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本報告は、Teams のチャット・反応の機能を用いたオンライン講義が、主体的な学びの形として有効かどうか検証したものである。報告者は、2020年度より京都産業大学の「中国古典文学入門」「東アジア思想史入門」をオンライン形式で実施している。その中では、「受動的となりがちなオンライン講義で、どのようにすれば受講生が主体的な学びの場を確保できるか」という問題意識のもと、試行錯誤してきた。その結果、効果的であったのが、「Teams のチャット・反応の機能を用いたオンライン講義」であった。 この方式に基づいて講義を行った結果、2022年度春学期の学生アンケートによれば、主体的に学べたという受講生の回答を一定数得られた。また、9割以上の受講生が自らの成長を感じることができたと回答しており、一定の有効性を確認することができた。

Las palabras funcionales no aportan significados léxicos, pero tienen una importancia incuestionable en todas las lenguas y el chino clásico no es una excepción (Chen, 2006), porque son articuladores entre las palabras con significados llenos. La vaciedad en significado léxico de este tipo de vocablos obstaculiza la traducción, puesto que es difícil encontrar su equivalente en la lengua meta. El objetivo del presente trabajo es indagar cómo se traducen las palabras funcionales más frecuentes en Romance de los Tres Reinos. Con apoyo de un corpus paralelo ad hoy de conocimientos de estadística, hemos seleccionado ejemplos representativos que contienen los vocablos en cuestión. A continuación, los hemos analizado partiendo de las teorías sobre palabras funcionales y de las bases conceptuales de Newmark (2001a, 2001b): la traducción semántica y la traducción comunicativa. Como resultado, hemos elaborado un glosario que permite visualizar las palabras funcionales estudiadas y sus posibles traducciones, el cual podría ser interesante para estudiosos que quieran traducir al español obras clásicas de China. Function words convey few concrete lexical meanings. However, they are of unquestionable importance in expression in almost all verbal languages (Chen, 2006), as they serve as a grammatical connective between words with full meanings. In Classical Chinese language, they are no exception. The vacuum in lexical meaning, in addition to the obscurity in diverse functions, makes it difficult to translate a language unit in Classical Chinese with words of this kind. This article, with specialized corpus and statistical analysis, explores the possibility and, if so, ways to translate the function words most frequently used in Romance of the Three Kingdoms. Segments or sentences with such function words that are difficult to translate are selected as typical examples. Relevant analysis is conducted based on Peter Newmark’s theory of semantic translation and communicative translation. As a result, a Chinese-Spanish version of the function words studied is presented, a glossary that is convinced to be interesting for scholars in the field of the bilingual translation.

Diseases in literary works are by no means just a simple physiological or medical phenomenon. Rather, they should be understood as metaphors that reflect viral or bacterial invasions, the unhealthy state in physiology and psychology, the worry of the looming death, and the goodness and evil in humanity. The novel LiaozhaiZhiyi (Strange Tales of a Lonely Studio) by Pu Songling (1640–1715) Liaozhaiis a collection of more than 100 short stories in classical Chinese and is full of disease metaphors with rich connotations. Based on the analysis of the symbolic significance of disease metaphors in this novel, this paper points out the connotations of the metaphors on diseases that reflect and represent the corrupt and destabilizing feudal order and implications about the goodness and evil of humanity.

In this study, I examine conceptualizations of memory in classical Chinese philosophical texts with the purpose of encouraging the inclusion of ideas of non-Western cultures in memory studies. The texts selected for this study are Kongzi’s Analects, Mengzi, the Xici commentary on the Book of Changes, the Zhuangzi, and the Xunzi. Methodologically, I differentiate between the mnemic process and its goal. My point of departure is the complementary relation that marks the non-forgetfulness and forgetfulness sequence. This study proposes the paradigm of an axis and margins to represent the yin- yang reasoning implied by the complementary relation in conjunction with the narrativity of the mnemic process. Two major consequences of this model are the understanding of non-forgetfulness and forgetfulness in terms of attentive and suspended awareness, and the supportive role of forgetfulness or suspended awareness in enhancing the function of memory.

