shop types in the number of syllables. According to the questionnaires, consumers memorize trade names which are made up of smaller than 3 syllable words. This implies the possibility that trade names can be abridged. 3. In the case of tone, an interesting case that tone has a great influence on the development of trade names is found. Largely in trade names, 4th tone characters are used a lot; on the other hand, 3rd tone characters are used conspicuously little. The reason is that first, as external factors, it receives an effect on the quantity of numbers of characters using a tone, and second, as internal factors, the length and the beat of sound have an effect on the choice of characters used in trade names. 4. Examining the frequency of Chinese characters used in trade names, we know that there are two factors working when developers of trade names choose Chinese characters. One is the relationship of the shop type and the place where the shop is located. The other is the image of foreign brand. 5. I examined the degree of difficulty of Chinese characters used in trade names, applying the standard of Chinese character level list made by HSK office. The proportion of Chinese characters within the range of most commonly used Chinese characters is 95.21% and that of outside the range is 4.79%. Among the characters used in trade names, the possibility of choosing the characters often used in everyday life is high, but the characters of low frequency in everyday life are not avoided. It can't be said that the degree of difficulty of the characters which are not used in common is always high. All things considered, it can be said that the degree of difficulty of characters used in trade names is not high.