[资源分享] 全本下载 Early China Vol 38 2015年9月出版
<p><span style="font-size: 12pt; font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; line-height: inherit;">Early China</span></p><ul class="jnlDetails" style="margin: 5px 0px 0px; padding: 0px; border: 0px; outline: 0px; font-size: 0.718em; font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; vertical-align: baseline; list-style: none; width: 40px; background-color: rgb(241, 241, 241);">
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<p><span style="font-size: 14pt;">百度网盘 http://pan.baidu.com/s/1o7lxJvk</span></p>
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<div><span style="font-size: 14pt;">in memorium</span></div>
<div><span style="font-size: 14pt;">Magdalene von Dewall 德麥玲 (1927–2014)</span></div>
<div><span style="font-size: 14pt;">David S. Nivison 倪德衛 (1923–2014)</span></div>
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<p style="text-align: left;"><span style="background-color: rgb(255, 255, 255);"><span style="font-size: 12pt;">目</span><span style="font-size: 12pt;">次</span></span></p>
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<p style="text-align: left;"><span style="font-size: 12pt; background-color: rgb(255, 255, 255);">1 艾兰 主编的信</span></p>
<p style="text-align: left;"><a style="font-family: Arial; font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"><span style="font-size: 12pt;"><span style="font-size: 12pt;">Sarah Allan </span></span></a><a style="font-family: Arial; font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"><span style="font-size: 12pt;">LETTER FROM THE EDITOR</span></a></p>
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<p style="text-align: left;"><span style="background-color: rgb(255, 255, 255);"><a style="font-family: inherit; font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"><span style="font-size: 12pt;">2 羅泰 著名考古學家德麥玲女士(1927–2014)傳略</span></a></span></p>
<p style="text-align: left;"><span style="font-family: Arial;"><a style="font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"><span style="font-size: 12pt;"><span style="font-size: 12pt;">Lothar von Falkenhausen </span></span></a><a style="font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"><span style="font-size: 12pt;">MAGDALENE VON DEWALL (1927–2014): A PORTRAIT</span></a></span></p>
<div style="text-align: left;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 21.600000381469727px;">德麥玲女士是二十世紀後期德國唯一一位採取人類學觀點和方法的東亞及東南亞考古學專家。她的學術著作論及中國商周時期的車馬、滇文化的青銅器、古代葬俗研究等題目，它們在很多方面十分前進，仍值得仔細閱讀。本文試圖敘述德麥玲女士的傳記及她所屬的師生體系，並評估她的學術貢獻。 近幾年來，東亞及東南亞考古這個領域在德國學術界終於得到了一定的承認。這件現象在很大程度上是由於德麥玲女士一生的大努力而發生的。</span></div>
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<div style="text-align: left;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12pt; line-height: 20.799999237060547px; background-color: rgb(255, 255, 255);">3 信廣來 倪德衛與儒家思想之哲學研究</span></div>
<div style="text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3; font-family: Arial;"><span style="line-height: 21.600000381469727px; font-size: 9pt;"><span style="font-size: 12pt;">Shun Kwong-loi </span></span><span style="font-size: 12pt;">NIVISON AND THE PHILOSOPHICAL STUDY OF CONFUCIAN THOUGHT: IN MEMORY OF DAVID S. NIVISON (1923–2014)</span></a></div>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt; background-color: rgb(255, 255, 255);">倪德衛 (1923–2014) 的學術著作， 對於溝通中國傳統經典研究及西方哲學探索， 有深遠的影響. 他的研究方法， 與朱熹及唐君毅等儒者所提倡的經典研究方法相呼應. 他著重文本細節， 文化背景， 在對中國思想傳統作出詮釋時， 儘可能保存其獨特性， 免受西方哲學概念所影響. 這種研究方法， 正體現了儒者所提倡， 對經典研究應持有的 <敬> 的精神.</span></span><br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; font-size: 15px; font-style: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; line-height: 1.3;">Carine Defoort HEAVY AND LIGHT BODY PARTS: THE WEIGHING METAPHOR IN EARLY CHINESE DIALOGUES</a></div>