From the classical Chinese literary masterpiece Investiture of the Gods to contemporary film animation, Nezha’s image is profound. Examining the portrayals of Nezha, namely in those most celebrated animated films, we argue that his role as the epitome of a ‘god like figure’ is in constant displacement and return. Using the framework of archetype and displacement as advanced by Northrop Frye, with a more pluralistic myth analysis extension found in the myth critique of Gilbert Durand, this article examines the multi-layered mythical mini structures within Nezha’s displacement and return in Chinese animation, to explore the themes, images, and archetype represented by the character from the perspective of Chinese history and culture. We argue that Nezha’s displacement and return in Chinese animation expresses the need and call for a traditional heroic image in a particular era. As such, Nezha’s intertextuality exposes the profound inner patterns that form and refashion the Chinese collective unconscious, performing as a recurring mirror that symbolically inform and transform human experiences in China.

The automatic generation of poems from images is a classic task in natural language processing. Recently, it has gained tremendous research interest due to the help of neural sequence-to-sequence networks. The current methods are not qualified to generate poems under the joint control of the theme and style conditions, while these two key factors are critical to the quality of Chinese poetry. This paper proposes an image-based Chinese poem generation network (ICPGN), which can obtain the holistic content and sentiments in images and transform them into theme and style representations. A poem theme and style control module (PTSC) is designed to ensure that the generated poems meet the theme and style requirements simultaneously. A new dataset CQC2020 is constructed for training and testing of the proposed network and other related methods. Extensive manual and machine experiment results demonstrate the effectiveness and competitiveness of the proposed method.

Modern Chinese took the place of classical Chinese and has been the standard form of writing since the early 1920s. While several studies have been carried out on diachronic variation in modern written Chinese, these include few aggregate investigations. This study examines the diachronic variation in modern Chinese writings and translations from the 1900s to the 2000s. Frequencies of multiple linguistic features sensitive to historical change were drawn from a multi-genre comparable corpus, ‘DCMCWT’, containing five periods: 1900–1911, 1919–1930, 1931–1949, 1950–1966, and 1978–2012. Hierarchical agglomerative clustering was employed for periodisation, while multidimensional scaling supplemented the developmental path. The results suggest that Chinese writings and translations fall into three broad periods: 1900–1911, 1919–1966, and 1978–2012. Chinese translations follow a similar evolutionary path as the writings, and the gap between them, narrowed from 1900 to 2012. This developmental path corresponds to the socio-historical backgrounds in Chinese history and shares similarities and differences with the development of English. Diachronic variation in early modern Chinese mirrors that of English in that both languages developed to be more colloquial and interactive. However, early modern Chinese is different from English, as diglossia has played a crucial evolutionary role.

Fazang 法藏 (643–712) greatly valued the Jiujing yisheng baoxing lun 究竟一乘寶性論 [Skt. Ratnagotravibhāga] and the Pusa dichi jing 菩薩地持經, which played a very significant role in Fazang’s theory of tathatā 真如, especially his theory of Huayan xingqi 華嚴性起 (Arising of nature on Huayan). Similarly, Fazang’s theory of zhongxing 種姓 (Skt. gotra) used the Jiujing yisheng baoxing lun and the Pusa dichi jing as its foundation. Fazang is one of the most significant figures when discussing the origin and history of rulai zang yuanqi 如來藏緣 (dependent arising of Buddha essence) and zhenru yuanqi 真如緣起 (dependent arising of thusness) in Chinese Buddhist history. Therefore, Fazang’s quotes and explanations of the Jiujing yisheng baoxing lun are a necessary step towards the resolution of this difficult problem. Fazang supported the standpoint of the classical Chinese translation of the Ratnagotravibhāga to demonstrate that the Avataṃsaka sūtra 華嚴經 is the real resource and foundation of the xingqi 性起 (arising of nature) theory of his thoughts on Huayan 華嚴.

