文映霞. / "2005年7月". / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves 210-228). / "2005 nian 7 yue". / Abstracts in Chinese and English. / Wen Yingxia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 210-228). / Chapter 第一章 --- 緒言 --- p.1 / Chapter 第一節 --- 方以智生平及其著述 --- p.1 / Chapter 第二節 --- 《通雅》的撰寫背景 --- p.9 / Chapter 第三節 --- 硏究動機及方法 --- p.26 / Chapter 第二章 --- 《通雅》的體例 --- p.28 / Chapter 第一節 --- 釋「通雅」 --- p.28 / Chapter 第二節 --- 《通雅》卷目 --- p.42 / Chapter 第三章 --- 《通雅》的訓話特色´ؤ´ؤ因聲求義 --- p.48 / Chapter 第一節 --- 形、音、義的關係 --- p.48 / Chapter 第二節 --- 重視音變 --- p.56 / Chapter 第三節 --- 重視方言 --- p.58 / Chapter 第四節 --- 重視《洪武正韻》 --- p.62 / Chapter 第五節 --- 論假借 --- p.65 / Chapter 第六節 --- 小結 --- p.69 / Chapter 第四章 --- 《通雅》對《說文》之疏理 --- p.73 / Chapter 第一節 --- 《通雅》引《說文》之方式 --- p.73 / Chapter 第二節 --- 《通雅》論《說文》 --- p.77 / Chapter 第三節 --- 引《說文》爲證 --- p.94 / Chapter 第四節 --- 解《說文》之說 --- p.96 / Chapter 第五節 --- 糾《說文》之誤 --- p.101 / Chapter 第六節 --- 補《說文》之漏 --- p.115 / Chapter 第五章 --- 《通雅》與《說文解字注》 --- p.123 / Chapter 第一節 --- 校勘《說文》 --- p.124 / Chapter 第二節 --- 因聲求義 --- p.130 / Chapter 第六章 --- 結語 --- p.151 / 附錄凡例 --- p.154 / 附錄一《通雅》卷目 --- p.159 / 附錄二 《通雅》與其他「雅書」卷目比較表 --- p.160 / 附錄三《通雅》各卷引《說文》條目統計 --- p.165 / 附錄四《通雅》與大小徐本《說文》、《六書故》及《古今韻會舉要》對照表 --- p.167 / 附錄五《通雅》引戴侗《六書故》 --- p.193 / 附錄六《通雅》引徐鍇說 --- p.202 / 附錄七《段注》引戴個《六書故》 --- p.205 / 附錄八《段注》引黃公紹《韻會》 --- p.206 / 參考書目 --- p.210

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication.

This thesis studies fictional narratives of the countryside by writers of rural origin in English and Chinese literature in relation to the "countryside ideal." The term, borrowed from Michael Bunce, describes an ancient as well as modern theme in literature, which sees the countryside as a desirable "home." The conventional construction of the countryside by urban writers sustains this ideal with simplistic and static images. My thesis extends the discussion beyond the idyllic countryside in the mainstream of Anglo-American culture and the genteel culture in China to concentrate on Thomas Hardy (1840-1928), Shen Congwen (1902-1988), and Mo Yan (b. 1956), who all have personal relations with the countryside and who enrich its image with accounts of actual life, reconnecting it to authentic home place. I discuss fictional narratives of the rural homelands of the three writers not as unmediated transcriptions but as cultural constructs, which are shaped by different literary traditions and responsive to specific historical contexts. My approach is mainly text-based, but supplemented by references to each writer's cultural and historical contexts. The Introduction situates these writers and their rural homelands in relation to the specific interest in the countryside in each writer's cultural milieu. Chapter One reads Hardy's reconstruction of the countryside in light of the struggle for existence in a Darwinian natural world. Hardy's sombre-looking rural landscapes highlight the complex difficulties of rural life and the moral and intellectual qualities required to survive in such a world. Chapter Two studies Shen Congwen's justification of rural culture in the midst of nationalist aspirations for globalization. His multi-layered fictionalization of the rural homeland centres on the image of water, a root symbol of Chinese culture, merging traditional Chinese culture with modernist vitalism. Chapter three examines Mo Yan's reconstruction of the rural homeland after the severe disruption of Chinese culture during the Mao era. Mo Yan's magic realist reconstruction testifies to the repression of the genius loci of his rural homeland by politics and expresses a desire to be reconnected with the original homeland through sensual bonds rather than detached observations. These writers' narratives redefine the countryside in relation to "home" as a centre for meaningful activities. The fact that they reappropriate and situate rural life and work in specific cultural traditions and diverse forms of modernity is manifested in their unique and irreplaceable literary constructions. I will offset Hardy's writing against that of the two Chinese writers, in order to clarify their rich and diverse cultural implications. Whereas Hardy subjects his fictional rural landscape to a scientific approach, Shen Congwen reconfirms traditional Chinese culture, linking it with the ideals of the May Fourth movement for renewal and revitalization. Mo Yan, for his part, combines the rural perspective and faith in the land with a modernist use of magic realism. Fictionalizations of the rural homeland thus reveal complex interactions with modernity.

