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明代官話還是晉方言?山西雜劇和《青郊雜著》的基礎方言
Míng Period Guānhuà or Jìn Dialect? The Qīngjiāo zázhù as a Standard for Shānxī Opera

2019-20 School of Chinese Seminar

Míng Period Guānhuà or Jìn Dialect?
The Qīngjiāo zázhù as a Standard for Shānxī Opera
明代官話還是晉方言?山西雜劇和《青郊雜著》的基礎方言

Professor Richard Van Ness Simmons 史皓元教授

時間:Time: December 13, 2019 (Friday), 11:00am-12:30pm
地點: Venue: Room 730, Run Run Shaw Tower, Centennial Campus,
The University of Hong Kong
演講語言 Language: 普通話 Putonghua

本文旨在探討桑紹良所撰《青郊雜著》的基礎方言問題。桑紹良編寫該書的目的主要在於折中南北通音、以定音律。由於桑氏來自河南西北部,因此學界一般認為反映的是當時的官話音。對此,也有人提出不同的觀點,認為桑氏音系中也包含一些獨有的不見於明官話的語音特點及層次,當為混合音系。關於桑氏的籍貫,《四庫全書總目提要》記作湖南零陵,因而《湖湘文庫》也便將《青郊雜著》收錄其中。但據耿振生考證,桑紹良當為河南人,其在《青郊雜著》中呈現的应该是河南濮州話。那麼,桑氏《青郊雜著》的基礎方言究竟是什麼呢?通過對《青郊雜著》音系進行分析,我們發現:桑氏音系中的確含有濃厚山西地區的方言特徵。其中聲調及聲母的某些特徵與山西中部和東南部方言關係密切。此外,通過比照河北—山西一帶方言,也可以看出其與晉語區的聯繫。由此,我們認為《四庫全書總目提要》的記載有誤,桑氏當為河南西北部和山西东南部人。理清《青郊雜著》音系和基礎方言之后,本文還試圖發現桑氏唯一戲曲作品《獨樂園》中的用韻是否會反映該音系的特點。

This presentation examines the phonology of Sāng Shàoliáng’s (fl. 1543-1581) Qīngjiāo zázhù [Compilation from the Qīngjiāo studio]. Sāng Shàoliáng compiled his book in an effort to provide a phonology that broadly reconciles northern and southern Mandarin pronunciations, primarily as a guide to versification. Because Sāng was from the area of Northern Héběi, his work is also often thought to represent a form of the Guānhuà koinē of the time. However, such a characterization has been disputed, as Sāng’s phonology contains idiosyncratic elements and layers that could not have been widely used in the Míng Mandarin koinē. Careful analysis of the phonology in Sāng’s book reveals that in fact it was directly based on a type of Shānxī dialect, a variety that is spoken in the region where Sāng spent a large portion of his professional and family life. We thus have a detailed guide for operatic enunciation by an author of the Jìn region who also wrote at least one Míng play: Dúlèyuán 獨樂園 [Garden for secluded contentment]. This presentation will outline Sāng’s Shānxī phonology and explore whether or not that phonology can be discerned in the rhyming used in the songs in his one surviving play.

史皓元 (Richard Van Ness Simmons),美國西雅圖華盛頓州漢語語言學博士,香港大學中文學院客座教授,美國羅格斯–新澤西州立大學亞洲語言文化系終身教授、前系主任。曾獲亨利.魯斯基金會中美合作研究項目提供的看就經費在江蘇省從事漢語方言地理學研究。2015年獲選成為普林斯頓高等研究院(IAS)的研究會員。他的研究範圍包括:漢語方言、漢語史等。著作包括《漢語方言分區的理論與實踐》(英文版1999,中文版,2011)、《江淮官話與吳語邊界的方言地理學研究》(與石汝傑和顧黔合著,2006)、《滬英–英滬小詞典》(2011)、《漢語與漢藏語研究:方言、音韻與文獻》(與方妮安合編,2014)等書。

Richard Van Ness Simmons is Visiting Professor in the School of Chinese at The University of Hong Kong and Professor of Chinese and Immediate Past Chair of the Department of Asian Languages and Cultures at Rutgers University. He holds a Ph.D. in Chinese linguistics from the University of Washington, Seattle. He has received numerous grants and awards to support his scholarship, including a multi-year grant from the Henry Luce Foundation U.S. China Cooperative Research Program. In Spring 2015 Simmons was the Starr Foundation East Asian Studies Endowment Fund Member of the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey. His areas of expertise include Chinese dialectology and the history of Chinese. Simmons’ publications include Chinese Dialect Classification — A Comparative Approach to Harngjou, Old Jintarn, and Common Northern Wu (1999; translation in Chinese 2010), Chinese Dialect Geography: Distinguishing Mandarin and Wu in Their Boundary Region (2006), Shanghainese Dictionary and Phrasebook (2011) and Studies in Chinese and Sino-Tibetan Linguistics: Dialect, Phonology, Transcription and Text (2014).

