tag:blogger.com,1999:blog-52494590197954002372024-03-04T21:06:14.710-08:00人文經典研讀課程計畫──話語的流動東華大學中文系獲教育部「人文藝術及社會科學經典研讀課程計畫」(103年)補助計畫名稱為「話語的流動」。(題字/吳旻軒)HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-5249459019795400237.post-30630511157320158262015-01-16T00:26:00.004-08:002015-03-03T07:05:14.285-08:00流動的話語─課程規劃圖<a name='more'></a><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<br />HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-54945799556421775042015-01-13T05:01:00.000-08:002015-03-03T07:04:52.754-08:00流動的話語─經典研讀系列演講海報<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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右鍵「另存圖片」或「在新分頁中開啟影像」以顯示原始尺寸。</td></tr>
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<br />HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-85827598303706960902014-12-23T23:23:00.000-08:002015-03-03T07:05:24.903-08:00【講座一覽表】(12/23更新)<div class="separator" style="clear: both; text-align: center;">
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-4841031698257530102014-12-23T19:11:00.000-08:002015-03-03T07:05:38.729-08:00【演講紀錄】邱德修-假借與形聲字的誕生<div style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.4799995422363px; text-align: center;">
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<a name='more'></a><b><span style="font-size: small;">假借與形聲字的誕生</span></b></div>
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<span style="font-size: xx-small;"><span style="font-family: 新細明體, serif;">邱德修先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月23日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">邱教授(左)與主持人許學仁教授(右)</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;">此次演講請到邱德修教授談假借與形聲。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 邱教授以做學問的態度作為開場勉勵學子,他說道:「做學問的態度是不要迷信權威,要大破大立。王國維有一本書叫做觀堂集林。一九一一年武昌起義,羅振玉帶著王國維,到了京都城,住在佛寺內一處名叫永觀堂的地方。那是日本楓葉最美的地方。王國維在那裏住了四年,觀堂集林的名字就是由此而來。即將大學畢業,一定要好好讀這部著作,因為他有破有立。他每篇論文都先破然後立,這是一個範本。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;">緊接著邱教授便開始說明假借與形聲字的誕生。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 許慎所說的假借定義是:假借者本無其字依聲托事。邱教授說:「過去講假借的人都是兩兩相對,本無其字,依聲託事。那是錯的。假借定義應該切割成三部分。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 本無其字,前提不是文字。所謂本無其字,溯源到人類的發展史,先有思想,然後有語言,然後有文字。思想是一百萬年前的事情,腦容量大增,四十萬年前才有語言,八千年以前才有文字。思想的表達靠語言,語言的表達靠文字。文字是八千年以後的事情,要用八千年前的文字應付一百萬年來的思想語言是不可能的事情。文字上沒辦法替他造字,叫做本無其字。這就是「語言用文字表達之困難」。為什麼要假借?語言上有音有義,無法用象形指事會意去表達,叫做本無其字。西方將文字濃縮,走向拼音文字。漢藏語系有個共同的特點,同音詞太多。用拼音的話,拼出來的音無法完整表達語言和思想的音義。最顯明的例子是日本人韓國人,他用拼音,但是他們的名字還是要寫漢字。面對漢字無法走上拼音文字的困境,只好走向假借。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 怎麼假借呢?無法象,無法指,無法會,透過依傍同聲的關係,將語言的意義寄託在依傍同聲的字型上。透過依傍同聲,建立了一個橋樑,透過這個關係,就可以託事。把語言的音義,寄託在依傍同聲關係的字形上面。這樣的過程,就叫做假借。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">邱教授板書解析說文敘之假借定義</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 一旦一個字被假借之後,就會產生一個現象,這個現象叫做「被借字」。假借發生之後的被借字是什麼呢?他有雙重任務,第一個任務,原來造字者賦予他最原始的意思,叫做本義。他已經發生假借了,變成了被借字,他又承擔另一個意思,叫做假借義。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;">一個字產生兩重的意思的負擔,一個是本義,一個是假藉義的時候。這是造字者不能容忍的現象。因為造字者他想要的是一字一形一音一義。因為被借字,變成了一字一形一音二義。那怎麼辦呢?所以造字者要利用被借字來想辦法。怎麼想呢?有兩個方向。一是為本義造本字,二是為借義造本字。這個方向確立之後又有兩個模式,一是以被借義為形符,加上聲符,就產生了形聲字。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 邱教授又提到:「有一個學派認為是假借造字,事實上假借和造字不能疊加再一起,他們有先後順序。許慎將形聲放在假借前面,但是許慎的時代離造字的時代已經很遠了。依我們現在的眼幅可以看到很多資料。從古文字的發展史來看,應該重新調整,重新認知。這就是我們做學問要先破而後能立的具體表現。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 緊接著邱教授以具體例子說明假借字的行程。他說道:「假借之後,有很多『奇遇記』,這個奇遇記要把它說出來,這才是負責任的文字學家。真正精彩的地方是在假借之後的變化。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 文字上有一個字,讀音也讀成來,他是像麥子,有根莖葉果實之形的獨體象形。我們今天的來,是麥子的麥的原始初文。用字者利用麥子的來,利用依傍同聲關係的字形上面,這樣就是托事,整個過程就叫做假借。麥子的初文,透過假借,在表義上就有了變化。第一,他的本義,透過假借之後產生的假借義,省稱借義。造字者認為這樣的行為是不對的,他違背了一字一形一音一義的最高原則。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 漢字之所以那麼麻煩,就是因為有造字者的理想,和用字者的方便,這兩股力量造成了漢字的錯綜複雜性。造字者堅持一字一音一義,那怎麼辦呢?<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 因為來是麥子的本字,他是常用字,只好用行來之來造字。以被借字來當基礎,拿一個形符表示動作,他用腳趾倒過來表示行來之來,就造成了麥。麥子,本來是寫成來,來本來是寫成麥。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;"> 用字者追求方便,造字者很有誠意,他已經為借義造本字,各有本義,各有表字的對象,但是用字者說不,我們今天寫的麥子的麥不是本字,行來之來,也不是本字,都是借義、借字。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;"> 最後,邱教授說:「這明白的告訴我們漢字的發展史有兩股力量,一是造字者的堅持,一是用字者的方便。文字是約定俗成的,大家認為對的,就是對的。在學理上,在文字的發展史上,我們必須要把他還原,恢復他的廬山真面目,我們才會知道他的來龍本末。這個秘密只有在座的各位知道,中文系的人最能夠了解真相,這是我替各位感到驕傲的事情。全世界的人都看不懂古書的時候,各位看得懂,各位就是國家之重寶。」</span><br />
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<tr><td class="tr-caption" style="text-align: center;">邱教授(右二)與本校許學仁(右一)、巫俊勳(左一)教授及與會同學合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-91608821129196783332014-12-17T18:53:00.000-08:002015-03-03T07:05:45.452-08:00【演講紀錄】徐志平-中國天地分離神話新探<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: xx-small;">中國天地分離神話新探</span></b></div>
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<span style="font-size: xx-small;"><span style="font-family: 新細明體, serif;">徐志平先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月17日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">徐志平先生</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 本次演講請到徐志平教授談「中國天地分離神話」。徐教授從走婚的習俗開始說起,雲南摩梭族男子必須要在夜間從窗戶進入女方家中,在天明以前女方家人尚未起床以前從正門離開。日本學者沼澤喜市,將天地分離神話與走婚習俗中這種早晨離開的狀況連結在一起。徐教授提到:「我們做文學文化研究的基礎是想像力。」徐教授以濠梁之辯為例,提醒大家必須想像原始思維。過去對於天地神話的研究只把它當成是一個神話,但是天地分離神話本身是多種神話的綜合。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 徐教授首次將天地分離神話分成兩個階段,就宇宙發生學來看,世界剛開始的時候是屬於創世神話,這是一種;第二種是天地已經分開,但是離得太近,或是有通路,將通路斷絕,或是將天地距離拉開,這是一般神話學中討論的都是第二種。將天地隔開的神話在胡萬川先生的研究中,又分成兩類,一種是自然天,一種是神聖天。天地分離神話本身就具有多元樣貌,不應該混淆。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">演講現場</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 在《山海經》中提到:「顓頊生老童,老童生重及黎,帝令重獻上天,令黎卭下地」黃帝命重、黎分離天地,這是神話的語言。儒家文獻中,神話慢慢地就歷史化了。在《尚書》中又說:「皇帝哀矜庶戮之不辜,報虐以威,遏絕苗民,無世在下。乃命重、黎,絕地天通,罔有降格。」因苗民亂德而分離天地,但是並未說明如何分離,分離之後如何。《國語》中亦有紀載道:「「及少昊之衰也,九黎亂德,民神雜糅,不可方物。夫人作享,家為巫史,無有要質。民匱于祀,而不知其福。蒸享無度,民神同位。民瀆齊盟,無有嚴威。神狎民則,不蠲其為。嘉生不降,無物以享。禍災薦臻,莫盡其氣。顓頊受之,乃命南正重司天以屬神,命火正黎司地以屬民,使復舊常,無相侵瀆,是謂絕地天通。」在《國語》中「重」、「黎」從神變成官職。在《山海經》中「苗民」是有翼的,因為苗民會飛,所以將天地距離拉開,苗民便不會亂了天界。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 張光直認為,這個神話是宗教改革的神話,周以前的祖先等同於天,東周以後,只有專職的神職人員才能和天溝通,於是人和神就分開了。張光直先生研究人與動物的關係,東周以前,人和動物是合作的關係,東周以後,人開始要和動物相爭。所謂「絕地天通」,亦即專職的巫師產生了,人不能自己通天,而需要依靠神職人員。但是張光直先生的解釋將苗民亂德的部分忽略了。大陸學者孫林研究西藏的「絕地天通」,其意見與張光直先生大同小異。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 日本學者白川靜特別針對「苗民」,認為羌苗對抗的時代,羌人為了強調自己文化的優越,將苗人排除,王孝廉先生是繼承白川的說法,認為崑崙山即羌族的神山。這反映了楚人驅離苗滿諸族的情況。但是這樣的說法仍然沒辦法解釋,為什麼苗人被驅離要用天地分離神話來解釋。胡萬川先生採用了另外一個角度,透過口傳神話,發現天地分離神話屬於失樂園神話的一種。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 徐教授認為,這些解釋都各自成立,卻都沒辦法給出圓滿的答案。徐教授說:「為什麼這些學者沒辦法將文獻圓滿的解釋清楚?我的看法是,因為在原始文獻中,他本來就不是一個神話,本來就是很多東西放在一起,學者各自取了自己要的東西去解釋。既然如此我們應該要一一去還原他們。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">徐教授將天地分離神話分為兩個階段,第一個階段是世界由「混沌」階段分離,至第二階段天地因為距離太近,因而出現的「絕地天通」神話。在第一個階段,徐教授根據蒐集的神話資料,分為六個母題如下:<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(1)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天是父親,地是母親<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(2)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天地結合<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(3)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天父地母生下許多孩子<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(4)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天父把孩子囚禁在地下(或讓孩子處於黑暗的地方)<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(5)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">孩子把父親從母親身上推開(或使父親不能再接近母親)<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(6)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天地分離,世界因此獲得空間(或光明)<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">到了第二階段的「天地再分離神話」,因為天地雖然分離了卻未完全隔開,才會有再次分離的「絕地天通」神話。這裡又分為以下幾類:<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(1)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天地之間有通路,後來被切斷<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">(2)<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">天地距離太近,後來被推開<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">比較兩種第二階段的分離神話可以發現:第一,天地有通路的天,是有「神」的天,是一種神聖的空間,「天」是人們嚮往的地方;第二,離地面很近的天,則是自然的天、物質的天,它壓迫著地上的人們,使人們心生厭惡,甚至想用熱水去潑,用杵去捅。可見它們代表人們對於「天」的兩種截然不同的思維。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">徐志平先生有獎徵答贈書</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"> 天地分離神話既有屬於「創世神話」的部分,也有「創世後再斷絕通路的」部分,而後者又分為兩種不同的類型。把所有天地分開的神話混為一談而不加以分析,並不恰當。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 17px;"> 神話母題本來就有隨時代結合或分離的可能,透過比較,我們或許可以推測,中國古代也應該有類似西方創世神話的第三型存在。</span></div>
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<tr><td class="tr-caption" style="text-align: center;">徐志平先生會後留影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-7498644655847456022014-12-16T19:05:00.000-08:002015-03-03T07:13:07.517-08:00【演講紀錄】徐秀榮-小說校注的小事實務<div style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; line-height: 18.4799995422363px; text-align: center;">
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<span style="font-size: small;"><span style="font-family: 新細明體, serif;">徐秀榮先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月16日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">里仁書局發行人徐秀榮先生</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 此次演講請到里仁書局的徐秀榮先生為我們演講「小說校注的小事實務」。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 演講一開始,徐先生勉勵在場的中文系學子,不要擔心學非所用的問題,他以自己讀歷史系為例,說在他那個年代,文史哲出身的學生就已經有學非所用的問題了,但是危機就是轉機,他勉勵同學:「大家中文程度越來越差,這種情形,可能將來會更麻煩。我們讀中文系有太多可以幫忙他們的。」</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">主持人賴芳伶教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 緊接著進入演講的正題,即在出版編輯實務上的古典小說校注。徐先生謙虛的說:「我說的都是小事情,可是可能將來對各位會有很大幫助。這些可能在學校老師沒有教到的。」雖云小事,然而在實際的出版事業中,不比在學院中學習可以容許錯誤,徐先生說道:「學校六十分就及格,這在出版社是不行的,六十分及格在實務上是非常荒唐的事情。」又說:「工作是集體的合作,我每一天給同事千叮嚀萬交代就是『簡單的事重複的做』。」其實,同樣的道理在求學上亦是如此。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 談到數位化對出版業的衝擊,里仁書局也經歷過艱困的時期,徐先生說:「數位化以後,對平面出版是一個災難,剛開始的時候,我們看到年輕人都在滑手機,現在五六十歲的也都在滑手機,任何一個人只要一上捷運就開始滑,滑的人越來越多,買書的人就越來越少,書就越來越貴,四百頁的書要六百多塊錢。到最後就只有圖書館買。有一陣子書一直出,賣不出去,庫存越來越多,都變四庫全書了。」</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 對於數位化的衝擊,轉機是來自於對岸的中國大陸。徐先生提到里仁書局新出版的《金瓶梅詞話》在對岸銷售量遠超過台灣,正在重新校注的《紅樓夢》也已經收到了上千套訂單。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">演講現場學生專心聆聽</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 徐先生也他對於大陸出版狀況的觀察:「中國大陸一九五五年改成簡體字,實際上內地的朋友對簡體字是很不喜歡的,工廠的廠只有兩畫,要把他寫得漂亮是有多難寫?寫毛筆的都用繁體字,這就造成一種文化的反動,你要我用簡體字我就用繁體字,你用橫排我就用豎排。大陸不管什麼書只要平裝書就都用膠裝,沒有穿線,這種書越來越惡劣,出版開始為了節省成本,就用剪刀漿糊,直接抓直接出,這樣的情形就是劣幣驅逐良幣,因此讀者非常嚮往台灣的書。台灣的書去年銷到中國大陸初估有五十億台幣。」</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 即便里仁書局有當今的榮景,在慘澹的實體出版業中逆勢成長,然而當中國書籍在台灣開放銷售時,也曾因為簡體書售價便宜而遭遇困難。而度過低潮,最終成功的方法,乃是堅持把書印得更漂亮。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 「因為《金瓶梅》、《儒林外史》、《老殘遊記》的成功,現在開始做《紅樓夢》的校注。為什麼要開始做,為什麼自己做?</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 第一點現在研究生出路比較困難,我們可以找到第一流的研究生,這些研究生我們千挑萬選,找到適合在辦公室工作的人選,一進來我們給他講師的薪水,他就會想要好好工作。我們要認真的訓練。我們訓練他會檢索很多很多的東西。檢索不是這麼簡單的,除了你要會檢索,你還要有非常多的聯想力,一直聯想過去你才能找得到資料。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 第二個原因,我請很多大學教授幫忙,結果沒有一個人能夠幫忙校稿的。我請陳益源老師幫我忙,十年了,到現在還不見蹤影,靠教授吃飯沒辦法。我跟北京大學的龔鵬程說,他說你自己袖子捲起來做吧。從那時開始才努力的做。最近我們把紅樓夢的稿子給中國藝術研究院紅學研究所的副祕書長看過,他們說我們整個研究所都做不出這個,我說都怪你們網路管太嚴了。」</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 面對大陸書籍的削價競爭,數位化的衝擊,里仁書局始終如一。徐先生說:「山不轉路轉,路不轉人轉,人不轉自己團團轉!我出了好多本詞選,自己出很多本詞選自己打自己,打得很熱鬧對不對。有內地的朋友在問,《金瓶梅》賣得很好為什麼又要開始做《金瓶梅》校注,自己打自己?我要做得好像天下的金瓶梅都從里仁出,認真打,臉就會腫起來,臉腫了人家就以為你紅光滿面,試著努力這樣團團轉,目前看起來效果不錯。」</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhH7snT28Q6b5m7WVlMrcQT6Wya4KwMzV1Kqf4av1FoO97UGYiUuUrYu3z6C6U3DZVBsu6voFnZ8dV6MqDzLrG31iqccAetRcPIGUgmRVbeQhpcaC-6CPWRlk9xmJibEuvbNnQh6LmgVk/s1600/4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhH7snT28Q6b5m7WVlMrcQT6Wya4KwMzV1Kqf4av1FoO97UGYiUuUrYu3z6C6U3DZVBsu6voFnZ8dV6MqDzLrG31iqccAetRcPIGUgmRVbeQhpcaC-6CPWRlk9xmJibEuvbNnQh6LmgVk/s1600/4.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">徐秀榮先生(右)與主持人賴芳伶教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-46471732146615786032014-12-11T22:59:00.001-08:002015-03-03T07:13:17.311-08:00【演講紀錄】陳益源-《金雲翹傳》的影響與「翹傳」現象的省思<div style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.4799995422363px; text-align: center;">