Being an integral part of cultural modernity, literary modernity is an on-going, self-negating, and self-rejuvenating process. It has always been engaged in a dialectical relationship with tradition and is inseparable from the quest for reality based on artistic autonomy and communicative intersubjectivity. In the first half of my thesis, I attempt to show how and why literary tradition has played a decisive role in the process of literary modernity, how and why the Chinese literary tradition is different from its Western counterpart; how and why Chinese literary modernity is influenced by, but different from Western literary modernity; and what is the specific path that Chinese writers have been taking to achieve literary modernity, as is distinct from the route that has been followed in the West, i. e., from romanticism to realism to modernism and to postmodernism. The second half of my thesis comprises a detailed study of two of China's foremost writers, Lu Xun and Shen Congwen, by way of illustrating my arguments. The first two chapters investigate some core concepts in the Western and Chinese literary traditions and the formative roles that they have played respectively in. shaping the process of literary modernity in the West and China. In our study of Chinese literary modernity and modern Chinese writers, we should pay special attention to the important role of the Chinese literary tradition, while taking into consideration the impact of Western literature and China's historical contingency. The interactions between these three factors constitute the special character of China's literary modernity. The third and the fourth chapters deal with respectively the fiction of Lu Xun and Shen Congwen, as well as their conceptions of literature. Through a close investigation of a few selected stories by these two writers, I wish to demonstrate how their works embody the general ideas of literary modernity, and at the same time reveal the peculiar features of China's own literary modernity. In conclusion, I suggest that modernity and tradition have always been intertwined in a complex, dynamic, and dialectic relationship, which has proved to be not only the motive force, but also the unfailing source for the achievements of modern literature, both Chinese and Western; and subjective reflection should be integrated with the lifeworld, and combined with inter subjective communication. / Arts, Faculty of / Asian Studies, Department of / Graduate

This thesis studies fictional narratives of the countryside by writers of rural origin in English and Chinese literature in relation to the "countryside ideal." The term, borrowed from Michael Bunce, describes an ancient as well as modern theme in literature, which sees the countryside as a desirable "home." The conventional construction of the countryside by urban writers sustains this ideal with simplistic and static images. My thesis extends the discussion beyond the idyllic countryside in the mainstream of Anglo-American culture and the genteel culture in China to concentrate on Thomas Hardy (1840-1928), Shen Congwen (1902-1988), and Mo Yan (b. 1956), who all have personal relations with the countryside and who enrich its image with accounts of actual life, reconnecting it to authentic home place. I discuss fictional narratives of the rural homelands of the three writers not as unmediated transcriptions but as cultural constructs, which are shaped by different literary traditions and responsive to specific historical contexts. My approach is mainly text-based, but supplemented by references to each writer's cultural and historical contexts. The Introduction situates these writers and their rural homelands in relation to the specific interest in the countryside in each writer's cultural milieu. Chapter One reads Hardy's reconstruction of the countryside in light of the struggle for existence in a Darwinian natural world. Hardy's sombre-looking rural landscapes highlight the complex difficulties of rural life and the moral and intellectual qualities required to survive in such a world. Chapter Two studies Shen Congwen's justification of rural culture in the midst of nationalist aspirations for globalization. His multi-layered fictionalization of the rural homeland centres on the image of water, a root symbol of Chinese culture, merging traditional Chinese culture with modernist vitalism. Chapter three examines Mo Yan's reconstruction of the rural homeland after the severe disruption of Chinese culture during the Mao era. Mo Yan's magic realist reconstruction testifies to the repression of the genius loci of his rural homeland by politics and expresses a desire to be reconnected with the original homeland through sensual bonds rather than detached observations. These writers' narratives redefine the countryside in relation to "home" as a centre for meaningful activities. The fact that they reappropriate and situate rural life and work in specific cultural traditions and diverse forms of modernity is manifested in their unique and irreplaceable literary constructions. I will offset Hardy's writing against that of the two Chinese writers, in order to clarify their rich and diverse cultural implications. Whereas Hardy subjects his fictional rural landscape to a scientific approach, Shen Congwen reconfirms traditional Chinese culture, linking it with the ideals of the May Fourth movement for renewal and revitalization. Mo Yan, for his part, combines the rural perspective and faith in the land with a modernist use of magic realism. Fictionalizations of the rural homeland thus reveal complex interactions with modernity. / Arts, Faculty of / English, Department of / Graduate

