Academic literature on the topic 'Du zhe shu dian'

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2002.
Includes bibliographical references (leaves 276-289). Also available in electronic version. Access restricted to campus users.

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2003.
Includes bibliographical references (leaves 119-123). Also available in electronic version. Access restricted to campus users.

The intellectual development in the Tang Dynasty (618-907) could be generally divided into two phases, with the first one inherited from the Han Wei period focusing on the meaning of words, while the second phase focuses on the teaching of the Confucian classics. Among the various scholars during the course of this transformation, Dan Zhu (啖助,724-770) has been recognized as a non-mainstream but yet very influential character. To avoid the An-Shi Rebellion, Dan Zhu resided in the south-eastern part of the country where he taught Lu Chun (陸淳) the Chun Qiu (春秋) classic. Many famous Tang political reformers including Lu Wen (呂溫) and Liu Zong Yuan (柳宗元) are considered by historians as Dan Zhu’s students and followers. This has made Dan Zhu even more influential than other Confucius scholars in that period. Nevertheless, due to the controversial nature of his teachings, Dan Zhu was heavily criticized by Ouyang Xiu (歐陽修) as being specious and at the same time appraised by Cheng Yi (程頤) to be one of the fore-runners who founded the Song Confucianism. This research reveals that Dan Zhu abandons the approach of focusing on the meaning wording and goes directly into the teachings of the classics. He considers that there are large amount of mistakes in the then contemporary explanation of Chun Qiu, he also considers that Tang scholars have not just worked in isolation without much view sharing, but also misinterpreted Confucius’ teachings. Moreover, the Tang scholars are treating Chun Qiu as history or even as literature, rather than Confucius’ teaching on how the society should be run. From Dan Zhu’s perspective, Confucius was trying to make use of histories to set proper behavioural standards and protocols for running the country, with an objective of saving the imperial control of Zhou (周). During the mid-Tang period, China was undergoing major social changes from a feudal to a modern society. Tang imperials whose ancestors carried a nomadic blood stream tried to strengthen their control by adopting Confucianism; and placing more emphasis on the south-eastern region where the Han Chinese of the Southern Dynasty was concentrated. Coupling with the civil examination (科舉) reform and the impacts of Zen Buddhism, the Tang society was undergoing major social-political transformation which Dan Zhu was situated right on its course. The research concludes that Dan Zhu’s ideas fit well with Xuan-zong’s (唐玄宗) appeal for revival of Confucius teachings and the social-political setting in Mid-Tang. Although Dan Zhu is considered a non-mainstream scholar, his teachings have brought about significant impacts on later development of the Neo-Confucianism. Nonetheless, Dan Zhu has not deviated from the fundamental principles of a Confucian whose destiny is to serve the people and the country, and of course for Dan Zhu, the Tang Dynasty.
published_or_final_version
Chinese
Master
Master of Philosophy

博士
國立成功大學
中國文學系碩博士班
94
By virtue of the discussion on two discourses in “wen xin, xu zhi” (Literary Mind, Postface), Chapter One of this treatise works to indicate the research methods and concepts to which the researchers of “Wen Xin Diao Long” (Literary Mind and the Carving of the Dragon) should adhere, followed by conducting the study into “wen xin” and having introspection to show the flaws of these texts. Finally, it inducts the necessity of interpreting “Axis Theory” from the aesthetic perspective of “jing dian zhi tiao － wen zhang” (branches of classics – literary works). On the strength of discussion on “dao” (Taoism), “sheng” (the sage) and “Jing” (the classics) by Ban Gu and Zheng Xuan, classical scholars, recognized adequately by Liu Xie and the on concept of “jing dian zhi tiao － wen zhang”, Chapter Two of this treatise aims to get an insight into Liu Xie’s “dao”, “sheng”, and “jing” and “jing dian zhi tiao － wen zhang”. Like “What are poets for?” by Heidegger, the sages’ composing course of classics in “xin sheng er yen li, yen li er wen ming” (thought begets meaning which produces utterance) recognized in Liu Xie’s concept given a clear account in Chapter Three reveals the profound justice of nature of the cosmos that makes it the creative activity with the most aesthetic value and meaning. Therefore, Liu Xie’s ideally aesthetic implication of “jing dian zhi tiao － wen zhang” is: Imitating the sages’ aesthetic activity of composing classics in “xin sheng er yen li, yen li er wen ming” (including the practical creation of literary works in “xu jing shen si” (surpassing time and space imagination in tranquil void), “yen cit u na” (breathing exercise of utterance) and “she qing yi wei ti, zhuo shi yi qu lei, cuo ci yi ju yao”(deciding the contents of thought and arranging guiding principles, deliberating over the use of allusion, using refined language to highlight the gist) By virtue of the “imitation” of sages’ aesthetic activity of poetry composition, it can return to their original sacred time and space in composing the classics. Under such context, Chinese literary scholars can conduct the exchange in a sense of “The natural law for sages to compose the classics” and “The disposition of five constant virtues for sages to compose the classics” in which it imply the sages’ “five constant virtues” revealed in the classics that acquires sagacious moralization of moral characters and inducts the “pleasant impression of classics, incessant reason and sentiment” in the meanwhile. Manner presented by Liu Xie’s ideal style of “jing dian zhi tiao － wen zhang” is: On the basis of imitating “the essential principle for sages to shape the classical style”, “diao hua qi ci” (carving the wondrous rhetoric) in intellectual change timely will be taken as the symbol of “the pleasant impression of classics, incessant change of reason and sentiment.” In Chapter Four of this treatise, the aesthetic implication of “jing dian zhi tiao － wen zhang” will be applied to re-interpret the “Axis Theory” of Wen Xin. By virtue of the “imitation” of “the sages’ aesthetic activity to compose classics”, it further indicates that not only does the literary works from Qu Yuan’s Li Sao can achieve “ben hu dao, shi hu sheng, ti hu jing” (taking the Taoism as the basic principle for writing, following teachings from the sages, following the styles of classics) to present the sentiment of “the sages’ aspiration to compose classics” and “the sages’ natural law to compose classics”, thus implying the sages’ aspiration to attain the state of personality in “lofty ambition” as well as reaching “the pleasant impression of classics, incessant change of reason and sentiment” (i.e. the affections of “qu rong jing zhi” (acquire and blend the purport of classics) revealed by “Bian Sao” (Differentiation of Li Sao)! In the other hand, Qu Yuan can “zhuo hu wei” – taking discretionarily “plentiful and peculiar sagas, abundant rhetoric” from Myths of Wei Book – in intellectual change timely couple with his gift to form new “wei ci” (i.e. “zi zhu wei ci” (compose great rhetoric at his own) revealed by Biao Sao), thus working as the symbol of “the pleasant impression of classics, incessant change of reason and sentiment.” Thereby, the literary works of Li Sao by Qu Yuan in “Chapter of Bian Sao” can “qu rong jing zhi” (“ben hu dao, shi hu sheng, ti hu jing”) as well as can “zi zhu wei ci” (formed by “zhuo hu wei” along with personal gift) turn out to be Liu Xie’s ideal sample of “jing dian zhi tiao － wen zhang”. In the light of such aesthetic implication, I do hereby give an interpretation to the important concept of creation theory of “Wen Xin”, pointing out the feasibility of point at issue in this treatise.