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<a name='more'></a><b><span style="font-size: medium;">《金雲翹傳》的影響與「翹傳」現象的省思</span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">陳益源先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月11日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDoGbXIMdW51K1Y6hfgYxsNqx8bOtR5C-_gghsgeaK-sbeqs8-0xZvAI64ypZwM5JTc_hmZr1PDONVsjnRs6J5tYYLatUx_brlWssm9X4BYeD5RODkPwEMQ-_mbaTMffg1mvR8l2pRpE/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDoGbXIMdW51K1Y6hfgYxsNqx8bOtR5C-_gghsgeaK-sbeqs8-0xZvAI64ypZwM5JTc_hmZr1PDONVsjnRs6J5tYYLatUx_brlWssm9X4BYeD5RODkPwEMQ-_mbaTMffg1mvR8l2pRpE/s1600/3.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">陳益源教授</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6oEzRbBjd-yClPQW6x1mRteNojib2lO1ILWNqeo_0HOGpzIpSP1hNXciJcFmF0DnFuSk0FsTWZRo2cSU_5OE0AdzIHU1KhlJqmhEBzIV-I86Db5ozy6UmFCvmRnMcleC5uGEZ8V52nH0/s1600/10839988_10152915969119173_2037732203_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<div class="MsoNormal" style="mso-char-indent-count: 2.0; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">本次活動請到陳益源教授為我們演講《金雲翹傳》的影響與「翹傳現象」的省思。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《金雲翹傳》的故事曾經於明清兩代流行,一直以來她被視為是「才子佳人」小說之一種,才子佳人小說被視為一種類型化的小說,具有一定的公式可循,而《金雲翹傳》故事的開始和結束正符合這套公式,陳教授說:「歷來的小說文獻書目或小說的評論者,將他歸為才子佳人小說,但是這對金雲翹傳來說不公平,雖有才子佳人小說公式化的外衣,仔細看了之後,細節和人物形象的塑造,和一般才子佳人小說不同。」因為我們可以看到《金雲翹傳》的女主角王翠翹的成長,她淪落風塵十五年,屢遭挫折卻從不氣餒,同樣的我們也可以在《紅樓夢》裡看到賈寶玉、林黛玉等人的成長變化。公式化的才子佳人不會成長,但是王翠翹不一樣。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">在日本、台灣,都有與《金雲翹傳》故事相關的改寫,高陽即寫過一本五十五萬字的歷史小說叫做《草莽英雄》,王教授經閱讀後認為,高陽並未閱讀過《金雲翹傳》,而是從短篇的筆記小說中,王翠翹與海盜徐海的事蹟改寫而成。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《金雲翹傳》最大的影響在南方的另一國度──越南。《金雲翹傳》在越南有時被簡稱為「翹傳」,或簡稱為「翹」。陳教授說:「你很難想像有一本中國小說,曾經在中國也流行過,不管是被其他的小說選集所選入改編,或者,被其他的劇作家,一而再、再而三的試著搬上舞台,所以有一定程度的流傳,但是到了現在,翻開文學史卻看不到他的蹤跡。當我們忘記的時候,越南人好幾個世代,過去從口耳相傳中得知,現在從課本中知道,他們所知道的故事背景橋段,都忠實於中國的《金雲翹傳》這本小說,他經過越南著名的詩人阮攸加以改編並且獲得成功。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUGYqdXApSFs7lsh9KxW3hwNDMeRywec012VqnCgO2caXgyCEhJqSwbWfLmonjkeDhZHrlbJtT20BQuuj8I1WqrvrBlJS33e8LranzdeRhQouSbyxSDPlqGXjCYrp2HeeRPITDNSOJyk/s1600/4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisUGYqdXApSFs7lsh9KxW3hwNDMeRywec012VqnCgO2caXgyCEhJqSwbWfLmonjkeDhZHrlbJtT20BQuuj8I1WqrvrBlJS33e8LranzdeRhQouSbyxSDPlqGXjCYrp2HeeRPITDNSOJyk/s1600/4.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 16px;">越南交換生與陳教授交換想法</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳益源教授早年出版了《王翠翹故事研究》一書,並且翻譯成越南文。陳教授也驕傲地說:「在越南出版和翹有關的研究,一個外國人,在越南用越文出版翹的研究,有點像是外國人在中國或台灣,出版《紅樓夢》相關研究一樣。越南翹傳專家太多了,就好像中國很多紅學家一樣。越南版的翹傳作者或作品,越南人耳熟能詳。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">越南《金雲翹傳》的作者──阮攸,是十八世紀末,十九世紀初越南最重要的作家。陳教授特別強調:「不要以為那個《金雲翹傳》是中國的《金雲翹傳》,那個《金雲翹傳》是阮攸成功改編自小說的喃歌作品。用越南文字喃字書寫的。如果只能挑一部越南作品列入世界經典,大概就會是阮攸的《金雲翹傳》。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳教授轉頭望向此次演講的海報說道:「海報上放的圖案是胡琴,這是忠於原著的,小說中王翠翹是擅彈胡琴的。他們(案:指越南)並沒有去改動金雲翹傳原始的時空背景和大致的情節敘事,阮攸成功把小說變成詩歌,但是他沒有改變王翠翹的身分,沒有去移動他的時間空間。我一開始不能理解,到後來蠻欽佩他們可以接受這樣一個外國女孩的故事。中國小說如何進入到越南人的心靈裡面,幾乎將他當成越南人一樣的接受他。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳教授提到,在越南,翹傳是一代傳一代,不論是搖籃曲或情書,甚至是戰爭時期給將士的文告都引用了翹傳。陳教授也提到許多他在越南採集資料時,翹傳如何深入民眾生活的各種故事。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳教授說道:「在中國或台灣,絕大多數的老百姓心裡頭沒有一部經典,我說的不是信仰,是生活之中的經典。《金雲翹傳》這樣一本書,能夠讓</span>一個中國姑娘,走進外國民族的生命裡面,讓外國人打從心裡面喜歡他,不是一個人,是幾個世代的人,共同喜歡王翠翹。雖然他們知道那是一個中國姑娘,但是經過詩人改編之後,他們沒有想到越南語言可以那麼美,可以隱含那麼多深奧微妙的意涵,因為詩人的成功創作,他們提升了民族語言的自信心和自豪感。假如有人可以用台語創造出一本經典作品,使得大家閱讀這本台灣文學作品,可以感受到台灣語言的美麗深奧維妙,使得台語再也不是一般認知的粗鄙粗俗,如果是這樣的話,那麼這一位經典的創作者,可以給民族帶來很大的自豪。阮攸用精練的文筆,和富有音樂特性的詩句,提昇了越南語言。一個詩人可以為民族做出這樣的貢獻,不是其他的革命家事業家做得到的。」</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6oEzRbBjd-yClPQW6x1mRteNojib2lO1ILWNqeo_0HOGpzIpSP1hNXciJcFmF0DnFuSk0FsTWZRo2cSU_5OE0AdzIHU1KhlJqmhEBzIV-I86Db5ozy6UmFCvmRnMcleC5uGEZ8V52nH0/s1600/10839988_10152915969119173_2037732203_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6oEzRbBjd-yClPQW6x1mRteNojib2lO1ILWNqeo_0HOGpzIpSP1hNXciJcFmF0DnFuSk0FsTWZRo2cSU_5OE0AdzIHU1KhlJqmhEBzIV-I86Db5ozy6UmFCvmRnMcleC5uGEZ8V52nH0/s1600/10839988_10152915969119173_2037732203_o.jpg" height="302" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">演講現場參與踴躍</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《金雲翹傳》在越南成為經典後,又以不同的方式回到中國的土地上。陳教授提到他求學時期協助陳慶浩老師做民間文學故事的蒐集整理工作,正好分配到廣西和台灣的部分,從中見到了一則紀錄,由李向陽所採錄得廣西京族民間故事,題為「金仲與阿翹」,和《金雲翹傳》的男主角「金重」是同音。李向陽所採集的民間故事有四千字之多,一般的民間故事都極短,長篇故事背後多有完整的文本作為支撐。陳教授認為這是《金雲翹傳》的民間流傳版本之一。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">然而,由李向陽所採錄的「金仲與阿翹」的故事,是由三人所講述的同一故事,記錄在一起,三人所說各有不同卻沒有分開紀錄,使得故事的樣貌模糊不清。這個疑問一直存在陳教授心中,直到一九九九年,距離「金仲與阿翹」的故事被採集已經過了十五年,陳教授受邀至廣西,才終於有機會至紀載中的廣西防城縣一探究竟。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳教授用他高超的說故事技巧,講述了尋訪阮文龍、蘇維光、裴永彬三位老人的曲折的經過,最終甚至聽到了防城縣的京族老人演唱三千兩百五十四句的全本阮攸《金雲翹傳》。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">陳益源教授(右)與主持人吳儀鳳教授(左一)、本校彭衍倫教授(左二)合影</td></tr>
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<br />HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-65004157554237661522014-12-09T06:06:00.000-08:002015-03-03T07:13:27.858-08:00【演講紀錄】李紀祥-刺客世界與刺客外傳──書寫、圖像、敘事<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: medium;">刺客世界與刺客外傳──書寫、圖像、敘事</span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">李紀祥先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月09日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">佛光大學李紀祥教授</td></tr>
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此次演講請到佛光大學李紀祥教授,講題為「刺客世界與刺客外傳──書寫、圖像、敘事」。</span><br />
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">李紀祥教授在演講中拋出許多問題,不僅僅是司馬遷與《史記》,還有近年李教授在各地受邀發表論文乃至演說時,體驗到的東西方學術上的差異,這些問題交織在一起,看似鬆散,實則圍繞著某種生命的核心體驗。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">關於司馬遷,李教授首先拋出幾個問題,第一個就是「司馬遷到底有沒有媽媽?為什麼沒有人研究過他的母親?」這個問題在史料上誠然十分難解,李教授意圖提醒同學去思考:司馬遷也有家庭,也有成長的過程,他是怎麼樣被培養上來的?更重要的是:「我們自己又是怎麼樣成長起來的?」這個問題關乎我們如何去「再現」《史記》的敘事。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">李教授提到,研究司馬遷最重要的文章〈報任安書〉,現今在美國的研究中,提出〈報任安書〉可能是假造的。然而,他也說到,即便是偽書,或是偽史,仍然需要研究,這都包含在當代如何看待司馬遷與《史記》。李教授也提醒我們,不要因為西方人不以漢語為母語而看低西方的漢學研究,他提到:作為母語的中文和作為文本的中文是不一樣的,作為文本即是世界性的,透過不同的文化背景,會有不一樣的視角,有不一樣的激盪出來。從這樣的角度我們才能更理性的去比較彼此研究之高下。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">演講現場</span></td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">李教授從最基本的問題開始談起,《史記》中的刺客一共有幾人?依照司馬遷自己的說法是五人,這就引出了另外一個問題──高漸離算不算刺客?高漸離是以荊軻作為傳主,是「荊軻傳」的一個配角。作為一個配角為什麼他的篇幅那麼大?這樣的疑惑就是《史記》產生的「閱讀效應」,因此我們可以看到台灣出版了以高漸離為男主角的小說,並且翻拍成電影,這些都是閱讀效應的擴散。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">然而,高漸離和司馬遷說刺客有五人是兩回事,但是高漸離卻是一個可以問的問題,從中可以拉出當代性的問題,勾連出另一種《史記》學,如果是創作,就必須與《史記》切斷;如果是學者,就必須回到《史記》去。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">李教授說:「這五個人每個人都有自己不一樣的生命、不一樣的歷程,司馬遷為什麼要把他們挑出來,作為一個類。司馬遷做了他的思考,我認為他在寫他的史記裡面的列傳的時候,他已經思考過這樣的問題,思考完了以後他認為的最好的敘事方式就是刺客,刺客就是這五人的共名。司馬遷所認為,人間應當有此類型的,他去抽出五個或六個人來,叫做刺客。司馬遷運用了所謂共同性的結構,我們稱這是一種小說筆法。你不能用年代、國家的不同來談他,他有一個共性,是一個共在性的結構,時間差異已經被抹消了,讓差異能夠抹消的原因是什麼呢?因為司馬遷已經決定要這樣做,去抹消他們的共性,第一步是先抽取不同的人,然後再去抹消他們的共性。這和先揭發出共性再去解釋的歷史哲學,是完全不一樣的。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">李教授也提到,這種先抹消共性再去給予名字的方式,給他很大的困惑,當他在寫博士論文時,在這裡遭遇很大的困難。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">當司馬遷列下刺客的時候,他把這批人列在一起,因為他看到了古往今來的人世間,「勢必有此等人物」,「勢必有此等人物」的原因是他們有這樣的性格,又碰到這樣的時代,有這樣的時代這樣的性格「非有這樣的人物不可」,這種人是刺客。這裡牽涉到西方美學的問題,所謂美學上的「典範」,到底人間有沒有這樣的典範?因為我們身上有這樣的細胞,所以我們會被騷動被感染,碰到這樣的一種時代,人們也會像那樣去做,不是那樣的時代,就像我們去看電影,會被感動薰陶,這又構成了另一種古今的連結。但是,變成一種典範的時候他到底是不是歷史呢?因為他談的是一種抹消,變成一種群體的共性結構。變成一種群體的研究方法的時候,在西方是方法論,在司馬遷卻是本體論。可是本體論在歷史來說是特殊性的,如果你看赫爾德的東西,絕對是特殊性的,但是在司馬遷這裡卻是共性。這之中就產生了弔詭,還可以談很多東西出來。本來刺客列傳只是說故事的,但是因為他說故事太巧妙了,他沒有提出理論,因為沒有提出理論我們反而可以讀出很多自己的感受,去向司馬遷叩問,一問一答之間,在桌案上書寫下來。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">死或不死在這裡是非常重要的問題,司馬遷因為李陵事件獲罪,自請腐刑。李教授說:「世間比自殺還要慘痛的教作苟且偷生,一種叫錢謙益的,因為整個社會瞧不起他。另外一種苟活叫做心安理得,而且他們會說活有重於泰山,不是因為我不想為明朝亡,而是我想為清朝作事。當代兩岸有很多這種話語。每天上朝走路的時候非常慘痛,有無限的眼光證明你還活著,而你應該要死掉。世間比死亡還要更深刻的,就是在地獄裡面活著。以司馬遷書寫給任安的這樣喋喋不休的這樣的累述,我們知道他是一種苟活,他是比死亡更深沉的。關於苟活的重要性,史學上面談到的人非常少。這種常常出現在西方小說當中。中國的史學經典一向和皇權勾結,因此他提倡世間最高尚的人品。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">「假如刺客必死定律如果存在的話,一種悲劇的典型就出來了。也就是說,刺客這樣一種類別,這樣一種典範,這樣一種身分,他出現在世間的時候,他就是一種悲劇,他的生命整個出生就是一種悲劇,一旦到他有自覺開始,他就決定他生命的終點站是一個悲劇。一定有這種人,一定有這種使命的召喚。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">刺客必死定律就是說:你活著就是為了死亡。你如果沒有死亡的話,你活著的意義永遠不存在。一旦你死亡了,你曾經活著的那些東西,你活著這一件事情,都是證明他是為了死亡,是生與死的換取。用我所有的生來換取死的那個剎那,如果不能達到目標呢?如果沒有成功的換取呢?一種叫做我完成任務我活下來叫做成功,一種叫做我死亡了我換取了我人生的意義叫做成功,通常中文的措辭叫做「成仁」而不是「成功」。可是誰知道呢?史家又怎麼知道呢?我們怎麼知道有這樣的一種人生一種生命?司馬遷為什麼知道?因為他活著,他死得更深,因為他苟活。他比死亡的人還要更知道,死亡的人是如何拿生來換取死。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">最後,李紀祥教授問道一個問題:刺客之死是如何被知的?聶政和豫讓都毀容,因為刺客完成自己生命的意義的時候,他不要人知道,這是一種非常崇高的情操,一個原因是不毀容而被抓到會連累家人,另外一種是,我就是要用我的死來換取我的生,那就是我生命存在的意義,而不是像西方哲學家巴克萊所說的,存在是感知的,他不要那個東西。可是,史官的責任就是要把人間值得的、不朽的事傳述下來。文學的使命也是這樣。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">李紀祥教授與海報合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-61290032159113877402014-12-03T07:18:00.000-08:002015-03-03T07:13:35.412-08:00【演講紀錄】洪淑苓-牛郎織女傳說的源流與演變<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: large;">牛郎織女傳說的源流與演變</span></b></div>