此文獻以淨土佛教中的解神話化爭議來闡述更為廣泛的議題，意即，西方人文學科的分類（在此則特指宗教哲學）是否、以及在何種程度上，對於識別和解釋現代東亞知識發展有所助益？ 在序章中，已對此一普遍議題對當代淨土佛教研究如何產生影響有所說明。該領域長期以來受到日本學者—特別是被歸類為所謂「宗學」的日本淨土教派的學者們—所左右。毋庸置疑地，這些學者們所用以談論淨土傳統的思想框架，強烈地受到19世紀末日本面對西方哲學、神學之衝擊所影響。然而，近幾年來，部分西方學者認為，這樣的觀點並不適用於中國淨土佛教的情況，因為在中國，淨土宗並非一有系統之思想內容，而僅是作為虔誠與儀式實踐。本論文將以不同的切入點來探討此爭議。本文關注於：當淨土信仰與實踐被置於「佛教詮釋學」中的爭議來論述時，意即，以較為精練的方法論來詮釋文本時，西方化的思想框架是否能夠充分地呈現這些佛經的「詮釋者」們最初的關懷。 本文所關注的議題，在於部分佛教現代主義者借助唯識思想來詮釋淨土信仰之傾向。如同在本書頭二章所敘述的，部分日本淨土「宗學家」將此種解讀歸類為將淨土佛教「解神話化」。在此，解神話被理解為對淨土神話的批判性詮釋，並以此回應現代化與西方化。此種詮釋亦被認為是回歸到淨土神話「真正的」意義，意即，阿彌陀佛實為內在真理之象徵，而非外存之他者。然而，如同第四章所述，在近代中國，以唯識學詮釋淨土教義的方法論發展，乃是對現代化之前、以及現代化早期所產生的、懸而未決之爭議的反動，而不僅是西方衝擊之下的產物。而如同第五章中所論及的，這些尚未塵埃落定的爭議其中之一，便是所謂「自性彌陀」是否應被理解為真正的救世主；又或者，其應當被視為嚮導、老師。 在接續的章節中，筆者將著重於特別選定的若干核心材料，藉以呈現前述之中國佛教徒開始大量接受現代西方概念後所發展出來的詮釋學爭論。第六章探討由19世紀在家學者沈善登所撰寫的論著《報恩論》之殘篇。就筆者所知，《報恩論》為可知成書年代的漢語文獻中，最早從「現代」觀點來檢視淨土宗與唯識學的關係之著作，意即，該類撰文者普遍熟知後啟蒙時代的西方觀點。第七章則分析中、日對於適切理解淨土宗解脫敘述的爭論。該爭論為1899年至1901年間，楊文會與淨土真宗的一組僧人，即小栗栖香頂和内記龍舟，之間的筆戰。此處所關注之抄本收載了楊文會對唯識思想與淨土信仰的關係最為早期之書面表態，意即，其堅信淨土信仰應當與唯識思想之研修相互連結。雖已有部分學者對該爭論進行研究，然而，此一特殊面向卻尚未引起太多關注。為了進一步解析前述之發展於民國初期的概念，第八章將以唐大圓之選文作為研究實例。作為改革派在家居士，唐大圓主要活躍於20至30年代之間，亦為西方概念匯聚之時期。本章不僅剖釋唐大圓之銘言：「行在淨土，解在唯識」，亦將闡述此奠基於唯識思想之「解」如何在對同期淨土傳統、特別是對法藏菩薩之神話理解的批評中，揭示呈顯出來。 最後，第九章將總結主要考察成果，並提出未來深入研究之可行方向。在第九章，筆者主張唯識思想為漢傳佛教提供了統一的準則來理解淨土神話，而此方式與兩種傳統解讀大相逕庭，意即，其並非彷彿單純的奉獻者一樣，照字面地將阿彌陀佛與淨土理解為「心外」之物，亦非如學院派讀法一般，將阿彌陀佛等同於心性。淨土信仰的唯識學詮釋能夠支持將阿彌陀佛視為人類社群的「啟發的領導者」此一現代想像；同時，其亦得以將佛教思想與現代對理想社會和社群發展的理念相互連結。

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University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

