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This paper traces a line of thought in representations of the Indian woman across literary and visual genres, from the so-called traditional to modern conceptualizations. It discusses the manner in which the woman was variously represented in line with the cultural architectonics that assigned her particular identities––from the woman as goddess/mother, located in the private space to the woman as modern entity located within the public (urban) domain, as well as the outcast woman and the virtual woman. I attempt an inter-textual reading of the literary/visual corporeal and textual selves, by drawing mainly on Bakhtin’s concepts of “answerability” and “unfinalizable selves.” I emphasize these concepts with regard to the dialogue between artists and authors, and between the work of art and its readers.

摘要 本文從三個層面嘗試，第一是韻律分析，提出了李白運用入聲字安排節奏韻律的幾種模型。第二個層面是分析作品的詞彙，觀察同義詞、色彩詞、數字詞的運用。第三個層面是分析李白有哪些句式及語法結構。 關鍵詞: 李白詩， 唐詩韻律，語言風格學， 入聲字 In this paper, the emphasis is placed on the language styles and techniques by the analysis of the works of Li Bai, in order to see a more complete picture of Li Bai’s works, not just the manifestation of emotional contents. Linguistic analysis openes up a new window for the appreciation of poems. This goal was achieved by three ways: (1) By analyzing the rhythm of Li Bai’s poems, (2) by analyzing the lexical structure of Li Bai’s works, and (3) by analyzing the syntactic structure of Li Bai’s poetry.

摘要 清代乾嘉時期之學風係以考證知名。之所以如此，主要由於乾嘉學者不滿宋、明學者以哲學思辯之方式研究儒學典籍，而未能把握原始儒學之真貌，故轉而以考證之方式來研究儒家之原典，其目的在於欲恢復原始儒學之真貌。在乾嘉時期，戴震雖被視為最重要之考證學者之一，然戴氏為學之旨趣，實超出考證學之外，而欲以之作為彰顯儒學原貌之方法學。戴氏明言，其為學之方法乃是一語言學或訓詁之方法，亦即欲以訓詁之方法來研究哲學之問題，以之作為彰顯原始儒學真相之最佳方法，並由此建立其考證哲學，其目的即欲以本身之哲學來取代宋、明理學。依此，本文旨在探究戴震在重建原始儒學之努力，並針對戴氏之考證哲學作一反思，以明其價值及限制。 關鍵詞：考證學、復古主義、理學、漢學、考證哲學 Dai Zhen was known as a leading proponent of the evidential research (kaozheng) school during the Qian Jia Era. However, he regarded kaozheng as primarily a means of revealing the truth. Moreover, he was regarded as a philosopher rather than as merely a kaozheng, or textual, scholar. In this respect, his philosophical writings reflect an attempt to substitute his own philosophy for the Song Philosophy of Principle (lixue). Dai Zhen’s philosophical writings indicate the impact philology had on philosophical issues. The methodology Dai Zhen adopted was essentially linguistic, that is, xungu (etymology, lit., “glossing”). The merit of this methodology was that it would trace back the original meanings of key terms in the Classics, and this in turn, would benefit the understanding of the Confucian tradition. The aim of this paper is to explore Dai Zhen’s attempt to reconstruct the Confucian tradition, and to assess his philosophy of evidential research in order to manifest its value and limitation.

摘要 本文從悲苦憂懼的角度重新詮釋韓愈的詩作與人生，以「老病之懼」、「飢寒之憂」、「喪生之畏」三項主題為核心，解析韓愈藉詩抒發對生命老化、漂泊與死亡的深深恐懼。本文是學界至今為止極少數探討韓愈文學此一面向的研究。 關鍵詞：韓愈詩、諧謔、以文為詩、以文為戲 This paper is a study of the element of melancholy apprehension in Han Yu’s poetry. Han’s apprehension of melancholy, which up to now has received very little attention, is discussed in three aspects: (1) the fear of old age and sickness, (2) the fear of hunger and cold, and (3) the fear of death. Against the background of Han Yu’s unstable and uncertain life and career, the new reading and analysis show that melancholy lies at the very heart of his personality and writing.

摘要 針對傳統文本詮釋的需求，筆者提出一套「中國哲學史方法論」。以「宇宙論、本體論、工夫論、境界論」為哲學基本問題所組成的四方詮釋架構，它既有詮釋文本的功能，更有溝通中西的效果。同時，不妨礙仍以西方哲學的形上學、知識論、倫理學為進路進行「中國哲學研究」。 關鍵詞：中國哲學方法論, 中國哲學史方法論, 宇宙論, 本體論, 工夫論, 境界論, 文本詮釋, 分類判教 The author suggests a method of text interpretative orientated methodological approach which has given the name of methodology of Chinese philosophical history. It is actually an interpretational system constructed by four basic philosophical questions which have all marked Chinese philosophy. They are cosmology, ontology, practical theory and theory of perfect personality. This paper focuses on introducing the methodology, its functioning, as well as its contributions and limitations. Any scholar can use this methodology to do his or hers own research work, as well as apply traditional Western philosophical method to the Chinese philosophy without any contradiction.

As a woman poet, Chen Jingrong’s productions encompassed the whole 20th century: of particular interest are her poetry translations from the French language. Thanks to her translation work, valuable understanding of Charles Baudelaire’s poetry was made available in China, which influenced the Chinese contemporary poet, Duo Duo, when he first started writing poetry during his youth. This paper tries to depict the importance of this contribution of Chen Jingrong and its effect on the process of renovation of the contemporary poetic scene in China.