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<span style="font-size: small;"><span style="font-family: 新細明體, serif;">洪淑苓先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月03日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">臺大洪淑苓教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">主講人洪淑苓教授一開始便談到自己的家庭背景,她說:「我的家庭是很注重禮俗的家族,從小七夕的時候家裡就會拜拜,準備麻油雞酒,油飯,鮮花(雞冠花、圓仔花),還會拜床母,耳濡目染之下就有這個印象,當曾永義老師說可以做這個題目的時候就很高興,可以把學術和生活經驗結合在一起。」這些生活經驗對於洪教授的學術研究有深刻的影響,她也說道:「學術研究不是那麼冰冷,她有很多可能是從生命經驗出發的。」這一點對於有志走上學術路線的同學來說非常重要。洪教授緊接著也提到自己近年研究現代文學的緣由,從大學的文藝少女時代,對創作懷抱夢想,也喜歡創作,雖然往後的研究路線與大學時代的文藝夢並不相同,卻在開始教書後,因為教學而回頭研究自己曾經的興趣,洪教授說:「如果是對生活很認真,對生命很誠懇的話,一定可以找到呼應內在聲音的主題和研究方向。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">洪淑苓教授在碩士班畢業之後,其碩士論文《牛郎織女研究》亦出版成冊。洪教授提到,其時牛郎織女故事並未有研究專書出現,她以主題學的概念,將相關的小說、序曲、習俗、民俗等等統包入研究當中,更能看出研究主題在整個社會文化中的意義所在。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">談到牛郎織女的起源,是從星辰的崇拜開始的,對應織女星和牽牛星的星座,中間隔著銀河。織女星是一等星,和太陽同級,牛郎星也是三顆星組成,加上天津四,組成等腰三角形,就是所謂夏夜大三角。在傳說故事中,玉皇大帝將織女嫁給牛郎,但是織女結婚後忘了本分而被分隔兩地。洪教授也打趣地說,可是天文學者會告訴你,這兩顆星距離十六光年,幾乎不可能碰在一起的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">男耕女織的背景在農業社會中很容易產生這樣的故事,織女星掌管祭祀,主管大地豐收之事。牛郎星原來叫做牽牛,在祭祀上原來是犧牲品,作為春耕豐收的象徵,後來經過人形化的轉換,被稱為牛郎星,成為耕田的男子,和織女星互相匹配。在文字記載以前可能就有這樣的傳說和信仰產生。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">牛郎織女因為天上的星星被命名,反映了農業社會的崇拜和信仰。最早可以看到的牽牛織女文字記載,在小雅大東篇,但僅有星辰的名字,達到反諷的效果,並沒有愛情故事出現。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">到了東漢班固在《西都賦》中,提到昆明池以及一對牽牛織女的石像,以昆明池象徵天上的銀河,因為這個石像的出現,可知最晚到東漢時期,牽牛星已經轉成人型,漢末魏晉時期,一男一女相戀的故事已經開始流傳,成為分離的情人寄託情感的典故所在。《古詩十九首》中「迢迢牽牛星,皎皎河漢女」的詩句膾炙人口,牽牛織女渡河一會的故事已經廣為流傳,但故事中尚未出現「鵲橋」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">七月七日渡河一會本身也有社會意義和道德訓示的意味在裡頭。牛郎織女對映社會男耕女織這樣的社會,在中國的社會裡,愛情是沒有浮上檯面的,大部分談的是婚姻,婚姻制度就是一種社會秩序,婚姻不能荒廢工作。原來的故事說的就是社會秩序的問題。故事的主題也常常因為接受程度不同,和流傳以後,把自己的情感需求投射在故事上面,於是變成反而同情牛郎織女分隔兩地,想辦法一定要讓他們相會,對他們堅貞的愛情歌頌,使得七夕成為很活潑的一個節日。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">牛郎織女還和另外一個故事有交疊的地方,就是干寶《搜神記》中董永與七仙女的故事。志怪小說中就這麼一則,織女在故事中顯得很沒有感情,只是來執行任務。六朝有很多這種天上女仙下凡幫助人的故事。織女來執行天帝的命令,任務達成就返回天界。後來的故事中織女會對董永產生感情,就難分難捨。有的在故事前會加上一段,織女和姊妹在河邊洗澡的時候,衣服被董永或牛郎偷走,於是只好嫁給他。這便是民間文學中的天鵝處女型情節,這類的故事反映原始社會裡面婚姻的某個狀態,比如說掠奪婚,原始故事經過後世流傳,當然會增添比較多人情味的部分。董永故事被吸收以後最大的影響,就是讓牛郎可以轉為人世間的牛郎,經過時間的流轉以後,故事從天上的銀河兩邊,搬移到天上與人間的距離。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">而鵲橋相會的情節之形成和發展,分為兩種類型,一是自願搭橋,二是被罰搭橋。在一些比較早期的詩文裡面,織女駕著他的車駕,渡河去和牛郎相會,還是把他們想像成神仙,騰雲駕霧的渡河。宋詞有個詞牌的名稱叫做「鵲橋仙」,表示鵲橋的情節應該出現了。南宋有一部《爾雅翼》中,說明喜鵲到夏天的時候額上的白毛掉光了,原因就是去當橋了。唐代的詩歌裡沒有看到對鵲橋的吟詠,所以應該是唐末或之後才出現。喜鵲同情兩人遭遇,自願搭橋。用喜鵲來搭橋被踩踏過去,這畫面很難想像。被罰搭橋,本是七日一會,喜鵲將日傳成夕,喜鵲因此被罰搭橋。傳說的情節一直在增長,不斷的有新的情節被加進來。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">流傳後世的牛郎織女民間故事有以下幾項:<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">一、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">兩兄弟式<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">甲、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">浙江永嘉〈牛郎織女〉<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">乙、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">山東〈牽牛郎〉<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">丙、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">安徽〈牛郎織女故事〉<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">謫仙式<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">甲、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">閩南〈牛郎織女傳說〉<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">乙、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">潮州〈七夕的傳說〉<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">三、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">夫妻反目式<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt;">蘇北〈織女變心〉<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">這些故事主要情節相似,細節不同,這都說明神話傳說到民間故事的流傳過程當中,是沒有定本的,他有許多變異性,每個人記憶中的牛郎織女故事,大致上相同,細節上卻有很多改變。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">最後,洪教授在談到七夕習俗演變時,提到七夕與情人節之間的關聯。過往從未明定七夕是情人節,七夕情人節是現代創造的節日,其起源是<span lang="EN-US">1979</span>八月二十六日,廣告公司推出「中國情人節民俗遊覽會」及宣傳活動。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">牛郎織女是很有感情很有趣的故事,一直源遠流長,一直在民間生活當中,從牛郎織女相會衍伸到拜七娘媽的習俗,織女和我們心靈是非常接近的,他是保護婦女懷孕,保護兒童成長,織女不只是愛神,更是像母親一樣的神祇。七夕情人節被創造出來以後,各地有不同表現的方式,民俗節慶所顯現出來的活力,是讓我們的生活更加精彩的地方。這些活動不一定由官方來主導,很多是基金會或文創產業結合,也就更加有創意。</span></div>
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現場亦有同學提問,回饋想法。</div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"><b>問:</b>牛郎織女故事會不會提升女性地位呢?老師提到的故事版本中有一個是夫妻吵架的,在過往女性地位低下的時候是不會有這種狀況的,在這個民間故事流傳之後,夫妻相處可能會有不同的狀況。</span><span lang="EN-US" style="font-size: 13pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW; mso-hansi-font-family: "Times New Roman";">答:</span></b><span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW; mso-hansi-font-family: "Times New Roman";">織女一直都在比較崇高的地位,被奉為神祇,牛郎相對位階比較低。織女被奉為女工之神,男耕女織的社會中,女性有一定的地位,畢竟是分工的社會。這可能是很遠古以前的狀況,等到父權發達,宗族的結構以男性為主之後,女性才處於較低的位置。織女一直嚮往著人間,思凡而下凡,和牛郎養兒育女,最後被玉皇抓回去。這樣的故事感動大家。第一他肯定女性的能力,和女性對家庭的奉獻,對丈夫子女的照顧,同樣的從另外一個角度,他所活動的範圍,實現能力的地方都在家庭裡頭,女人屬於家庭倫理規範裡面,這就是傳統希望得到的倫理和諧,這對女性確實有一些限制。織女變心故事中可以推敲的就是,織女的形象是不太好的,這個故事我一直覺得他很可能和大陸的社會狀況有一些反映,八零年代以後,大陸蒐集到的民間故事材料中有一些可能是被創造出來的,可能是偽故事,在某個人的意識型態下,要把織女形象扭轉,刻意反傳統,這個故事要從故事流傳的地方和社會背景去考慮。你所關心的借由這個故事去肯定女性的地位和提高女性的地位,是可以從這裡去強調,賢妻良母也很重要,並不會因此沒有他的價值,從女性主義的角度來說織女確實被侷限,可是故事情節沒辦法跑出去,我們應該看到她正面的部分。倒是民間婦女自己流傳的相思雨和洗碗水,提出了另外一個解構的點。老師以媽媽的身份告訴你們,現在男人也是要做家事的,既然家庭是很重要的,我們肯定他的意義,每個人的付出分工是很重要的。</span></div>
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<tr><td class="tr-caption" style="font-size: 15.55px; text-align: center;">洪淑苓教授(左)與主持人吳儀鳳教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-71899397290521543672014-12-02T07:52:00.000-08:002015-03-03T07:13:45.143-08:00【演講紀錄】鹿憶鹿-死與再生-試論洪水神話的漂流情節<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: x-small;">死與再生-試論洪水神話的漂流情節</span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">鹿憶鹿先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年12月02日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioA1WA8YObwkXrJRp_k_ymbzJr7Bc3ijHDvJo8fwZu-6cMmYhqwHfkwoSxdnmeZHvpnA9Y0piT7qvTg5FfuUkyDcmDLhkxO1Ut8MUQo2enhyjesPHrfARtDjfxkiz-u6iz6VFHNsmYpU8/s1600/1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioA1WA8YObwkXrJRp_k_ymbzJr7Bc3ijHDvJo8fwZu-6cMmYhqwHfkwoSxdnmeZHvpnA9Y0piT7qvTg5FfuUkyDcmDLhkxO1Ut8MUQo2enhyjesPHrfARtDjfxkiz-u6iz6VFHNsmYpU8/s1600/1.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">鹿憶鹿教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 鹿憶鹿教授首先提到關於自己寫作《洪水神話<span lang="EN-US"> : </span>以中國南方民族與臺灣原住民為中心》一書的緣起。西方研究者因為基督宗教中挪亞方舟故事的關係,在神話研究中容易注意到洪水神話,著名的人類學家弗雷澤很早就注意到台灣原住民的洪水神話,但資料不多,雖然弗雷澤曾經提及,但整體來說,西方研究東方的神話時多注意到東南亞一帶的洪水神話,對於台灣和中國大陸南方民族極少觸及,這是為什麼鹿教授要寫作《洪水神話》一書的原因。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">主持人劉惠萍教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 回到今日的主題上──「死與再生」,特別關注在洪水神話中漂流的情節。談到「漂流」,近年立刻聯想到的就是李安的電影《少年<span lang="EN-US">Pi</span>的奇幻漂流》,鹿教授也說到這部電影讓她產生許多共鳴。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">緊接著鹿教授切入今日的重點:死亡與再生二者之間有著依存關係,在神話中死亡不是終結,而是為了復活而做的準備。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 王孝廉先生在中國的神話世界討論創世神話的時候過一種「原型回歸」的神話類型,廣泛的出現在許多不同民族神話中,這種神話類型又稱為「祖型回歸」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">原型回歸中心母題不外乎:<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">一、天地開闢<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">二、神造人類萬物<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">三、宇宙洪水<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">四、萬物死絕,僅二人得救,此二人通常是兄妹或姊弟(超自然神靈的選民)<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">五、近親相姦(再生人類的神婚行為)</span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">六、宇宙秩序復舊,圓型循環的完成</span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 鹿教授依著這六個概念分別作介紹,對於其師王孝廉先生,除了有所繼承之外,更有許多不同的意見,這些師生之間的意見相左,是此次演講格外精彩之處。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">兄妹婚在阿美族神話中很普遍,在整個南島民族中都可以見到。但是「兄妹」一詞是漢族自行翻譯的,如果我們回到南島民族的神話,其實就是同胞、手足的概念。鹿教授提到,她不太將兄妹婚看作是所謂近親相姦,在神話中,兄妹結婚可能生下各種非人的東西,這並不稀奇,近親不能結婚是現代的觀念,在年代不算久遠的《紅樓夢》裡,不管賈寶玉娶的是寶釵或黛玉,都是近親。親上加親的觀念由來已久。如果沒有很細究的話,兄妹近親到底近到什麼地步,在神話中也未能說明。總而言之,這兩人的結合再生人類,事實上是一種神婚的行為。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 鹿教授舉了多個台灣原住民的洪水神話作為例子,以阿美族為例:太古時在馬蘭社南方山上,男女二神為太巴塱等社之祖。他們生有子女六人,其中兄妹在大水時乘長方形臼中,漂到奇密社北方山上,因為再無人類,二人結為夫妻。……後來所生多優秀子女,遂為今日阿美族各社之祖。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 神話中的木臼其實就是方舟的概念,在不同民族的洪水神話中各有不同的替代物,藏族有些神話的避水工具,是餵豬用的木槽。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 西方的洪水神話是延續著人的原罪的概念,神懲罰人的罪惡,但是在東方的神話中沒有這種概念。鹿教授接著又舉了賽夏族、布農族、排灣族等神話,以排灣族為例,水後沒有東西吃了,從天上掉下來粟種,試取一粒炊煮,竟成滿滿一鍋。而布農族在洪水後取火,除了丟掉火種之外,有一部分說到他的新生,因為洪水的沖刷而有了耕種的土地。原住民的洪水神話,並不是人的原罪被神懲罰的概念,而是再生新生的概念。這些神話不太會提到死亡的事情,鄒族布農族的洪水反而是好事。洪水是新生的開始,和毀滅反而沒什麼關係。這一點給我們相當大的啟發。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 死與再生是許多神話的主題,古代人相信為了使一個狀態產生變化,必須破壞現狀,由現狀的破壞而產生和引導出另一個新的狀態,生命也是如此,死亡是斷絕現實時間而回歸另一永恆時間所必經的過程。兄妹沒被淹死似乎不是偶然,而是出自天神的選派。沒入水中的浸禮,並不等於進入最終的毀滅,而只是暫時地進入朦朧模糊中,隨後則是新創造、新生命或新人。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">現場提問踴躍,其中有一同學問道</span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">同學提問</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">鹿憶鹿教授(右)與主持人劉惠萍教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-47536531221910348052014-11-26T08:42:00.000-08:002015-03-03T07:13:56.213-08:00【演講紀錄】歐麗娟-紅樓夢人物論<div style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.4799995422363px; text-align: center;">
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<a name='more'></a><b><span style="font-size: x-small;">紅樓夢人物論</span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">歐麗娟先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年11月26日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 15.5555562973022px;">臺大歐麗娟教授</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">主持人賴芳伶教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">歐麗娟教授此次演講的主題,援引西方理論,鎖定在文學作品的外部環境之上。文學作品的外部環境,其目標所指,乃是文本以外的一切外部細節。而紅樓夢這部文學作品,其文本以外的細節,其中關鍵者,應屬著作者的相關背景細節。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紅樓夢小說的故事背景,是與清朝皇家關係緊密的貴族圈子。從曹雪芹的生活背景考證,若是曹雪芹的確屬於這樣的階級,因而熟悉這等生活方式,在紅樓夢當中創造出類同於自身生活經驗的賈府,方才是合理之事。同樣的邏輯下,若考證出曹雪芹的生活背景與賈府相去甚多,則其紅樓夢的作者身分,便產生動搖。從文學的外部環境,對於判斷文學作品的內部知識、價值,甚有助益。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">以賈府為例,歐麗娟教授指出賈府所屬的生活階級,雖為與皇室關係密切的貴族冑裔,但是根據文本當中的細節考證,賈府所屬的階級,並非世襲罔替,永遠高高在上的;而這種階級的流動、衰退,本身就是紅樓夢整個故事當中的一大焦慮所在。藉由文本外部關於清朝貴族認識之助,恰可藉由這樣的事實與文本內部的紅樓故事產生對應,幫助讀者了解生活在賈府當中的小說人物;在故事的情境中,他們究竟面對了怎樣的難題。循此而來對小說人物的了解,才會真切,而非僅僅是出於自身片面的喜好或是臆斷。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">講座現場參與踴躍</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">聽完歐麗娟教授演講後,在場同學提出有關於紅樓夢續書的疑問。一般認為紅樓夢第八十回以前,乃曹雪芹所為無疑;而紅樓夢八十回以後到第一百二十回,則為續書。這個問題的價值何在,又試圖追尋何種判斷呢?</span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">關於續書的作者身分的問題,歷來的紅學研究爭議不休,關於續書成果文學價值的判斷,也都各是其是。提問者巧妙地提出這一問題,試圖追尋歐麗娟教授在文學外部環境的宏觀前提下,從作品的細節與外緣環境的觀察,將如何看待這個問題,這樣的前提與觀察之下,可能的判斷何在?藉此,也能試著把捉演講者的觀點,如何實踐在文學閱讀的現場,進而讓在場所有同學得以師法。</span><span lang="EN-US" style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">據歐教授在閱讀此作過程當中的觀察,雖然承繼著前八十回故事的世界觀以及人物設定,但是後四十回的確表現出了不同的故事風貌。以寫人物為例,前八十回的小說人物若是下場慘絕,但書寫者仍然能用比較委婉隱晦的方式呈現,然而到了後四十回的續書部分,小說人物結局若是下場慘絕,不忍卒睹者,則呈現出較為淒厲的情態。這樣的差異,或許是「續書者」的火侯所致。</span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">書寫者或許火侯不足,但面對這樣設定架構宏大的作品,作為續書者,仍有其可取之處,續書者對於前八十回的諸般設定,人物細微的心理情狀,小動作,生活習慣,往往多能體察繼承,而不以其微小而省略。在書寫的過程當中,面對類似的情境,續書者仍能讓後四十回當中的小說人物承繼與前八十回相似的反應、習慣,心理</span><span style="font-family: 新細明體, serif; font-size: 13pt; text-indent: 26pt;">感受。當讀者觀察到這樣的結果,應該可以體認到,紅樓夢作者的人物設定、細節創設,並非無的放矢,而是具有明確的指涉。而正因為字裡行間的種種情態,具有明確的對應指涉,續書之人方可對此有所洽知,知其所指,而後乃能在小說推展出類似的情境之際,再次讓小說當中的人物表現出讀者具體可感的情緒、表現。這種實有指所的書寫,正是小說作者藉由文字連結文本內外的魔法。</span></div>