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本論文寫作之問題意識，乃基於對儒學在現代社會角色定位與未來走向之反思。在當代，儒學雖逐漸建立作為學術理論的地位，同時也與一般民眾思想、生活漸行漸遠，這種與傳統儒學化成理想有落差的情況，對在現代仍認同儒學或以儒家自許者，成為一個不得不面對的真實問題。從逆覺體證到理一分殊新釋之理論演變，正在尋求其因應之道。此現代新儒學之內部理論發展，內容是走向日用常行化與廣義道德實踐之建立，理一分殊作為方法架構，亦具有應用在種種不同觀點的普遍意義。 首先，就理一分殊新釋而言，一切文化創造活動都屬分殊，只能「通於」、而不能「同於」理一。良知坎陷的範圍也應擴及逆覺體證的行為實踐領域。包括道德行為在內的一切人類活動，都已是理一在某個時空之具體落實，具有侷限而不再等同於無限，但雖不可等同於無限，卻又通於無限。一切人文活動都可通於理一，但因「通」的型態不同，故定位也各異。逆覺體證是「逆」或「返」於理一之「通」，重點在契接、體悟理一；其他人文活動是「順」或「發」自理一之「通」，重點在承繼或順應理一之動用，成就現實生活中的各種價值創造。既然都是「通」於而非「同」於理一，就不必強分高下而可同時並重。儒家作為成德之學的道德實踐概念內涵，就不僅限於由逆覺所體證而發之於道德行為之狹義的道德實踐，而可涵蓋一切正面價值創造活動，成為一種廣義的道德實踐。 這種廣義的道德實踐，是具有基本道德操守而同時以仁心與生生之精神為終極託付的人生態度，凡認同此態度而不斷從事正面價值創造者，不論是學者、藝術家、科學家等任何職業與身分，都是現代意義下的儒者。從事儒家思想研究工作而又同時具有以上生活態度的現代新儒學，即取得在儒學架構下的正當性與必要性。儒家的理想仍然嚮往與追求聖賢境界，卻不再是作為儒者的唯一條件，這是使逆覺體證由聖賢工夫走向日用常行化的轉向。 就廣義道德實踐的立場，內聖是指以仁心與生生精神為終極託付，外王雖主要指涉政治領域，亦可延伸至以仁心與生生為前提，而從事商業、學術、藝術等活動。這種廣義道德實踐的另一個理論效應，則是基於良知與見聞的辯證關係，以及朱子對人之有限性的警覺，將朱子與象山的先後天修養工夫同時並重，而統合於陽明的良知教之下。廣義的道德實踐是以生生之仁為出發點，有關此普遍人性之內涵，牟宗三先生指出是一種心性情合一之普遍道德主體，並以由本心自定自發律則而具現於行為之動態過程，亦即「實踐上的印證」，說明此道德主體之具體化問題。至於道德意識普遍性之證成的落實問題，則需要劉述先先生參與全球倫理運動的「共識上的印證」作補充。這是藉由存異求同的理一分殊方法，與世界各大宗教文化進行平等的對話，從中所得到的共通於各大傳統之極小式的底限共識，亦即人道與金律，可作為說明落實問題之一種可能途徑。 逆覺體證本質上是從工夫論導出哲學理論之系統。可使儒學在指引效力之外逐漸展現出解釋效力，成為一種可以在學術上掌握與論析的理論系統。理一分殊的方法論為這種走向之延續。理一作為人文學科中的規約原則，有別於經驗科學的歸納（induction），因為歸納的方式是取同略異，理一分殊秉持的是存異求同之精神。筆者即嘗試就如何順成朱子所謂「去兩短，合兩長」，以及內聖外王雙向互動之兩行，作為這種方法論應用的實例。這兩個觀點雖非理一分殊新釋之內容，卻可藉由其方法予以證成，正可說明理一分殊方法的普遍意義。 / Nowadays, the situation of Confucianism is rather dubious. It used to be the guidelines of politics and everyday life in Chinese society. However, Confucianism is now not as influential as it was before. Its practical role has given way to theoretical one. This phenomenon, for many, means the loss of the essence of Confucianism. In my opinion, the prospect of turnaround lies in the development of ni-chüeh-t'i-cheng to the New Interpretation of li-i-fen-shu. The content of this progress can be divided into three: the secularization of moral practice, the wide-ranging creation of values and a formation of methodology. At first, ni-chüeh-t'i-cheng emphasizes the request of being sages while the New Interpretation of li-i-fen-shu focuses on the obedience to rules of law and decorum. As a result, the moral practice of Contemporary Neo-Confucian Philosophy is easy for normal people to abide by. Secondly, the New Interpretation of li-i-fen-shu advocates not so much moral practice as the creation of values. Accordingly, people belonging to every walk of life are regarded as a Neo-Confucian on condition that he or she has faith in jen(humanity) and sheng-sheng(creative creativity). Taken together, these theses indicate that Contemporary Neo-Confucian Philosophy tends to lives of modern people. Finally, ni-chüeh-t'i-cheng is a kind of kung-fu-lun which doubles as a academic theory. Nevertheless, li-i-fen-shu has a facet of methodology. I manage to apply this methodology to two issues in Confucianism: the necessity of ch’u-liang-tuan, ho-liang-ch’ang by Chu-Hsi and the interaction between nei-shen and wai-wang. The significance of li-i-fen-shu will be highlighted if my analysis is justified.