The present paper discusses Li Hongwei’s novel The King and Lyric Poetry (2017). The novel tells the story of the suicide of the last Nobel Prize laureate in the future history of literature, Chinese poet Yuwen Wanghu. Following the detective thread of the book, the essay reconstructs utopian and dystopian semi-virtual landscapes of the mid-21st century China which feed into two different models of lyricism: the poet as a knight errant who seeks inspiration far from modern civilization and the poet as a lonely warrior against (technological) tyranny. In the final scene, the two landscapes blur and the antithetical forces that infuse them: lyricism (Yuwen) and power/knowledge (the King) merge into what may be seen as their dialectical synthesis to be fulfilled by the novel’s third protagonist – Yuwen’s young friend, Li Pulei. Mobilizing various contexts, including the suicides of famous mainland-Chinese poets, important poetry polemics, and intertexts ranging from classical Chinese literary theory through to Truman Show and Matrix, I argue that the novel mirrors the development of poetry discourse in the PRC with its various myths, conflicts, complexes, and ambitions. I also show how this discourse, shaped for a long time largely by the so-called Third Generation poets born in the 1950s and 1960s, translates into the situation of the poets who belong to a younger generation (“post-70”) represented by Li Hongwei among others, and what (self-)expectations, challenges, and limitations they face in their writing.

This paper is an effort to explore a possible common ground for a discourse in comparative logic. Along with Roger Ames’ and David Hall’s inquiry into the lack of transcendence in Chinese philosophy, the author of this paper investigates why and how, according to Zhuang Zi’s wisdom, treating myriad things, wan wu 萬物, and I as one could be a way to understand dao. Using Cantor-Husserl’s set theory, especially Edmund Husserl’s contributions on the involvement of the intentionality or a subjective “I” in the process of knowing sets, the author argues that classical Chinese is a pictographic language and every radical groups a list of characters in a way that is similar to how a set includes its elements. Thinking in sets shapes a unique linguistical habit of dividing kinds and sorting things. Logic of sets is the alternative logic that Zhuang Zi practices. Two efforts are made for reinterpreting Zhuang Zi from the perspective of sets. First, borrowing a few basic concepts from set theory, the author compares four characteristics of Husserl’s concept of sets to Zhuang Zi’s way of sorting myriad things. Second, the author explores Zhuang Zi’s wisdom of meditating into a state of losing one’s self, which he calls as “an empty set, ji xu 集虚.” For both set theory and Daoism, an empty set or emptiness can be a subset of every set or every possible world. When the boundary between a subjective “I” and myriad things disappears, myriad things and I are one. On the basis of the logic of sets, Husserl’s “lived experience” in the cognitive process and Zhuang Zi’s “losing I” in meditation could open an interesting discourse.

A comparative history of the social and stylistic characteristics of letter-writing in the Western Latin world and in China has yet to be written. Among other difficulties, the historical study of letter-writing in China has only recently attracted scholarly attention, and the social and intellectual contexts of epistolary culture in China and the Latin West were in many respects strikingly different. This chapter compares, in a longue durée perspective, the differing assumptions that conditioned the development of epistolary genres in China and Europe, with a particular focus on the Song period (the period of ars dictaminis in Western letter-writing culture). It concludes by proposing a variety of potential methodological frames that could be fruitful in future comparative research.

The present paper aims to shed light on certain methodological challenges that Chinese intellectuals faced in the process of coming to terms with Marxist thought. Even at the beginning of these processes, i.e., in the first decades of the 20th century, Chinese theorists faced several difficulties regarding the issue of cross-cultural philosophical syntheses. Thus, in their endeavours to adapt Marxism to the specifically Chinese worldview, they sought suitable adaptations of traditional philosophical methodologies that would enable them to fruitfully integrate classical Chinese and modern Marxist discourses. Zhang Dainian 張岱年 (1909–2004) has played a particularly prominent role in this process. Therefore, this paper aims to shed light on his contribution to the establishment of new Chinese and cross-cultural philosophical methodologies. In terms of exploring general philosophical issues, Zhang established a unique philosophical system known as “neo-materialism” in which he attempted to integrate Marxist materialism with some basic approaches of traditional Chinese philosophy. The crucial features that defined this philosophical system were based on his innovative methodology, which is critically presented in this paper.