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<tr><td class="tr-caption" style="text-align: center;">歐麗娟教授(右)與本校吳冠宏教授合影</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">歐麗娟教授(右)與主持人賴芳伶教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-55155975207473156462014-11-10T08:14:00.000-08:002015-03-03T07:14:06.113-08:00【演講紀錄】李豐楙-謫凡與情緣:《紅樓夢》的小說敘述<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; line-height: 18.47px; text-align: center;">
<b><span style="font-size: large;"></span></b><br />
<a name='more'></a><b><span style="font-size: large;">謫凡與情緣:《紅樓夢》的小說敘述</span></b></div>
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<span style="font-size: small;"><span style="font-family: 新細明體, serif;">李豐楙先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年11月10日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">李豐楙教授</td></tr>
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<!--[if !supportLists]--><b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">一、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;">
</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">從「一僧一道」模式看曹雪芹對神話敘述模式的運用<span lang="EN-US"><o:p></o:p></span></span></b></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">僧、道角色作為宗教隱喻,反映都城生活的北京經驗,也可呼應佛教傳統「出家」的僧伽制,從而形成道教與佛教原型並存的宗教視角。一僧一道原型人物的安排,也回應明代中葉以後謫凡神話與出身修行傳的敘述模式,既可預示主人翁及相關人物的未來命運,也借由命運的終極抉擇表達其寓意所在,以解決開篇及如何貫串的敘述結構。一僧一道原型人物的安排,也回應明代中葉以後謫凡神話與出身修行傳的敘述模式,既可預示主人翁及相關人物的未來命運,也借由命運的終極抉擇表達其寓意所在,以解決開篇及如何貫串的敘述結構。曹氏使用的文化工具是否反映其本身及家族的遭遇,這種「自敍傳」的重新解讀有助於詮釋其宗教主題及思想
。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">古代小說家當中,最容易使用的觀念即所謂「文化工具箱理論」,每個民族都有他的文化工具箱,這個文化工具在他表達感情價值的時候,很自然的使用出來。從《水滸傳》的施耐庵(假設其作者確是此人),到書齋作家曹雪芹,都使用了<span lang="EN-US">culture tools</span>。唐人小說,到了話本,到了章回,超過一百回,這麼大的敘述面臨寫作上的難題,也就是怎麼開始怎麼結束,怎麼灌串整個作品。所以曹雪芹當然要借鏡以前的才子,也要確立自己的敘述結構。曹氏嘗試綜合運用諸種模式,如夢啟式即用而未徹底,最後確定者乃一僧一道與謫凡模式相互配合,使奇傳文體確定使用「出身、修行」的敘述策略,才能將一生的遭遇隱藏於宗教、神話框架,巧妙發揮其敘述大才。<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">二、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;">
</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">解決生命衝突的宗教義理與神話思維<span lang="EN-US"><o:p></o:p></span></span></b></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">一僧一道的觀念幾乎已經是基本常識。重要的是,一僧一道作為原型背後的意義是什麼。這是李豐楙教授想要進一步深化的。除了配合警幻仙子的引導之外,更重要的是作為一個實踐謫凡的關鍵是所謂天意的命定論,這很明顯的是一個文化工具。天的決定性、不可超越性,決定主角的命運歸趨。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">僧、道與石頭的關係,始於觀照石頭思凡與謫凡,而後歷經紅塵世界的諸多劫難:情劫、家庭之劫、人生之劫,最後又被僧道攜回仙界本源。此即敘事學的循環結構:散(青埂峯)→
初聚(三生河畔) → 再散(分生各地) → 再聚(大觀園) → 漸散(名園劫) → 散(出家即回歸仙界之始)。僧、道二教象徵「宗教之眼」,相較之下儒家則代表守常的現世秩序,小說敘述即將宗教義理實踐於主角一生,即以宗教另一心眼旁觀現世紛擾。曹氏可將個人及家族記憶,以自敘傳將家族命運的追憶,借用宗教、神話普遍化為人的共同經驗。</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 15.55px; text-align: left;">主持人賴芳伶教授</span></td></tr>
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<b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">三、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;">
</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">「宗教之眼」象徵的雙重性<span lang="EN-US"><o:p></o:p></span></span></b></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">甲、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">從方外看方內</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">「一」作為數字象徵,從
<span lang="EN-US">a</span>(單數、一個) 、<span lang="EN-US">A</span>(複數、一群)到 <span lang="EN-US">the </span>(複數、一種),既可將僧、道敘述視為不同情節的變形出場,也可作表方外觀點的反覆、適時的出現,即由出家者返觀主人翁的生命抉擇,從而象徵士之不遇在現實界(方內)遭遇的挫折處境,即此解決人生的生存困境。<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">從天上看人間</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">三生河畔石頭化身神瑛侍者動了凡心而謫凡,象徵仙佛世界為永恆、不變的潔淨世界,下觀大觀園處於人間的孤立狀態。即由「天上」決定主角的一生命運,而後檢驗「命與緣」思想在人間的實踐過程。此種文學敘述的下觀世界,即象徵喚醒紅塵男女、塵世兒女的超越性觀點。<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">從開篇觀察情節發展及可能的結局</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">從圓道循環的敘述模式觀察,曹氏遺留的抄本縱使不完,卻可依謫凡神話的敘述邏輯:出身與修行,確定開篇即暗示「可能」的結局,並由一僧一道的串聯整體,據以推測金陵正册、副册又副册即仿天書模式,脂批所謂「情榜」即決定男女主角一生的性格及命運。採用宗教之眼的超越性觀點,即方便舖陳、轉變一種敘述秩序的定向,此即以天意決定合理化其家庭命運。<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">下觀「大觀」:園內、園外世界的謫凡喻意<span lang="EN-US"><o:p></o:p></span></span></b></div>
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</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">大觀命名的人間視角:<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">1</span><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">、寶玉就父親所謂的圓滿,反駁他的管窺蠡測,說此處「似非大觀」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">2</span><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">、<span lang="EN-US">19</span>回寶玉首次出園,對「通靈寶玉」傲慢無禮,脂批:「玉原非大觀者」,即為反諷之筆。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">3</span><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">、晶三蘆月草舍居士評點:「又顯寓萬物所歸之義,要知其盈萬物者乃空萬物者也。」(浮生若夢)<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">大觀命名的宗教象徵:</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">大觀即從宗教之眼、上界之眼下觀世界,曹氏所書寫的紅樓世界,其中寓意即為一種弔詭:既是人為仿造物即仿真似假(如稻香村);此園既區隔內外又時需出入,難免帶入諸多不浄。故此一人造物所構成的世界,即用於聚集分散的下謫者,難免在世事變化中必然淪於虛幻,命定不能超越時間的大限。<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">大觀園作為人間的迷(謎)園:</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">園內兒女在被謫後,固然在區隔的世界中成長,但既范人之形即有大患,即從無知(不知情慾)無覺(未悉人事)而有知(有情有慾)有覺(人事糾葛),必然陷入人生之迷、生命之謎。故大觀園即是迷園,當其隨時間而崩解,即紅樓世界中人物的再散(樹倒猢猻散),取名大觀即有弔詭:從觀情之迷、人事之迷而觀人生之迷(謎)。<span lang="EN-US"><o:p></o:p></span></span></div>
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</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">點化即解迷之道<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 150%;">大觀園即在塵世,即存在於萬物變化中,既寓萬物富足亦顯人生無常,如是虛幻即男女主角必然陷入,而釵、黛的情愛之爭、死亡,亟需一僧、一道指點迷津而悟或不悟;對照一儒即儒家官僚所代表的功名富貴,即諷喻人生之道的凡俗化、狹窄化。故凡俗世界的虛幻中,一再針對迷茫人(生)進行點化:以免謫凡者迷失本根,此即一僧一道不斷的變形登場,象徵宗教所點化的世間兒女。</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 15.55px;">現場參與踴躍</span></td></tr>
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<b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">五、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; font-weight: normal;"> </span></span></b><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 26px;">從方外、天上下觀的人世寓意</span></b></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-bidi-font-family: 新細明體;">甲、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="font-family: "新細明體","serif"; font-size: 13pt;">從石頭之眼所見的僧、道:<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt;">骨骼不凡,豐神迥異;仙形道體,定非凡品(一回)/腌臢更有滿頭瘡(僧)、一足高來一足低,渾身帶水又拖泥(道),此種表象寓意的淵源於畸人、天殘之人(道家)、鐡拐李(道教神仙);寒山、濟公(佛教)。寓意真假二重性,假相即現智通寺僧:既聾且昏,齒落舌鈍,所答非所問;看到滿頭癩瘡,混身腌臢破爛,以此寓意「真人不漏相,漏相不真人」(<span lang="EN-US">117</span>回)即俗人之眼所見為表面假相;而真相只有真人之眼方能真見。</span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;">乙、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 26px;">神話思維的文化悖論:</span></b><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 26px;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 26px;">曹氏擅於使用原型性角色,將僧、道象徵先知原型、智慧老人原型,職司男女主角在惡境頭中試煉後予以點化,既推動情節的發展變化,也將人生的啟悟寓含於中。謫凡神話所運用的啟示話語,即外現表面的真假之相,而天道的命定既寓意於木石前盟:為還泪報恩而被謫下凡的命定,既必須與賈寶玉(俗界幻像)在人間會合,卻又註定不能完成人世的姻緣;更弔詭的則是金玉(非)良緣,金所配的玉為石之假,即婚配其名而未得其實。但既為命定則需遵循謫凡敘述的內在邏輯,即寶釵也是有緣才需了結,故一說「黛玉與寶釵」合一始為絳絑仙草的謫降。<span lang="EN-US"><o:p></o:p></span></span></div>
<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-bidi-font-family: 新細明體;"> 丙、<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><b><span style="font-family: "新細明體","serif"; font-size: 13pt; line-height: 26px;">虛幻人生的宗教寓意:</span></b><br />
<span style="font-family: 新細明體, serif; font-size: 17.7777786254883px;">宗教義理即從方外、天上觀察,故常夸說負面的人生經驗,如是文化悖論,即人一生所求均不能完美,必然伴隨塵世的慾望糾葛,情與慾最終註定必然虛幻。宗教之眼即觀照主人翁了悟其虛幻,</span><span style="font-family: "新細明體","serif"; font-size: 13pt;">故先始以甄士隱的出家了斷,續本也終以寶玉的出家結局,始契合謫凡神話的宗教解脫道。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bGL-S4IRrQJ786zbidTjGObsaCHiy04WGfs3WXxkRtIWXnGWgFgkwj_UbMnXOFPOg6oQFG2zKfTcxoI_DxTl5eNXaD3pK1it50LWqlb2aKvXGkvPPYA2VEup3pHXOjg43_OiKYwVY3Y/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bGL-S4IRrQJ786zbidTjGObsaCHiy04WGfs3WXxkRtIWXnGWgFgkwj_UbMnXOFPOg6oQFG2zKfTcxoI_DxTl5eNXaD3pK1it50LWqlb2aKvXGkvPPYA2VEup3pHXOjg43_OiKYwVY3Y/s1600/04.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 16px; padding-top: 4px; text-align: center;">李豐楙先生(右)與主持人賴芳伶教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-86924859779403353012014-11-03T20:30:00.000-08:002015-03-03T07:14:19.626-08:00【演講紀錄】朱歧祥-漫談司馬遷的「志」<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: x-small;">漫談司馬遷的「志」</span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">朱歧祥先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年11月3日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDG8BZTzdopUuUyiVt6QtcVU529DVlvX6NxM2OD5ocoQ8sMToLHPMAj4cAMqqiWJ8vAIeAZSkHS2f5xqWsosjrYKQ7iwwJv0M0uhPeaMJgsmCXqjSpxfIc7ERECp3JP3U16d0_9TYBCKM/s1600/1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDG8BZTzdopUuUyiVt6QtcVU529DVlvX6NxM2OD5ocoQ8sMToLHPMAj4cAMqqiWJ8vAIeAZSkHS2f5xqWsosjrYKQ7iwwJv0M0uhPeaMJgsmCXqjSpxfIc7ERECp3JP3U16d0_9TYBCKM/s1600/1.jpg" height="265" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">主持人魏慈德老師與演講者朱歧祥教授</td></tr>
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本次活動請到東海大學朱歧祥教授演講「漫談司馬遷的志」。<br />
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授以「漫談」的形式來講述「司馬遷的志」這樣一個本應嚴肅的話題。司馬遷的「志」是大志,在漢代文人中,太史公可以說是首屈一指,朱教授說:「他可以說是文章家裡的皇帝,文章家裡的永恆者。」對於司馬遷的成就給予最高的評價。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授從影響司馬遷一生的「三個男人」談起,第一是他的父親司馬談,第二是李陵,第三是任安。特別是任安,朱教授特別提到他是「所謂好朋友」,認為任安並不是太史公真正的朋友。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">司馬談將自己未完成的遺願交付予司馬遷,他培育司馬遷,希望他成為「聖人」,要編另外一本春秋經。這是司馬遷原本的「志」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">這個往成聖之道前進的「志」本來並沒有其他問題,以司馬遷的才華和他對自己的信心,也認為自己能夠做另外一個孔聖人。直到李陵事件,司馬遷自請宮刑,成了不完全的人,成聖之道就此斷了。於是司馬遷調整自己的「志」,希望透過《史記》,把人世間不公義的事情寫下來。<span lang="EN-US"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVXIS1ljVNA65nFCfe-z721CFAQMspSaPhe3dK6pQb7GWMisd5aDFgrWea-UXLZksqzFAeLr92WZiKccgmqFTJnowIjbPloT6biAKvhyKM3yZjdWGU_OdlqJygoZ9hIP8gPmHgvm2X1LU/s1600/2.jpg" imageanchor="1" style="clear: right; float: right; line-height: normal; margin-bottom: 1em; margin-left: 1em; text-align: center; text-indent: 0px;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVXIS1ljVNA65nFCfe-z721CFAQMspSaPhe3dK6pQb7GWMisd5aDFgrWea-UXLZksqzFAeLr92WZiKccgmqFTJnowIjbPloT6biAKvhyKM3yZjdWGU_OdlqJygoZ9hIP8gPmHgvm2X1LU/s1600/2.jpg" height="265" width="400" /></a><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">接著朱教授談到這第三個男人是任安,提到任安同時也一定要提的便是報《任安書》這篇文章。這篇文章,是任安寫信希望司馬遷能夠推賢進士,在漢武帝前美言,而後司馬遷所做的回應。司馬遷將自己從沒說過的委屈和對自我的抱負在這封信中一口氣出來。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授說道:「透過史記這樣的書,我們看到司馬遷的變態史學。本來一個健康的人寫一本健康的書,給一般健康的人看。偏偏一個人變得不健康,用一整變態的角度,去看待古往今來的歷史。他要把天下可憐人一個個抓出來,伯夷列傳,遊俠列傳等等,這些歷史個案,要是沒有挨那一刀,他怎麼寫,挨了一刀之後,史學觀點又如何轉變,十分耐人尋味。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">接著朱教授談到「志」的源起。人類在物質文明到了一定水平之後,開始追求精神層面的價值,精神層次不滿足時,天人的關係因此而發生。其中最大的命題就是:如何面對死亡?這一點在宗教上有永生可以解決,然而在古代中國呢?朱教授打趣地說道:「中國人有一個方法,這個方法無以名之,這方法叫作生小孩。我的錢,留給小孩,我沒有完成的事,我兒子幫我完成,一代一代傳下去,面對死亡的恐懼。」而讀書人依附在孔子、孟子、荀子以降的那條「永恆的線」──道統──之下,就能面對死亡。依附道統和個人立志的方向有相對的關係。司馬遷在宮刑之後,便無法朝著原本的道統前進,於是他調整方向,朝著朱教授稱為「智慧之線」的永恆之道前進。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">在《報任安書》中他濃縮了對自我期許的三句話:究天人之際,通古今之變,成一家之言。這是他邊寫史記的核心觀念。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">首先從「究天人之際」開始說起。