This paper investigates the Japanese concept of ma/aida, the space in-between, discussed by French author Roland Barthes as the Neutral, not signifying the medium of the opposite poles but the bare existence. It first analyzes how the discourse of contiguous relationships and the space between others has functioned in modern and postwar Japan, and further employs the works of the Japanese female writer Matsuura Rieko as counterexamples, with particular emphasis on the space between the sensual and the sexual. It provides a fresh view on the conceptions of space and indirectness between and within the body.

Although Japan recorded no specific literary movement in the 1980s, in any classical sense of the term, we may say that today we are witnessing, in terms of our historical sensibility, a condensation of narrative viewpoints upon the present or, in other words, the transposition of the criteria of the present to another time, which is undoubtedly a consequence of the so-called “postmodern” will to reject grand narratives. This study aims to review and complete the inventory of the postmodern characteristics that specialised literature has identified in Haruki Murakami’s works, seen from the perspective of what the author of the present paper considers to be the “new postmodern humanism.”

Institutionalist theory argues that fairly permanent economic structures and policy-making arrangements create “institutions” which shape future policy-making and economic performance to a considerable extent (March and Olsen 1989; North 1990; Riker 1982). This perspective suggests that it might be valuable to look for the political institutions that evolved during Taiwan’s development which could have inhibited the country’s adaptability after the mid-1990s. From this perspective, Taiwan’s current institutional imbroglio results from a combination of a complex and somewhat indeterminate constitutional system, a long-time election system that contained some perverse incentives, and its long era of authoritarian rule. This paper, hence, seeks to provide an “institutionalist” explanation for the polarization and gridlock in Taiwan’s politics in the early 21st century.

Using Yūji Usui’s novel A Grass-Carp on a Tree (1993) and its film adaptation (1997) by Atsushi Ishikawa as metaphors, this paper traces the transition of Japanese attitudes towards sexuality. The novel and the film work as vehicles that “map” what is actually taking place in Japan and how the transition is felt by Japanese people.

Within the context of modernization and globalization, processes which Japan has been undergoing since Meiji era, reorganization of the urban space and appearance of new “(semi)-public” spaces, such as railway station, share certain elements in the transformation of everyday life of the Japanese society. This paper will attempt at showing main directions of changes observable in the “society in transition” through analysis of inner order of Tokyo Station, known already also as Tokyo Station City.

Ai Weiwei’s 艾未未 (b. 1957) artistic expression revolves around his use of traditional Chinese techniques to create new designs and forms, shaping traditional materials into contemporary configurations. In the face of obstruction from state officials and local politicians, Ai Weiwei exposes himself to considerable personal risk in order to continue his activities as an artist and stay loyal to his convictions. This paper examines the roots of Ai Weiwei’s work in Chinese art history and looks at how the artist has deliberately adapted traditional motifs to bring about a sense of alienation. Ai Weiwei’s unique stance between current trends in western art and the Chinese feeling for handicrafts is also explored.

The paper summarizes the extant written data on Chinese painting on silk in the initial century of the Period of Disunion (Six Dynasties, Liu chao, III–VI A.D.), known as the Sanguo (220–280) and the Western Jin (265–317) epochs. While it is scattered among diverse sources, it is mainly in the Lidai minghua ji treatise of Zhang Yanyuan (ca. 810–ca. 990). An analysis of accounts of individual masters and their creative activities attempts to reconstruct the probable artistic and essential features of pieces of art lost afterwards, offering a novel explanation of the initial stage of the formative process of an important genre of composition in Chinese painting and culture.

This paper analyzes and provides an alternative reading of several essential terms (gangling, maomu, and shuniu) around which Liu Xie famously articulates his vision on the structure of his Wenxin diaolong. It first examines how these key expressions produce contradictory projections when read non-figuratively; next it revisits their occurrences in earlier texts and proposes, in the case of shuniu, a significantly different reading; finally it explores the intricate intersections and rearrangements the “re-figuring” of these terms leads to. It suggests that respecting a text’s fundamental figurality should be seen as a prerequisite for accurate, nuanced and in-depth investigations.

In this paper I explore some of the connections the Slovene poet Srečko Kosovel (1904–1926) surmised between himself and the Indian poet Rabindranath Tagore (1861–1941). I argue that what linked the two poets into a joint framework across the vastly different cultural and politico-geographic space was not just the fact that Kosovel read Tagore and took inspiration from the Bengali poet at the height of Tagore’s reputation in continental Europe, but that they shared a number of preoccupations, informed by their respective historical positioning. Both wrote from a profound awareness of their region’s subjugated status and endorsed an anti-imperialist stance that rejected nationalism as a viable means of liberation, embracing instead a creative universalist ideal.

Tagore's reception in various countries in East Central Europe has long been the subject of academic studies. Making an attempt to observe the similarities and dissimilarities of Rabindranath's reception in these culturally very rich countries the paper investigates two understudied phases of Tagore's reception in the region, namely the initial puzzlement at the announcement of the Nobel Prize in 1913 and the repercussions of world politics on Tagore's image in the early years of Indian independence, which coincide with the early years of Communist rule in East Central Europe.