<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;"><span style="background-color: rgb(255, 255, 255);">本文分析古籍中權衡身體部位(如指、臂、頭)的隱喻。當前對這個議題的認識主要是來自葛瑞漢 (A. C. Graham) 對於此隱喻的修辭功能的分析，以及方麗特 (Griet Vankeerberghen) 對於某一類型的「權」(本文稱為「權B」)的描述。他們依據的文獻主要是墨辯裡的兩個零星片段。本文提出《呂氏春秋》中有一些關於衡量肢體輕重的故事。這類故事總是用來強調全命養生的價值，有相對一致的論述結構，並且構成一系列相關論證的核心。透過剖析這些段落，將有助於我們理解其他文本的內涵。</span><br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;"><span style="background-color: rgb(255, 255, 255);">5 杜培倫 《淮南子》的倫理中情起的作用<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;"><span style="background-color: rgb(255, 255, 255);">Matthew L. Duperon THE ROLE OF QING 情 IN THE HUAINANZI'S ETHICS<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;"><span style="background-color: rgb(255, 255, 255);">這篇文章分析《淮南子》中每一個情字來探究該概念在全書倫理思想中的地位. 在漢代早期情字有好幾個意義, 而《淮南子》作者用這些意義來提倡他們的總主張,即《淮南子》可以提供關於有效治理天下的詳盡而權威的解釋. 我認為該書作者也用情來闡述宇宙與人類所具有的原倫理的特色， 而這一特色使得理想化的有道德的行為成為可能。作者也用情來解釋人怎樣自我修養以達到理想化的聖人的狀態。理解《淮南子》中的情的作用因此對理解該書的倫理內容至關重要。<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; font-family: inherit; vertical-align: baseline; line-height: 1.3;"><span style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;"><span style="background-color: rgb(255, 255, 255);">6 李曉帆 淺談古漢語翻譯中原文及其原創性的概念和譯文的保真度：《列子》的不同譯本的比較<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">Xiaofan Amy Li THE NOTION OF ORIGINALITY AND DEGREES OF FAITHFULNESS IN TRANSLATING CLASSICAL CHINESE: COMPARING TRANSLATIONS OF THE LIEZI</span></span></a></div>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">本文對幾個《列子》的譯本進行了比較， 並探討了關於文本的原創性這個概念，一個文本作爲翻譯原文的產生，現代譯本相對于原文的翻譯保真度，及我們如何理解譯文對原文的忠實性的問題。我以《列子》為個案，先討論了關於《列子》的真僞（即原創性）的質疑如何負面地影響了評論家及翻譯家對《列子》的重要性的看法。其次，我通過對《列子》的幾個譯本的比較，説明了這些譯文特有的一些翻譯和闡釋方面的問題。最後，我對比較譯本這一討論和思辨方式進行了思考，即：爲什麽需要比較譯文？我提出的論點是，譯文的比較並不是以評出理想的譯本為目的的閲讀和思辨方式，因爲原文及其原創性和譯文的保真度這些概念都有多重含義，而並非單一和固定的概念。與其以‘忠實性’為標準去衡量翻譯，不如通過譯文的比較閲讀去探討不同的譯文如何能揭示原文和譯文之間的某些關係，原文語言和譯文語言之間的關係，去反思因爲翻譯的需要而構造了所謂的‘原文’的問題，並重新認識原文自身的流動性和多重性。<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">7 楊元錚 饕餮、龍鳳和農夫：記九連墩出土的一牀「寶裝琴」<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">琴的起源，在孔子時代流傳下來的古典文獻中就已經被神化了。目前我們對上古琴的形製及其象徵意義仍知之甚少。本文通過考察2002年湖北棗陽九連墩出土的一床戰國琴，嘗試解讀該琴無與倫比的華麗浮雕和精美漆畫中隱含的象徵意義。作者指出孔子時代人們所彈奏的琴的真實形態與中古時代人們對上古琴形製的想像大相徑庭。出土上古琴構造分爲五節，這種分段結構是上古琴與中古以來的傳世琴的最大區別。尤其值得重視的是：該琴的文樣和圖案所展現的情景並不囿於楚國貴族所特有的瑰麗想像，其中相當一部分還可以闡釋爲楚國農夫牧者一年之中種種勞作的平凡場景，從而爲現代學者揭示了戰國時代楚人日常生活的生動一瞥。<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">在相當數量的中國古代兵書當中，任何計謀的成功都要求能夠適應不斷變化的情境，預見敵人的行動。因此，對軍事領袖和聖人的理想化描述往往相互重疊。二者都是一些能夠在事件定型之前便能預測其性質，及時採取行動的人。而這些預言的能力乃是對現實最細微、表層的面向仔細觀察透析的結果。通過分析當時一些軍事謀略家的傳記材料和相關戰事案例，本文試圖證明軍事領袖其實可以被視作為符號大師，而相應地，兵法則需要一定的符號學心態與技術，才能取得對徵兆的正確詮釋，進而決定戰鬥的勝負。<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">9 方嵐生 《凡物流形》和《老子》中的“一”<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;">Franklin Perkins FANWU LIUXING 凡物流形 (“ALL THINGS FLOW INTO FORM”) AND THE “ONE” IN THE LAOZI<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;">過去數十年的考古學發現極大的擴大了我們對於《老子》及其寫作背景的了解。但迄今為止，大多數研究仍集中在文本自身不同版本的研究。其實，考古證據從另一個途徑同樣改變了我們對於《老子》的認識： 其它幾個大約與郭店文本同時期的有關宇宙生成文本的發現 。這些文本在持有一些相同關注點和構想的同時，也存在著一些爭議和矛盾。因此，與其假設任何聽起來像《老子》一樣語意模糊的文本都是在用不同的語言敘述同樣的東西，我們更應該習慣那些從宇宙論到行為的不同概念之間的細微差別。不但如此，我們還應該接納這樣的一種可能性，那就是，《老子》文本自身即包含多元的立場。本文將對《老子》中 ”一” 的概念進行特例分析，並指出，對於 ”一” 這一概念作出討論的五個章節，實際是一種對原本已有觀點的吸納嘗試。這一觀點把 ”一” 看作終極依據而並不考慮矛盾雙方的相互依存性。此點在新近發現的《凡物流形》中亦有闡發。<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;">10 书评 1 蘭德 评Anne P. Underhill, ed. A Companion to Chinese Archaeology<br>