司馬遷的天,不是自然天,也不是主宰天,也不是理性的天。在司馬遷整理歷史個案時,他覺得歷史的推演是非常態的,往往有一種勢力會影響常態理性的操作,這種力量無以名之,姑且稱之為「天」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2ANyryyNm6TNEcjjnyb5dEnRj8OWXyv2KhV0OGXExm-yZmbZmonvghjK0N3aXa_uwn-dT49xQzXpmdMfD7wLJBq9SnZrtSALr3elvukZDiS_9wpKM0ImiAHB8XzPEBkQk_2WcUzqzus/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT2ANyryyNm6TNEcjjnyb5dEnRj8OWXyv2KhV0OGXExm-yZmbZmonvghjK0N3aXa_uwn-dT49xQzXpmdMfD7wLJBq9SnZrtSALr3elvukZDiS_9wpKM0ImiAHB8XzPEBkQk_2WcUzqzus/s1600/3.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 16px;">朱教授書甲骨文講解天人關係</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">以秦國統一六國為例,司馬遷從中沒辦法找出客觀的標準去說明秦國何以能夠統一天下,最後只好歸之於「天」。這個老天顯然就是歷史洪流中的黑暗勢力,和理性是完全不同的。劉邦也是同樣的道理,司馬遷在談漢高祖的段落中,以「豈非天哉」作結。同樣的伯夷、叔齊,如果是好人,為何餓死首陽山?當問題沒辦法用理性評估,司馬遷就拉出「天」來。天阻礙了歷史的常態發展,讓好人沒有好報。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授說:「司馬遷在講古往今來委屈的人的過程,其實是在說自己。這種移情作用,跳出跳進,呈現出最有生命力的作品。這五十二萬字,必須要心與心的交流,善讀書者得之,你就能了解司馬遷內心深深深處的悲涼。」在這裡,朱教授話鋒一轉說道:「誰有那麼大本事掌握改變理性歷史的運作?司馬遷所談的黑暗的天,就是在諷刺集權的統治者。唯有無良的當權者,才能夠主導一樁又一樁歷史個案的發生。他要批判的何嘗不是漢武帝?」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">為了探究如何避免「天」對人性的干擾,因此司馬遷要「究天人之際」,換句話說,是追究天和人之間的空隙所在,區分天人的關係,表彰人的自由和力量,在《伯夷列傳》中引用孔子的話說:「道不同,不相為謀,亦各從其志也。」所謂志,是道德理性讓自己能做自己的主人,只要你事事不求人才能配獨立作業,超越一般人的價值,建立自我的價值標準,追求自我的理想,就能夠甩開政權的要求和壓力,堂堂正正的做回自己。只要人的力量越大,人的力量就能插到天的範疇,影響這個無良的天,影響這個無良的政權。在混濁的政權底下,他要超越出來,這句話馬上契合孟子的「人為貴君為輕」的觀念。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">第二句話,「通古今之變」。人如何處在不安的狀態?不安因為會變,不知道明天是什麼世界,有各種可能。如果我知道明天能做什麼,後天什麼我也知道。談歷史的變動,讓人心裡不舒服,讓人生命受威脅。古往今來歷史的變動,司馬遷說有三,一周召共和,二秦一統,三漢家天下。周召共和所產生的變動,權由天子下降到諸侯。暴秦統一天下,最明顯的變動在制度面,封建制度變為郡縣制度。第三個變動,是無賴漢(劉邦)統一天下,有一個老百姓能掌握天下政權。司馬遷在分析政權的過程中,不但要通古今之變,更要尋古今之常。透過這些變動如何找到古今的常道。司馬遷的常是什麼呢?他點出「義」這個字。只要合乎義,這個社會就能由亂回到定,回到常態的運作。義,宜也。各有所宜,適當的事情。只要每個人做的事情是適合的。適不適合是很主觀的命題。義落實在人世間,是一條一條的禮文。不同時期的禮標準不相同。什麼樣的標準才能判斷什麼是適合的事情呢?義背後還有一個動能,無以名之,我們稱之為「仁」。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">原來司馬遷骨子裡仍然是儒家,儘管司馬談是道家專家,卻找了孔安國教司馬遷春秋經,從儒家入手。常的標準建立在義之上,由仁而開義,由義而開禮。很顯然,他是一個純儒,以孔孟的標準來寫歷史的。人世間的動盪是因為我們要爭,有我們私利的考量。史記五十二萬字,講來講去,在講如何讓老百姓安定的生活。種種關鍵的語言,能讓我們掌握司馬遷的內心深處,由變而常的標準,用讓與義來解決人世間的衝突。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">最後是「成一家之言」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《史記》是私修的歷史而非官修,內容包括官方史料、民間史料以及口述歷史,灌注了司馬遷個人的生命力。我們一般認為史學家是客觀的,偏偏司馬遷是不客觀的,朱教授說:「他要去尋覓可憐人、不成功的人,幫他們著書立說。他和整個正史的主流是不相同的。我們如果由這個角度去看到史記,他是一本活生生的書,書就是人,人就是書。如果他用生命去著作,讀的人有沒有用生命去摩擦他,如果沒有用生命,你是不可能了解司馬遷啊。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《報任安書》寫道:「詩三百篇,大底聖賢發憤之所為作也。」由這些話語我們很清楚看到,《史記》不是單純由歷史鋪排的書,他是具有司馬遷內心歷史動能的一本書。朱教授說:「當年他要答應他爸爸的遺志,要繼承孔聖人要編成另外一本春秋經,這是理性的陳述。單純理性的人沒辦法寫成熱騰騰的東西,一個熱騰騰的人也不能寫成理性的作品。唯有冷酷無情在加上熱騰騰才能寫出太史公書,這種人肯定早死,不是自殺就是他殺。這種人他選擇了這樣一條路子,冥冥中又何嘗願意。」司馬遷正是要透過《史記》的完成來確立他的「志」。佛洛伊德說創作相當於夢,相當於對性的追求,這種追求是無以上指的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授最後回到儒家的精神上,談孔子的「學而時習之」的習字,「習」指的是實踐的過程,一次又一次從不會到會的過程。如果學的是聖人,每天做成聖的工夫,每天就逼近聖人的光華。這種成聖的學習,不亦悅乎。這是孔聖人教我們的志,這個志是成聖的志。由聖人過渡到孟子,談不忍人之心,這種學習不在外求,而在我們內心。所謂「為天地立心,為生民立命,為往聖繼絕學,為萬世開太平」,朱教授說:「如果沒有我,天地無心,天地因為有我,天地才有心,我的價值,因此而生。如果中華民國要的是小螺絲釘,我們要那麼多螺絲釘做什麼?如果每個人沒辦法做自己的主人,沒辦法標榜自己的特殊性,要你何用?」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授以王國維的人生三大境界作為總結:<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">昨夜西風凋碧樹,獨上高樓,望盡天涯路。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">衣帶漸寬終不悔,為伊消得人憔悴。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">眾裡尋他千百度,驀然回首,那人卻在,燈火闌珊處。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授特別提點其中的「獨」字,在尋到的途中必定是孤獨的,又說,伊人即是書本,如果讀書,讀經典,能夠像談戀愛那樣讀下去,必須在字與字之間沒有字的地方讀到有字,這是老人教我們的讀書方法,無以名之,我們歸納出兩個字:執著。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">朱教授又以兩顆心期許在場學子,希望能以傲然的心和慈悲的心做學問及面對人世。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">左起巫俊勳教授、朱歧祥教授、魏慈德教授</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-22254033037591569152014-10-23T04:32:00.000-07:002015-03-03T07:14:29.687-08:00【演講紀錄】陳平原- 大變動時代的圖像敘事──晚清畫報三十年(1884-1913)<div style="background-color: white; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.47px; text-align: center;">
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<a name='more'></a><b><span style="font-size: small;">大變動時代的圖像敘事──晚清畫報三十年(1884-1913)</span></b></div>
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<span style="font-size: small;"><span style="font-family: 新細明體, serif;">陳平原先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年10月23日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL8uvarND6PWVQOeSF37WbKLd15LIzUmn5dU8dnhDdHSeKslwOc2w4VQCn56td9j5Da8BhSnwMnYIMXqUUgRUwF9qz6kstV4jdd63HCqtymj6vfHSU-VxZ-Q4h-PHH9p-_2RlRDaVk9MM/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL8uvarND6PWVQOeSF37WbKLd15LIzUmn5dU8dnhDdHSeKslwOc2w4VQCn56td9j5Da8BhSnwMnYIMXqUUgRUwF9qz6kstV4jdd63HCqtymj6vfHSU-VxZ-Q4h-PHH9p-_2RlRDaVk9MM/s1600/3.jpg" height="297" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">陳平原教授</td></tr>
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<script language="JavaScript" src="http://podcast.ndhu.edu.tw/service/episode_viewer/86dcb502a12712dc0a772fed213698f53eefd364"></script>
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"></span>
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">本次活動請到北京大學陳平原教授進行演講,講題為「大變動時代的圖像敘事:晚清畫報三十年」。陳平原教授在傳統學術之外,長年關注大學史、城市、圖像與聲音的文化。今日講題針對的就是圖像的部分,其中的重點在於《點石齋畫報》,《點石齋畫報》是現代人理解晚清中國社會生活層面的重要寶庫,它包含了娛樂與啟蒙的層面。《點石齋》之外的畫報,現今能見的仍有一百多種,貫穿來看便可呈現晚清生活的樣貌。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">講題「晚清畫報三十年」的結束點在<span lang="EN-US">1913</span>年,關鍵在於《真相畫報》的出版與結束。<span lang="EN-US">1912</span>年辛亥革命成功後,潘達微、高劍父、高奇峰等人辦畫報的同時,潘達微同時對照相技術有高度興趣,照相技術從奇技轉換為一種生產方式,其中一個關鍵就在於革命後出版的《大革命寫真集》。《真相畫報》是在這個技術轉變為生產方式的初期出現的,<span lang="EN-US">1912</span>年創辦,<span lang="EN-US">1913</span>年便停刊了。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">畫報的第一期是畫家為主,第二期是照相機,這就展現了時代的變化。《點石齋畫報》亦在<span lang="EN-US">1913</span>年停刊,原來使用石印印刷與畫家作畫為主的畫報,轉換為照相機為主,道林紙印刷的畫報了。當照相成為主流,石印的成本高、效果差,自然被淘汰。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳平原教授丟出了一個問題:照相機一定比畫報更有說服力嗎?是誰更能夠體現真實?<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳平原教授將此次演講分為六個部分展開如下:<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">為何以及如何讀畫報<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">小說插圖與圖像敘事<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">新聞業與石印術<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">4.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">都市生活與西學東漸<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">5.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">新知娛樂與改良群治<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">6.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">低調的啟蒙與高調的啟蒙<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">為何以及如何讀畫報<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">1899</span><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">年梁啟超在《飲冰室自由書》中提到「傳播文明三利器」為「報章」、「演說」以及「學堂」三者。中國文盲比例高,演說的重要性更為重要。報章之中,報紙和雜誌不一樣,其中又有文藝性、科學性、商業性、黨派的或社團組織的,種種區別。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">《申報》曾對《點石齋畫報》有如下評論:「其事信而有徵,其文淺而易曉,故士夫可讀也…」又云:「外洋新出一器,乍創一物,凡有利於國計民生者,立即繪圖譯說,以備官商采用。」可以窺見畫報在當時的功用。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳平原教授提到,在他的著作中將華報的內容歸類成「中外紀聞」、「官場現形」、「格致彙編」、「海上繁華」、「神鬼故事」、「因果報應」等,在這種種分類中,若要描述晚清與傳統中國的不同,自然會忽略「神鬼故事」與「因果報應」的一方面,這取決於個人的閱讀趣味和研究的立場。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">傳統中國有「左圖右史」的傳統,有些東西是單靠文字不能表達的。正如見所見齋〈閱畫報書後〉一文所說:「文字所不達者,以象示之而已。」傳統的中國書畫僅求寫意,畫報則是追求真實。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳教授在簡報上展示群眾聚於「閱報欄」旁閱讀報紙或畫報的圖像。閱眾是理解晚清思想啟蒙的關鍵,士大夫知道老百姓沒有錢,因此有講報活動,有「閱報欄」等設施。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">緊接著陳教授展示幾張圖片,都是商家挖空心思,將推銷商品說成是啟蒙的事業。或者將閱讀畫報附會為一種風雅的體現,作為一種變相的廣告。<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">小說插圖和圖像敘事<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">畫報首先是「報」然後才是有「畫」。但是講圖文並茂,並非西學東漸以後才有,中國早有先例,即所謂「左圖右史」的傳統。關鍵問題在於,畫報是重述一則新聞,這是最大的不一樣,傳統中國的畫是配合文字的,畫報的文字是配合說明畫的。<span lang="EN-US"><o:p></o:p></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyuwnqxfEJ6UhcFqABQE3bLo5rLC5C9ljP9av0378ju87d3uQ_ZSZepnlSc1RojxwInu5e2YnYdHB1VhDjBflwur4pz8fuBClIRlfdG4UUtaEWtgfvy1NQH1daF05w0c4P5S5PwYtf11c/s1600/4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyuwnqxfEJ6UhcFqABQE3bLo5rLC5C9ljP9av0378ju87d3uQ_ZSZepnlSc1RojxwInu5e2YnYdHB1VhDjBflwur4pz8fuBClIRlfdG4UUtaEWtgfvy1NQH1daF05w0c4P5S5PwYtf11c/s1600/4.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 16px;">活動剪影</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">畫報出現之前,有些人開始畫單張的「戰捷圖」以傳遞前線捷報,頗有銷路。前線的戰事勾起群眾對於新聞的興趣,如果世界太平,則人們便沒有看新聞的需要。《點石齋畫報》的創辦者美查十分驚訝中國人有製圖技術,卻只關心文字,明清小說戲曲的插圖已經十分精美且技術精良,但當時認為新聞並不需要認真製作。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">晚清的小說插圖由晚清韓子雲創辦的小說雜誌《海上奇書》開啟文學作品插圖的風氣,到了<span lang="EN-US">1903</span>年的「繡像小說」中,可以見到每一回都配了插圖。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">而《點石齋畫報》與小說最大的變化是,由文字文主的「插圖」轉變為以圖像為主,甚至文字成為圖像的附庸。<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">新聞業與石印術<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">十九世紀三十年代開始有石印漢字書籍,石印術的商業化正式啟動。石印術在技術手段上大大超越了板刻,最重要的是找到好的畫家。陳平原教授展示了多張構圖相同的中國人吃西餐的畫報圖像。最能體現西學東漸的就是吃西餐,圖中的桌椅用具等等都是西洋進入上海的具體展現。而不同的畫家的畫技影響了畫報的品質甚鉅,多張圖像中以吳友如的作品素質最高,技巧最好。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">因此畫家對於畫報的重要性極高,而晚清的畫報多是以畫家為主導的。以《時事畫報》為例,《時事畫報》是一批革命者所辦的畫報,具有強烈的政治色彩,晚清的漫畫、最早的美術展覽會、照相藝術等等都由這批畫家所為。在畫報中,畫家比文人更為關鍵,而畫家主導的畫報埋下了隱患,畫家過於強勢的結果是不安於只是畫「插圖」,造成文與圖之間的無法整合,時常先做好了畫才搭配上不相干的文字。又,如《真相畫報》時常刊登所謂「當代名畫」,即高氏兄弟自己所作的畫。畫家過於強勢的結果也導致畫報本身的分裂。<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">4.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">都市生活與西學東漸<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">畫報本身就是現代傳媒及現代生活的產物,最能體現現代生活的步伐。陳平原教授展示了「三百六十行圖」的數種,如賣報人、賣小說等等,這些都是當時最新的生活方式的展現。<span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">5.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">新知、娛樂與改良群治<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳平原教授展示了一張「在學堂門口演說讀報的好處」圖,作為新社會、新風氣的一種具體展現,由一名女學堂中學生的女僕,在學堂門口向路人演說讀報的好處。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">1900</span><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">年以前的北平特別保守,<span lang="EN-US">1902</span>年起,北平的學堂,特別是女學堂發展迅速,超越中國其他區域。女學堂的發展影響社會甚鉅,陳平原教授接著展示了一張女學堂展覽會的圖片,女學堂藉由展覽女學生的作業,讓有錢人進女學堂參觀,藉此籌募校務基金。在這之中顯現出陳平原教授所謂「流動的風景與潛藏的慾望」,過去女人養在深閨無人識,而如今拋頭露面,女學生的服飾關係了整個社會風氣,當時政府明令頒布女學生的服裝詳細規定,以保護女學生,並避免犯罪。<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-align: justify; text-indent: 26.0pt; text-justify: inter-ideograph;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">陳平原教授又展示了一張女學生在操場操練的圖片,女學生一旦走上操場,一個開放的場域,在當時便成為一種風景,成為風景便有畫家畫下來販售牟利。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"></span><br /></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: 新細明體; mso-bidi-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">6.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">低調的啟蒙與高調的啟蒙<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfJ07DFmYYuz7bqgMeedYRdxszupwn_AY1le21442ms2XLB99P7a5W6DlpkKt6LPzE3SnDP4cYLmialGrSXjIg2n064Lh-XliAI_Y36lfyNzGShhfzutFbI9fjITOCu9AGjIX8JuRQkI/s1600/5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxfJ07DFmYYuz7bqgMeedYRdxszupwn_AY1le21442ms2XLB99P7a5W6DlpkKt6LPzE3SnDP4cYLmialGrSXjIg2n064Lh-XliAI_Y36lfyNzGShhfzutFbI9fjITOCu9AGjIX8JuRQkI/s1600/5.jpg" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 16px;">活動剪影</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; mso-char-indent-count: 2.0; mso-pagination: widow-orphan; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">廣州是清末民初思想最激進的區域,北京位處天子腳下,因此相對保守。北京的《啟蒙畫報》有所謂「兩宮御覽」的認可,爭取能夠進宮,因此一定是保守的。上海和天津屬溫和改良群治,不主張革命。陳平原教授展示了廣州《時事畫報》中秋瑾女士遭押送圖,因秋瑾遭到斬首刑,依大清律令女子是不應處以斬首極刑的,當時輿論強烈抨擊政府,輿論壓力之大在畫報中完整體現。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> </span><span style="font-family: 新細明體, serif; font-size: 13pt; line-height: 150%; text-indent: 26pt;"> </span></div>