During the Qing dynasty (1644–1911), the progressive intellectuals, who were confronted with the all-embracing crisis of Chinese society, yearned to find the new truth within the Western ideas on the one hand, and the works of the classical Chinese philosophy of the pre-Qin era on the other. These social and historical circumstances started the research into the history of Chinese logic. In the process of these investigations, it soon became clear that more appropriate methodologies were needed to explore Chinese logic, as those used for researching Western logic were not suitable for the task. The revival and modernization of such methods took place in the latter half of the 20th century, and one of the most important figures in these processes was Professor Wen Gongyi, who was hence one of the pioneers of modern research into the history of Chinese logic. Therefore, the present article also offers a short presentation of his biography and his contributions to the development of the research into traditional Chinese logic.

The Northern drama (zaju) of the Yuan Dynasty has distinct formal characteristics in terms of script structure, arias and speaking lines, musical modes and song suites, as well as the linguistic register and metrical requirements. By comparing the three English translations of the Northern drama (zaju) Han gong qiu with the original Chinese text, there appear several deficiencies in presenting the capacity of performability and readability of this text, which includes the misplacing of the literary status of the songs and dialogue, the omitting of the musical modes and metrics. The formal feature exemplifies the “significant form” and poses an indispensable part of the content of Yuan Zaju.

This article reviews Classical Chinese for everyone: A guide for absolute beginners 978-1-62466-821-0

Classical Chinese is an integral component of the Chinese language curriculum at many American universities. However, which texts should be taught and how their grammar should be introduced in a textbook, are questions that have seldom been discussed. This article focuses on the selection of original texts and the mode of grammar explanation in an introductory-level textbook for undergraduate students who study Chinese as a second language. In the United States, more and more students study Classical Chinese for Mandarin-proficiency improvement and Chinese cultural perceptions. Responding to the trend, I argue that narrative texts and comparative grammar explanation would not only render a textbook more comprehensible and engaging, but also advance the learner’s practice of Classical Chinese knowledge in Modern Chinese production. This new design thus effectively connects Classical and Modern Chinese in both “content” and “form,” providing a new perspective to the curriculum development of overseas Chinese programs.

O presente artigo tem como principal objetivo comentar e analisar comparativamente duas obras literárias: a obra poética de Alberto Caeiro, heterónimo do ilustre poeta português Fernando Pessoa, e a obra clássica chinesa Dao De Jing (道德经，Dào dé jīng) que está na base da Filosofia Taoista. Deste modo, pretende-se comparar as ideologias interpretadas em ambas as obras, analisando semelhanças e diferenças, de forma a compreender as mesmas e as razões por detrás de tais similaridades e afastamentos. Para tal, ter-se-á sempre em conta diferenças culturais, não só provenientes do facto das obras se encontrarem em países muito díspares e longínquos fisicamente, como também do facto de se localizarem em épocas temporalmente muito distantes.

The Serat Tiyang Gegriya or “Book for people on running their homes and households” is a Javanese versification of the famous seventeenth-century Chinese treatise Zhuzi Zhijia geyan (“Master Zhu’s Household Rules”), better known in the Anglophone world as “Maxims for managing the home” or “Family regulations”. Propagating the basic principles of Confucian ethics, this small treatise instructed generations of Chinese readers, presumedly adult males, lessons in proper behaviour. Today, Master Zhu’s little compendium is among the most reprinted works of classical Chinese popular literature. The Serat Tiyang Gegriya exists in the form of a manuscript, written in Surabaya in 1878, and was subsequently published ten years later in the same city. The appearance of this popular Confucian tract in Javanese seems to have been born of a perceived sense of crisis and alarm at the decline of “Chineseness” among the Chinese minority in a foreign land, the upshot of the seemingly inexorable process of acculturation taking place in the Sino-Javanese community at the end of the nineteenth century. Paradoxically, however, the Serat Tiyang Gegriya itself is a fine product of acculturation, transmitting Chinese moral teachings in the form of the Javanese piwulang genre, or lessons on how to live a good life, composed in the mother tongue of the mothers of the intended readers as this group was unable to understand Chinese, the language of their fathers and paternal ancestors.