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<div>Brian Lander Anne P. Underhill , ed. A Companion to Chinese Archaeology . Chichester: John Wiley & Sons, 2013 (also available digitally).</div>
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<div>11 书评 2 武致知 评Wang Haicheng . Writing and the Ancient State Early China in Comparative Perspective<br>
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<div style="display: inline !important;">Rens Krijgsman Wang Haicheng . Writing and the Ancient State: Early China in Comparative Perspective . Cambridge: Cambridge University Press, 2014, xxii + 385 pp.</div>
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<div style="display: inline !important;">12 书讯 1 雷文德 评 Margaret Pearson . The Original I Ching An Authentic Translation of the Book of Changes<br>
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<div>Geoffrey Redmond Margaret Pearson . The Original I Ching: An Authentic Translation of the Book of Changes. Tokyo, Rutland, Singapore: Tuttle Publishing, 2011.</div>
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13 书讯 2 陳家寧 评 Lillian Lan-ying Tseng. Picturing Heaven in Early China<br>
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<div>Jianing Chen Lillian Lan-ying Tseng . Picturing Heaven in Early China . Cambridge, MA: Harvard University Asia Center, 2011.</div>
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14 鄭秀才 汇编 博士论文提要<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">Xiucai Zheng DISSERTATION ABSTRACTS<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">15 鄭秀才汇 编 年度资料汇编<br>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; text-align: left;"><a style="font-family: inherit; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; font-size: 15px; vertical-align: baseline; line-height: 1.3;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><span style="font-size: 12pt;">Xiucai Zheng ANNUAL BIBLIOGRAPHY<br>
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<h3 style="margin: 0px; padding: 10px 0px; border: 0px; outline: 0px; vertical-align: baseline; width: 590px;"><a style="font-family: inherit; font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline; font-weight: normal;">
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<h3 class="author" style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 1.25em; line-height: 1.3em; margin: 0px; padding: 10px 0px 5px; border: 0px; outline: 0px; vertical-align: baseline; width: 590px;"><span style="font-weight: normal;">由于去年开始Early China 由剑桥大学出版社出版。所以您的学校购买了Cambridge Journals Online数据库中的本刊，可以在校园网内进入如下链接下载本期和过刊（过刊能下到多少也取决于购买数量）</span><a style="font-family: inherit; font-size: 1.25em; line-height: 1.3; margin: 0px 0px 3px; padding: 0px; border: 0px; outline: 0px; font-style: inherit; vertical-align: baseline;"></a></h3>
<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 1.25em; line-height: 1.3em;"><span style="font-size: 15px; font-weight: normal; line-height: 19.5px;">http://journals.cambridge.org/action/displayJournal?jid=EAC</span></div>
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<div style="font-family: 'Arial Unicode MS', Arial, Helvetica, sans-serif; font-size: 1.25em; line-height: 1.3em;"><span style="font-size: 15px; font-weight: normal; line-height: 19.5px;">另外博士论文提要中的论文，如学校已购买，可在ProQuest数据库中下载到。</span></div>
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