<br />
<div class="MsoNormal" style="mso-char-indent-count: 2.0; text-indent: 26.0pt;">
<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">最後,陳平原教授表示,照相不能回到原始的情境中去,然而畫家透過玄想卻可以重建事件的樣貌,因此我們很難說照相會比繪畫更真實,繪畫有時可以超越時空。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">陳平原教授會後留影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-41881626787539947552014-10-20T20:14:00.000-07:002015-03-03T07:14:57.281-08:00【演講紀錄】康來新-東華‧實錄‧通靈玉:紅樓夢的一種讀法<div style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 18.4799995422363px; text-align: center;">
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<a name='more'></a><b><span style="font-size: medium;">東華‧實錄‧通靈玉:紅樓夢的一種讀法</span></b></div>
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<span style="font-size: medium;"><span style="font-family: 新細明體, serif;">康來新先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年10月20日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">康來新教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">本次活動請到中央大學中文系康來新教授演講「東華‧實錄‧通靈玉──紅樓夢的一種讀法」。康教授為東華大學量身打造講題,「東華」一詞的第一個指涉,即本校──太平洋濱的校園──東華大學,康教授希望藉此與東華能夠有一點連結。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">而「東華」一詞的第二個指涉,即清朝初年的「編年體」史書《東華錄》。一般我們所熟悉的史學形式是《史記》司馬遷所開出的「紀傳體」傳統,紀傳體和編年體不一樣的是,紀傳體和編年體不同處在於,作為編年體是以帝王為主體的紀錄方式,一般人是不能用編年的「實錄」體制的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">主持人賴芳伶教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">康來新教授說道,編年體的史學敘事和小說的關係,這一點過去還未有人提及。在小說之中的「實錄」已經變成一種精神指向,是一種努力追求真相的抽象精神,而《紅樓夢》的第一回便說道此書乃「實錄其事」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">康教授接著提到,小說以現在的分類法來說是屬於敘事類,但是在中國四部分類法中,應該列入小說的集部卻以抒情見長。在中國傳統中屬於「子」部的小說,其敘事的傳統乃是從「史」部而來。宋代以後平民興起,說故事的人職業化,成為一種娛樂產業,這關於白話文的興起,加上印刷術的發達。到了晚清尤甚,晚清時期人們發現要改進老百姓的知識系統,一定要用通俗的故事打動人心。聽故事、說故事,是全世界人類的基本需求。說故事的資源、源頭從哪裡來?中國的文言短篇小說在唐代開始成熟,有自覺的審美意識,唐代傳奇基本上受到史傳影響,但是章回小說呢?在這裡康教授點出問題提供與會者思考。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">康來新教授接著提到紅樓夢的書名問題,她提到,創作是身不由己的,作者會不聽使喚,最後會走到另外一條路,寫論文也是,容易節外生枝。紅樓夢的寫作過程漫長,中間具有許多互動,所以會不斷地修改。在修改的過程中曾經改過幾個不一樣的書名,而最能體現其「實錄」特質的就是「情僧錄」這個書名。《情僧錄》或《風月寶鑑》,某種程度上對應到金瓶梅的西門慶,金瓶梅用三個慾望的女人做名字,可是慾望的主人是西門慶。《紅樓夢》提到:「空空道人因空見色,
由色生情,傳情入色,自色悟空,遂易名為情僧」,四大皆空的人為何後來執著於情?這關連到書名的問題,「情僧錄」、「風月寶鑑」,都是在說<b>某個男人的故事</b>,這些書名都是形而下的器物對形而上的思考,「紅樓夢」的意思,換言之富貴是一場春夢,這是虛實之間的辯證問題。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">在形而下便是「物用」,《紅樓夢》最初關於物質的兩種象徵符碼即木與石,賈寶玉和林黛玉的愛情故事被稱為木與石的盟約,從這裡連結到形而下的物質器用如何體現形而上的精神部分。</span><span style="font-family: 新細明體, serif; font-size: 13pt; line-height: 150%; text-indent: 26pt;">在這裡便進入講題的最後一個部分──「通靈玉」的指涉。康來新教授扣緊主題「紅樓夢的一種讀法」,從物質器用的部分切入,首先便是寶玉黛玉與寶玉寶釵的樸實本真性與社會世俗性之間的矛盾衝突。</span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">從文化史的觀點來看,過去的歷史是描寫帝王將相,但是文化史是講市井小民的。各種文化史都必須用宏觀角度去分析,而且必須知道文化的意義是什麼。而康教授選擇把紅樓夢放在文化的物質器用的層面去看。康教授提到自己最新的研究是紅樓夢的日常性。考古學者發現,在新石器時代後期,出現玉器文化。石頭和玉關係在《說文解字》中說:石之美者為玉。在人類的器物文明裡確實有玉器文化。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">演講現場一隅</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">《紅樓夢》裡寫道「登時」變成美玉,康教授認為用了一種神學的修辭方法,象徵著從石器時代進入玉器時代。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">康教授說:「寶玉在第三回問林黛玉有沒有玉,而啣玉而生,正是宗教的寫法。」許多出土文物都從古代墓葬中發掘而出,因此有許多都是殉葬物。在商代,人們敬天畏鬼的時期,以玉填充在死者身體九孔之中,叫做玉函。寒蟬是一種生物性的觀察,轉變為人文的托喻,玉蟬有宗教的再生意涵在裡頭。這些都是「玉」的文化意涵。在《紅樓夢》裡的「啣玉而生」,與喪葬儀式相反,神瑛使者啣玉而死,而後賈寶玉啣玉而生。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">後來的《紅樓夢》版本將「青梗石」等同於「神瑛使者」,但康教授卻傾向於人與物二分,各有各的生命史,各別進入人間。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">接著康教授藉由選讀紅樓夢的段落來緊扣講題中的「讀法」。以第一回為例,書中提到玉是可佩戴的,康教授指出,可配戴的玉意味著玉上穿了眼,而穿眼睛過了很高的技術演變。到了第三回,襲人亦提及寶玉的玉「有眼」,襲人的特別強調,亦被脂硯齋拿來大做文章。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">張愛玲在〈四詳紅樓夢〉中提到:「石頭掛在寶玉頸項上觀察記錄一切,像現代遊客的袖珍照相機。」而康教授則認為通靈玉是一支手機。紅樓夢所有的故事是透過有眼的通靈玉看到並且記錄的。所有的故事都和賈寶玉有關,即便那個人很遠。智慧型的手機不但可以錄影也可以錄音,可以攝影顯影,就變成一本電子書,是可以互動的。扇子的正常用法,在托喻系統裡頭,秋扇見捐,到了秋天扇子就不用了。紅樓夢裡頭扇子最大的用處就是讓晴雯一笑,好聽的聲音讓薄命的美女在苦難中一笑,賈寶玉覺得非常值得。而這些都透過「通靈玉」的眼睛而得以實錄其事。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">康教授說道,白居易很喜歡太湖石,養丹頂鶴。對於器物文明和價值有所知的時候,再回頭來讀形而上的愛情文本的時候,會有不一樣的體會,會不會殺風景呢?康教授認為如此反而會有一種實感。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">回到史學與小說的關係上,《金瓶梅》和《紅樓夢》作為「實錄」的現象特別明顯,因為他們都是以一個類似帝王的男人為中心。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; line-height: 150%;">《紅樓夢》的作者用了一個比傳統的「假作真時真亦假」更寬泛的指涉,歷史主義也認為歷史是一種虛構,康教授表示她不能認為歷史是虛構,但至少有很多加減乘除,有很多變造。實錄其事也可能是一種障眼法,紅樓夢的實錄其事已經擺脫了史學傳統的史官之職,用一個通靈物來表示這些都是真實發生的事情,《紅樓夢》的作者先知先覺的用了一個「通靈玉」的設計。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt;">《紅樓夢》記載了血肉之軀的人生,是很實錄、很科學的,類似西方自然主義小說的手法。《紅樓夢》對於「讀者」角色十分重視,而作為一個讀者所需的條件,就是感同身受的能力,而這正是賈寶玉所具有的。因此讀者可以介入到經典的意義生產,而經典可以繼續生產意義。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">康來新教授贈禮予賴芳伶教授</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-25880087726373554262014-10-14T16:18:00.000-07:002015-03-03T07:15:10.771-08:00【演講紀錄】楊儒賓-道家之前的莊子<div style="text-align: center;">
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<a name='more'></a><b><span style="font-size: large;">道家之前的莊子</span></b></div>
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<span style="font-size: large;"><span style="font-family: 新細明體, serif;">楊儒賓先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年10月14日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">楊儒賓教授</td></tr>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 此次講題為「道家之前的莊子」,是講者楊儒賓教授新書《儒門內的莊子》中的導論部分。關於這樣一個翻轉既有思想史印象(即屬於「道家」的莊子)的研究,楊儒賓教授打趣的說道:「這樣的題目,基本上是個歡樂的文章,因為跟人家過不去!」所謂「道家之前」,即漢代諸多學者,如司馬談〈論六家要旨〉等,提出「道家」一詞之前的莊子。楊儒賓教授提到,先秦時期,除了儒、墨二家,並無道家之「名」,那麼也可能沒有道家之「實」。回到先秦,儒家和墨家的分派有其規律,其中必有一個宗師,有其經典,以及明確的教義,多少具備同一學派的集體意識,而其他的思想家,都屬於「諸子」,所謂「百家」都是漢代以後才成立的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 楊儒賓教授說:「我們不一定要按照漢代以後的觀點來了解莊子,我們可以回到漢代之前,去了解莊子到底在想什麼東西,他的思想可以把他歸類在哪裡。」</span><span style="font-family: 新細明體, serif; font-size: 13pt; line-height: 20pt;">在莊子和儒家的關係上,楊儒賓教授提到,明朝末年王夫之、方以智便已述及。在明代,有所謂「三家匯流」的說法,因此,在這個時期,以莊子在中國思想、文學上的影響力,本被歸類為「道家」的莊子,和「儒家」結合,也並沒有奇特之處。那麼王夫之這樣徹底的儒家教義者及民族主義者,為什麼選擇莊子,為什麼認為莊子和儒家關係特別密切?楊儒賓教授認為,王夫之、方以智對莊子的理解非常深刻,王夫之花了很多的時間談莊子,將王夫之所註莊子同其他代表註比較,其中論證幾乎相同。楊教授說道:「他對《莊子》注釋的密度,我認為更密集。王夫之,絕對不是你可以輕視的一個人,其中有強大的洞見。王夫之、方以智,當時註解莊子並非閒來無事,也不是為了升等或寫博士論文。王夫之、方以智認為心學、佛教的發展有其弊病,這種唯心論帶來的對氣、對世界的忽視,藉由莊子可以找到對治的方法。」</span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 楊儒賓教授認為,儒家一向注重文化意識,文化意識、倫理意識本來就是儒家的核心關懷,談到徹底的真常唯心,文化本體就會被擺在一邊,但回頭看莊子,他談到技術層面,如庖丁解牛,文化本體正蘊涵在這些實際的技術層面上。過往對莊子的刻板印象中,只見到莊子對語言的忽視和不信任,談「無言之境」與「卮言」,然而莊子實際上也影響了詩歌、藝術等等。莊子可以和禪宗結盟,也可以和藝術結盟、文學史上眾多詩論、書論藉莊子理論言說,這種對語言、技術的肯定,是文化世界不能忽略的一個向度。王夫之、方以智所面對的問題,和當代面對的一樣。新儒家哲學仍然是很強的唯心論傳統,然而談儒家的價值,牟宗三已經到了高峰,底下應該有新的談法。哲學應該與當代有對話。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 緊接接著楊儒賓教授回到主軸之上,首先面對道的問題是:「有什麼資格說道家和儒家的關係?」莊子既沒有說自己是道家,也沒有說自己是儒家。那該怎麼解釋莊子是儒家?這個問題必須從《莊子》內部找尋答案。而這又引出了《莊子》的成書問題,楊儒賓教授認為,讀先秦著作,以「書」為單位比起以「作者」為單位來得恰當,《荀子》、《墨子》、《莊子》這些書較有體系,但是如《管子》則結構鬆散,比較像是叢書的形式。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 其次,楊教授認為,談《莊子》必須從「天下篇」作為切入點,因為「天下篇」應為莊子成書時才形成的總結。在天下篇之中對當時諸子百家做了總介紹,中國古代確有不少這類的文章,如《荀子》,〈論六家要旨〉、《漢書‧藝文志》等等,當學術發展到成熟階段,自然而然地會有人為前代學術做出分類或是價值高低的安排,如佛教的「判教」即是一例,楊儒賓教授認為,在思想史中能夠與判教的理論層次相比的,只有《莊子》「天下篇」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 天下篇非從傳記式視角來安排諸子百家,而是從客觀的角度,正是在這一點上與判教同樣具有理論的高度。《莊子》談到當時天下的學術,整個人間文化乃至學術的發展都歸於「太一」,由這個道逐步發展出來。學派它體現、了解、彰顯「道」的價值越低,地位就越低。先秦百家皆認為自己著作最好,莊子為他們做安排,必須提出自己的價值判准。莊子很明確的說:朗現道,是道與人的主體性結合的越密切,價值就越高。世界的本質,與人的本性之間的關係。這也是後來所謂「天道性命相貫通」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 楊儒賓教授認為,《老子》承認世界的存在但是不承認世界有其獨立意義,《老子》的世界永遠只活在「小國寡民」之中,在那底下不能談創造。然而《莊子》是一個動態的哲學,所謂氣化流行,和儒家肯定世界是比較接近的。從哲學的本源來看,《莊子》確實和《易經》、《中庸》的本體宇宙論接近。此外,「天下篇」談天下諸子百家,卻不談孟子、孔子,這是一個最大的謎題。一直有人認為,天下篇談的「古之至人」就是孔子,雖然沒有絕對的證據,但恐怕有些道理。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ascii-theme-font: minor-fareast; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">楊儒教授也指出,在《莊子》內七篇中出現最多的人物便是孔子,藉此證明莊子與儒家之間的連結。「假托」具有公信力的孔子以寄其言並沒有錯,然而《莊子》書中出現的頻率太高,楊教授認為這樣的現象不會只是「寓言」,否則可以假託者那麼多,非用孔子不可,並非偶然。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="font-size: 16px;">演講現場剪影</td></tr>
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<tr><td class="tr-caption" style="font-size: 16px;">會後李秀華老師(由左起)、吳冠宏老師、劉惠萍老師與楊儒賓教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-2386220286182767072014-10-01T18:36:00.000-07:002015-03-03T07:15:42.747-08:00【演講紀錄】廖名春-《大學》篇「湯之盤銘」新釋<div style="text-align: center;">
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<span style="background-color: transparent;"><span style="font-size: large;"><a name='more'></a>《大學</span></span><span style="background-color: transparent; font-size: large;">》</span><span style="background-color: transparent; font-size: large;">篇「湯之盤銘」新釋</span></h2>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">廖名春先生</span><span lang="EN-US">2014</span><span style="font-family: 新細明體, serif;">年9月29日東華大學演講</span><span style="font-family: 新細明體, serif;">紀錄</span></span></h3>
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<tr><td class="tr-caption" style="text-align: center;">廖名春教授</td></tr>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">廖名春教授對於《大學篇》「湯之盤銘」:「茍日新日日新又日新」一句做出新的考證和釋文,從文獻回顧的部分開始說起。唐代孔穎達認為,湯盤為「沐浴之盤」,又以大學篇開章之「在親民」改讀「新民」,以緊扣「湯之盤銘」之「日新」一句。到了宋代,朱熹對《大學篇》重新編排註解,延續孔穎達的「沐浴之盤」的解釋,此外,朱熹認為「茍日新」之「苟」是「誠」的意思,其語意為:假設我們能夠做到日新,就能夠日日新,就能夠又日新;苟即「假如真的」的意思。同樣是宋代的「新定邵氏」則認為「日日沐浴恐未必然」,教授提到北方人因天氣寒冷,不若南方人天天沐浴洗澡,並提及於吉林大學求學時的趣事。因此,新定邵氏認為湯盤應為洗臉之盤而非沐浴用。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">在現代的研究中,郭沫若在〈湯盤孔鼎之揚搉〉中認為「茍日新日日新又日新」是由「三戈銘文」「兄日辛」、「祖日辛」、「父日辛」變化而來。對於「三戈銘文」的真假眾說各異,王國維、羅振玉等認為三戈為真,董作賓、詹光直、李學勤等認為三戈為假;比較持平的看法是,三戈為真但銘文為後人所刻。然而,無論三戈銘文真假為何,其銘文與湯之盤銘毫無關連性,郭沫若的解釋是錯誤的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<tr><td class="tr-caption"><span style="font-size: xx-small;"><span style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; line-height: 22.3999996185303px; text-align: start; text-indent: 0px;">投影片畫面為郭鼎堂依羅雪堂所藏,</span><span style="background-color: white; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; line-height: 22.3999996185303px; text-align: start; text-indent: 0px;">提出兄、祖、父日新說法的商三戈</span></span></td></tr>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">但郭沫若的研究中有其重要的啟發,即據金文將「苟」訓為「敬」。金文裡的「苟」字即「敬」的本字,董作賓等也承認郭沫若的說法。廖名春教授認為孔穎達、朱熹將苟訓為誠,使句子就變成了假設句,「茍日新」是條件,「日日新」、「又日新」是結果,這種解釋在邏輯上是不能夠成立的,因為「日新」、「日日新」、「又日新」不是條件關係,廖教授說道,比如說我們做了一件好事,卻不能保證以後會做兩件三件,又以跑步為例,第一天跑十公里,第二天第三天不一定能夠跑。「我們日新,卻不一定會日日新、又日新,所以條件不能成立,所以苟字不能作誠解釋。」廖教授說,「不但要日新還要日日新、又日新,這是一種遞進關係,不是條件關係。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">哲學家勞思光將苟字解釋為「敬肅」,將句子解釋為:要敬肅的日求進步,便要天天求進步,繼續不斷地求進步。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">勞思光將湯之盤銘視作「充足必要條件關係」,這樣一來,即是認為:只要做到了敬肅地日求進步,就一定會天天會求進步,繼續不斷的求進步。廖教授認為,不能說我們只要做到了恭敬的吃飯,就能夠天天恭敬的吃飯,這是將遞進關係,誤解成為了充足必要關係,因此勞思光的話是毫無道理的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">廖教授的意見統合有兩方面:第一是「苟」字怎麼讀,第二是「又日新」的位置。廖教授在金文與詩經中找到了「苟」訓為「敬」的解讀法。金文中有「敬夙夜」的說法,而詩經說「夙夜匪懈」,「敬」的意思就是「不要鬆懈」。「又」是重複的意思,等於「再」,又日新就是第二天的意思。董作賓將「又日新」讀做「佑日新」,這種讀法雖然不通,然而這顯示了董作賓認為「又日新」的「重複」的意思接在日日新後並不通順。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">廖教授對於湯之盤銘的解釋為:「日新」是第一天,「又日新」是「再新」,就是第二天新,「日日新」是每天新、天天新,是對日新又日新的超越。而這就是勤而不懈、勤而不止。「日日新」已經包括了第一天和第二天,所以不能在又日新之前。又,《藝文類聚》引《禮記》所引「湯之盤銘」,其中寫道:「茍日新德日新又日新」,同樣的,曾鞏亦曾因用「德日新又日新」的用法,由此可見,前人也注意到了「又日新」必須接在「日新」之後的問題,只是沒有點名金文倒文罷了。簡而言之,「湯之盤銘」就是藉著洗臉來做為比喻,每天都要洗臉,勤而不懈。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">廖教授又提到了倒文的問題是文獻中常見的,舉《禮記‧月令》「 制有小大,度有長短」為例子,古人往往說「短長」而非長短,《呂氏春秋》、《淮南子》皆做「短長」,又如「大小」一詞古人皆曰「小大」。後人沒有發現「日日新又日新」的誤倒,又沒有正確理解苟字本意,因此對於文意出現誤讀。廖教授不斷強調,這個句子是遞進關係而不是假設條件關係。從金文和詩經的對比,敬就是不懈的意思,夙夜就是敬,因此,敬和日新、又日新、日日新是同義關係,這個句子應該被重新釋為:「敬:日新,又日新,日日新」。</span><span style="font-family: 新細明體, serif; font-size: 13pt; text-indent: 26pt;"> </span><span style="font-family: 新細明體, serif; font-size: 13pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">廖名春教授(左)與主持人魏慈德教授合影</td></tr>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-7360833707648008342014-09-08T21:36:00.000-07:002014-09-18T22:41:58.694-07:00【講座公告】09/29《大學》篇「湯之盤銘」新釋<div class="separator" style="clear: both; text-align: center;">
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<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: medium;"><br /></span></b>
<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: medium;">中國語文學系【經典研讀系列講座】</span></b><br />
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<b><span style="font-size: medium;"><br /></span></b></div>
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<span style="font-size: medium;"><b><span style="color: #215868;">演講者:廖名春</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<div style="font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b><span style="color: blue;">學歷:吉林大學歷史學博士</span></b></div>
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<b><span style="color: red;">現職:北京清華大學歷史系暨思想文化研究所教授</span></b></div>
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<b><span style="color: #17365d;">專長:出土簡帛、先秦秦漢學術思想史等</span></b><br />
<span style="color: purple;"><b>專著:《周易研究史》、《孟子的智慧》、《荀子的智慧》、《</b></span><b style="color: purple;">荀子新探</b><span style="color: purple;"><b>》、</b></span><b style="color: purple;">《帛書易傳初探》、</b><b style="color: purple;">《新出楚簡試論》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《周易經傳與易學史新論》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《郭店楚簡老子校釋》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《出土簡帛叢考》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《周易經傳十五講》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《呂氏春秋全譯》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《中國學術史新證》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《周易大辭典》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《周易本義》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《周易》點校本</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《帛書易傳初探》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《易學基礎教程》</b><b style="color: purple; line-height: 18.4799995422363px;">等</b></div>
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<b style="font-size: x-large;"><span style="color: #c00000;"></span></b><br />
<a name='more'></a><b style="font-size: x-large; line-height: 18.4799995422363px;"><span style="color: #c00000;">題目:</span></b><b style="font-size: x-large; line-height: 18.4799995422363px;"><span style="color: #c00000;">《大學》篇「湯之盤銘」新釋</span></b></div>
<span style="font-size: medium;"><b><span style="color: #17365d;"></span></b></span></div>
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<b style="font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="color: #403152;">演講日期:2014年9月29日(一)</span></b></div>
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<b><span style="color: red;">演講時間:14:00-16:00</span></b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b>地點:</b><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b><span style="color: #00b050;">主持人:魏慈德教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-87643508961791984252014-09-07T21:49:00.000-07:002014-09-27T23:07:07.469-07:00【講座公告】10/14 道家之前的莊子<div class="separator" style="clear: both; text-align: center;">
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<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: small;"><br /></span></b>
<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: small;">中國語文學系【經典研讀系列講座】</span></b><br />
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; line-height: 18.4799995422363px;">
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<b><span style="font-size: small;"><br /></span></b></div>
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<span style="font-size: large;"><b><span style="color: #215868;">演講者:楊儒賓</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<b><span style="color: blue;">學歷:國立臺灣大學文學博士</span></b></div>
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<b><span style="color: red;">現職:國立清華大學中文系教授</span></b></div>
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<b><span style="color: #17365d;">專長:神話理論、儒家哲學、身體理論、宋明理學等</span></b><br />
<span style="color: purple;"><b>專著:《孔子的樂論》、《天體、身體與國體:迴向世界的漢學》、《儒學的氣論與工夫論》、《</b></span><b style="color: purple;">黃金之花的秘密</b><span style="color: purple;"><b>》、</b></span><b style="color: purple;">《朱子學的開展─東亞篇》、</b><b style="color: purple;">《日本漢學研究初探》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《中國經典詮釋傳統(三):文學與道家經典篇》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《中國古代思想中的氣論與身體觀》</b><b style="color: purple; line-height: 18.4799995422363px;">、</b><b style="color: purple; line-height: 18.4799995422363px;">《莊周風貌》</b></div>
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<br />
<a name='more'></a><br />
<a href="https://www.blogger.com/null" name="more" style="color: #666666; text-decoration: none;"></a><b style="font-size: x-large;"><span style="color: #c00000;">題目:</span></b><b style="font-size: x-large;"><span style="color: #c00000;">道家之前的莊子</span></b></div>
<span style="font-size: small;"><b><span style="color: #17365d;"></span></b></span></div>
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<b><span style="color: #403152;">演講日期:103年10月14日(二)</span></b></div>
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<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b><span style="color: red;">演講時間:14:00-16:00</span></b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b>地點:</b><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
<b><span style="color: #00b050;">主持人:劉惠萍教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-80861206303712367492014-09-06T19:28:00.000-07:002014-09-16T01:25:56.215-07:00【講座公告】10/20 東華‧實錄‧通靈玉:紅樓夢的一種讀法<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: medium;"><br /></span></b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.479999542236328px;">
<b><span style="font-size: medium;">中國語文學系【經典研讀系列講座】</span></b><br />
<div>
<span style="font-size: medium;"><b><span style="color: #215868;">演講者:</span></b><b><span style="color: #215868;">康來新</span></b><b><span style="color: #215868;">教授</span></b></span></div>
</div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.479999542236328px;">
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<span style="font-size: x-small;"><b><span style="color: blue;">學歷:美國印第安那大學東亞研究所文學碩士、國立臺灣大學中國文學學士</span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: red;">現職:國立中央大學中文系教授</span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: #17365d;">專長:小說、小說學、紅樓夢、台灣文學</span></b></span><br />
<span style="color: purple; font-size: x-small;"><b>專著:《紅樓夢:失去的大觀園》、《晚清小說理論研究》、《紅樓長短夢》等</b></span><br />
<a name='more'></a><br />
<a href="https://www.blogger.com/null" name="more"></a></div>
<span style="font-size: medium;"><b><span style="color: #c00000;">題目:</span></b><b><span style="color: #c00000;">東華‧實錄‧通靈玉:紅樓夢的一種讀法</span></b></span><span style="color: #17365d;"><b><br /></b></span><span style="font-size: x-small;"><b><span style="color: #17365d;"></span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: #403152;">演講日期:103年10月20日(一)</span></b></span></div>
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<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.479999542236328px;">
<span style="font-size: x-small;"><b><span style="color: red;">演講時間:15:00-17:00</span></b></span></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.479999542236328px;">
<span style="font-size: x-small;"><b>地點:</b></span><b style="color: #383838; line-height: 18.200000762939453px;">國立東華大學 人社一館A207會議室</b></div>
<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.479999542236328px;">
<b><span style="color: #00b050;">主持人:賴芳伶教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-79466996666413247302014-09-06T01:00:00.000-07:002014-09-28T17:17:39.246-07:00【講座公告】10/23 大變動時代的圖像敘事──晚清畫報三十年(1884-1913)<div style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;">
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<b><span style="font-size: medium;">中國語文學系【經典研讀系列講座】</span></b><br />
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<span style="font-size: medium;"><b><span style="color: #215868;">演講者:</span></b><b><span style="color: #215868;">陳平原</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: blue;">學歷:北京大學文學博士</span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: red;">現職:北京大學中文系教授</span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: #17365d;">專長:中國現代文學、中國小說史、中國散文史</span></b></span></div>
<span style="background-color: white; color: purple; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: x-small; line-height: 18.4799995422363px;"><b>專著:</b></span><span style="color: purple;"><b>《大學何為》、《觸摸歷史與進入五四》、《中國散文小說史》、《中國現代學術之建立─以章太炎、胡適之為中心》、《千古文人俠客夢─武俠小說類型研究》、《中國小說敘事模式的轉變》等</b></span><br />
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<span style="font-size: medium;"><b><span style="color: #c00000;"><span style="font-family: Verdana, Lucida Grande, Arial, sans-serif;">題目:大變動時代的圖像敘事──晚清畫報三十年</span><span style="font-family: Arial, Helvetica, sans-serif;">(1884-1913)</span></span></b></span><span style="color: #17365d; font-family: Verdana, 'Lucida Grande', Arial, sans-serif;"><b><br /></b></span><span style="font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: x-small;"><b><span style="color: #17365d;"></span></b></span></div>
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<span style="font-size: x-small;"><b><span style="color: #403152;">演講日期:103年10月23</span></b></span><b style="font-size: small; line-height: 18.4799995422363px;"><span style="color: #403152;">日(四)</span></b></div>
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<span style="font-size: x-small;"><b><span style="color: red;">演講時間:1900-2100</span></b></span></div>
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<span style="font-size: x-small;"><b>地點:</b></span><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
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<b><span style="color: #00b050;">主持人:劉惠萍教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-27884041255752234862014-09-05T14:30:00.000-07:002014-11-03T06:53:42.499-08:00【講座公告】11/03 漫談司馬遷的志<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: medium;">中國語文學系【經典研讀系列講座】</span></b><br />
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<span style="font-size: large;"><b><span style="color: #215868;">演講者:朱歧祥</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<b><span style="color: blue;">學歷:香港中文大學哲學博士</span></b></div>
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<b><span style="color: red;">現職:東海大學中文系教授</span></b></div>
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<b><span style="color: #17365d;">專長:文字學、甲骨學、金文學、王國維研究、史記</span></b></div>
<span style="background-color: white; color: purple; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><b>專著:</b></span><span style="color: purple;"><b>《朱岐祥學術文存》、《殷墟花園莊東地甲骨論稿 》、《花園莊東地甲骨學術論叢 》、《殷墟花園莊東地甲骨校釋 》、《圖形與文字—殷金文研究 》、《甲骨文字學 》、《甲骨文研究〈增訂本〉 》、《甲骨學論叢〈再版〉 》、《甲骨文讀本 》、《甲骨文研究—中國古文字與文化論稿 》、《周原甲骨研究 》、《王國維學術研究 》、《甲骨學論叢 》、《殷墟卜辭句法論稿-對貞卜辭句型變異研究 》、《甲骨四堂論文選集 》、《殷墟甲骨文字通釋稿 》、《中山國史彝銘考 》等</b></span></div>
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<a name='more'></a><b style="font-size: x-large; line-height: 18.4799995422363px;"><span style="color: #c00000;">題目</span></b><b style="font-size: x-large; line-height: 18.4799995422363px;"><span style="color: #c00000;">:漫談司馬遷的志</span></b></div>
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<b><span style="color: #403152;">演講日期:103年11月03日(一)</span></b></div>
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<b><span style="color: red;">演講時間:14:00-16:00</span></b></div>
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<b>地點:</b><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
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<b><span style="color: #00b050;">主持人:魏慈德教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-35359680499613303782014-09-05T13:30:00.000-07:002014-10-29T22:22:32.000-07:00【講座公告】什麼叫「俗文學」 (講座延期) <div class="separator" style="clear: both; text-align: center;">
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<b style="font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: medium; line-height: 18.4799995422363px;"><span style="color: red; font-size: large;">****講座延期****</span></b></h3>
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<b style="font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: x-small;">中國語文學系【經典研讀系列講座】</span></b></h3>
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<span style="font-size: medium;"><b><span style="color: #215868;">演講者:曾永義院士</span></b></span></div>
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<b><span style="color: blue;">學歷:國立臺灣大學文學博士</span></b></div>
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<b><span style="color: red;">現職:中央研究院院士、國立臺灣大學中文系名譽教授、世新大學講座教授</span></b></div>
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<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="color: #17365d;">專長:戲曲、俗文學、詩歌、民俗藝術等</span></b><br />
<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; line-height: 18.4799995422363px;"><span style="color: purple;"><span style="font-size: 13px;">專著:</span></span></b><span style="color: purple; font-size: x-small;"><b>《洪昇及其長生殿研究》、《長生殿研究》、《明雜劇研究》、《儀禮樂器考‧儀禮車馬考》、《中國古典戲劇論集》、《說戲曲》、《說俗文學》、《清洪昉思先生昇年譜》、《說民藝》、《詩歌與戲曲》、《臺灣歌仔戲的發展與變遷》、《中國古典戲劇的認識與欣賞》、《參軍戲與元雜劇》、《論說戲曲》、《從腔調說到崑劇》、《俗文學概論》、《戲曲與歌劇》、《戲曲本質與腔調新探》、《戲曲腔調新探》、《戲曲之雅俗、折子、流派》、《洪昇及其長生殿》、《地方戲曲概論》、《蒙元的新詩——元人散曲》、《明雜劇概論》、《戲曲與偶戲》等</b></span></div>
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<a href="https://www.blogger.com/null" name="more" style="color: #666666; text-decoration: none;"></a><b style="font-size: x-large;"><span style="color: #c00000;">題目:</span></b><b style="font-size: x-large;"><span style="color: #c00000;">什麼叫「俗文學」</span></b></div>
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<b><span style="color: #403152; font-size: 13px;">演講日期:</span><span style="color: red; font-size: large;">講座延期</span></b></div>
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<b><span style="color: red;">演講時間:</span></b></div>
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<b>地點:</b><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
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<b><span style="color: #00b050;">主持人:劉惠萍教授</span></b></div>
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<span style="font-size: x-small;">精彩院士講座資訊詳見<a href="http://www.ndhu.edu.tw/files/40-1000-2644.php?Lang=zh-TW" style="color: blue;" target="_blank">【東華卓越講座:院士演講系列】</a>連結</span></div>
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HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-88870544900466732822014-09-05T07:41:00.000-07:002014-10-26T17:21:27.375-07:00【講座公告】11/10 謫凡與情緣:《紅樓夢》的小說敘述<div class="separator" style="clear: both; text-align: center;">
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<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; font-size: 13px; line-height: 18.4799995422363px;"><span style="font-size: medium;">中國語文學系【經典研讀系列講座】</span></b><br />
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<span style="font-size: large;"><b><span style="color: #215868;">演講者:李豐楙</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<b><span style="color: blue;">學歷:國立政治大學中國文學研究所博士</span></b></div>
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<b><span style="color: red;">現職:國立政治大學教授</span></b></div>
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<b><span style="color: #17365d;">專長:道家文學、道家文化、中國古典文學、中國現代文學等</span></b><br />
<span style="color: purple;"><b>專著:《<span style="font-family: Arial; line-height: normal;">李豐楙道教文學系列──常與非常:一個本土的思維方式</span>》、《<span style="font-family: Arial; line-height: normal;">李豐楙道教文學系列──定錄與誤入:神仙世界的想像</span>》、《<span style="font-family: Arial; line-height: normal;">李豐楙道教文學系列──憂與遊:六朝隋唐遊仙詩論集</span>》、《<span style="font-family: Arial; line-height: normal;">台南縣地區王船祭典保存計畫:台江內海迎王祭</span>》、《<span style="font-family: Arial; line-height: normal;">台灣節慶之美</span>》、《<span style="font-family: Arial; line-height: normal;">空間、地域與文化:中國文化空間的書寫與闡釋</span>》<span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">文學、文化與世變</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">蝶翼</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">下午,寂寞的空廊</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">大地之歌</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">誤入與謫降:六朝隋唐道教文學論集</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">憂與遊:六朝隋唐遊仙詩論集</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">探求不死</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">六朝隋唐仙道類小說研究</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">不死的探求:抱朴子</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">神話的故鄉:山海經</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">翁方綱及其詩論</span><span style="line-height: 18.4799995422363px;">》、</span><span style="line-height: 18.4799995422363px;">《</span><span style="font-family: Arial; line-height: normal;">中國民間信仰資料彙編提要與總目</span><span style="line-height: 18.4799995422363px;">》</span><span style="line-height: 18.4799995422363px;">等</span></b></span></div>
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<a href="https://www.blogger.com/null" name="more"></a><b style="font-size: x-large;"><span style="color: #c00000;">題目-</span></b><b style="font-size: x-large;"><span style="color: #c00000;">謫凡與情緣:《紅樓夢》的小說敘述</span></b></div>
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<b><span style="color: #403152;">演講日期:103年11月10日(一)</span></b></div>
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<b><span style="color: red;">演講時間:15:00-17:00</span></b></div>
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<b>地點:</b><b style="color: #383838; line-height: 18.2000007629395px;">國立東華大學 人社一館A207會議室</b></div>
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<b><span style="color: #00b050;">主持人:賴芳伶教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0tag:blogger.com,1999:blog-5249459019795400237.post-64110621984886105922014-09-05T01:30:00.000-07:002014-09-11T07:34:14.255-07:00【講座公告】11/26《紅樓夢》人物論<div class="separator" style="clear: both; text-align: center;">
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<b style="background-color: white; font-family: Verdana, 'Lucida Grande', Arial, sans-serif; line-height: 18.479999542236328px;"><span style="font-size: large;">中國語文學系【經典研讀系列講座】</span></b><br />
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<span style="font-size: large;"><b><span style="color: #215868;">演講者:歐麗娟</span></b><b><span style="color: #215868;">教授</span></b></span></div>
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<b><span style="color: blue;">學歷:國立臺灣大學中國文學研究所博士</span></b></div>
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<b><span style="color: red;">現職:國立臺灣大學中文系教授</span></b></div>
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<b><span style="color: #17365d;">專長:唐代詩歌、紅樓夢</span></b><br />
<span style="color: purple;"><b>專著:《杜詩意象論》、《唐詩的樂園意識》、《詩論紅樓夢》、</b></span><b style="color: purple;">《李商隱詩歌》、</b><b style="color: purple;">《紅樓夢人物立體論》、</b><b style="color: purple;">《唐代詩歌與性別研究──以杜甫為中心》</b><b style="color: purple;">等</b></div>
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<span style="font-size: large;"><a href="https://www.blogger.com/null" name="more"></a><br /></span>
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<a name='more'></a><b style="font-size: x-large;"><span style="color: #c00000;">題目:</span></b><b style="font-size: x-large;"><span style="color: #c00000;">《紅樓夢》人物論</span></b></div>
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<b><span style="color: #403152;">演講日期:103年11月26日(三)</span></b></div>
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<b><span style="color: red;">演講時間:13:00-15:00</span></b></div>
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<b>地點:</b><b style="color: #383838; line-height: 18.200000762939453px;">國立東華大學 人社一館A207會議室</b></div>
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<b><span style="color: #00b050;">主持人:賴芳伶教授</span></b></div>
HJKhttp://www.blogger.com/profile/08096149754993834699noreply@blogger.com0