All Welcome

Poster:
http://web.chinese.hku.hk/poster/20191213.pdf

http://www.hku.hk/chinese

布衣之文:清前期文壇身份意識的強化與文化權力的轉移
“Commoners’ Prose”: The Strengthening of Literary Identity Consciousness and the Transfer of Cultural Power in the Early Qing Dynasty

2019-20 School of Chinese Seminar

布衣之文:清前期文壇身份意識的強化與文化權力的轉移
“Commoners’ Prose”: The Strengthening of Literary Identity Consciousness and the Transfer of Cultural Power in the Early Qing Dynasty

郭英德教授(北京師範大學教授、香港大學訪問教授)
Professor GUO Yingde

時間 Time: 2019年11月26日(星期二)November 26, 2019 (Tuesday), 下午5:00-6:30pm
地點 Venue: 香港大學百周年校園邵逸夫教學樓730室 Room 730, Run Run Shaw Tower, Centennial
Campus, HKU
演講語言 Language: 普通話 Putonghua

在清代順治、康熙年間,文壇上出現了鮮明的身份意識,無論是布衣處士還是縉紳公卿,都自覺而明確地以社會政治角色為標準,將當代古文家區分為“布衣”與“縉紳”兩種身份類型,由此形成“布衣之文”與“縉紳之文”的分野。在清前期,“布衣之文”成果豐碩,足以與“縉紳之文”並駕齊驅,甚至凌駕其上,由此推動古文創作趨於鼎盛,文壇上呈現出文化權力下移的趨向。為古文注入超邁的精神氣質和豐厚的道德修養,以“布衣”人格的內蘊與內化,提升“布衣之文”的文化品格,這是清前期布衣之士在古文理論、批評與創作上的共同追求。但是,經過一百多年的較量,到乾隆年間,布衣之士終於敗下陣來,士大夫文人重新執掌文壇大權,評騭文品優劣,主導文風走向,布衣之文也漸漸失去原有的光彩。

During the Shunzhi and Kangxi reigns in the Qing Dynasty, very distinct forms of identity emerged in the literary world. Contemporary “commoner” (unrecruited scholar) and “official” Masters of the Ancient Prose Style were consciously and explicitly differentiated according to their socio-political roles, thus creating a distinction between “commoners’ prose” and “officials’ prose.” In the early Qing, “commoners’ prose” was substantial enough to keep pace with “officials’ prose” or even overtake it, thus promoting a growth in ancient prose output alongside a downward shift of cultural power in literary circles. It was the shared pursuit of early Qing “commoners” in their theory, criticism, and composition to inject ancient prose with superlative spiritual and moral cultivation, including enhancement of the cultural integrity of “the commoners’ prose” through insertion or infusion of the commoners’ personal integrity. However, after more than a century of struggle, by the Qianlong period the “commoners” had finally lost their battle. Scholar-officials reasserted their hegemony in the literary world, and once again it was their criticism and judgement that dominated trends in literary style, “commoners’ prose” gradually losing its former glory.

郭英德,文學博士,北京師範大學中國古代文學、中國古典文獻學教授。出版專著二十餘部,論文二百多篇。代表性著作爲《明清傳奇史》(江蘇古籍出版社,1999;人民文學出版社,2012),《中國古代文體學論稿》 (北京大學出版社,2005)。目前主持國家社會科學基金項目“中國古代散文研究文獻集成”(14ZDB066)。2019年秋季學期,作為香港大學訪問教授,在中文學院講授本科課程“元明清戲曲”和“中國古典小說專題研究”。

Professor GUO Yingde (PhD, BNU, 1989) is Professor of Traditional Chinese Literature and Chinese Classical Philology in Beijing Normal University. He has published more than twenty books and more than 200 academic papers. His representative books include History of the Chuanqi Drama in the Ming and Qing Dynasties (Jiangsu Ancient Books Press,1999; People’s Literature Press, 2012), Essays on the Study of Literary Genre in Ancient China, Peking University Press, 2005). Now he leads the Major Project of the National Social Sciences Foundation of China (14ZDB066) “Collected Sources for Research on the Ancient Chinese Prose.”
In Fall semester 2019, Professor Guo’s undergraduate courses are CHIN2145 Chinese Theatre during the Yuan, Ming, and Qing Periods, and CHIN2173 Topical Studies of Classical Chinese Fiction.

All Welcome!


Poster:
http://web.chinese.hku.hk/poster/20191126.pdf

http://www.hku.hk/chinese

[Cancellation of the seminar] 白話文的韻味和魅力:談談《金瓶梅》的方言色彩 The Veiled and Alluring Nuance of Dialect in the Language of the Jin Ping Mei

Please note that the below seminar is cancelled.

2019-20 School of Chinese Research Seminar

白話文的韻味和魅力:談談《金瓶梅》的方言色彩
The Veiled and Alluring Nuance of Dialect in the Language of the Jin Ping Mei

张惠英教授 Professor Huiying ZHANG

時間 Time: November 19, 2019 (Tuesday), 5:00-6:30pm
地點 Venue: Room 730, Run Run Shaw Tower, Centennial Campus, The University of Hong Kong
演講語言 Language: 普通話 Putonghua

Abstract

《金瓶梅》就是在北方話的基礎上,用了不少方言俗語,不少同音字生造字等,明顯不同於《水滸》《三國》《紅樓》,其語言特色是什麼?目的又是什麼?
方言特色反映作者熟悉的方俗背景。越是最隱蔽的難懂的詞語越能反映作者的地域特點。
“拍手”常寫作“排手”。——誰都能看懂。
“扌扉打、扌扉干、扌扉磞”、“石扉打”。——這些褻詞,形音義大概就難解釋了。
“馬八六、馬泊六、馬伯六、馬百六”又是什麼?這需要明白音韻規律和方言比較的一些道理才能說明。
《金瓶梅》的語言,猶如作者取名“笑笑生”一樣,以玩樂之名,嬉笑怒罵,既要發洩胸中磈磊,又要隱蔽自己保護自己。讓後人莫辨真相。

Jin Ping Mei, composed in the northern vernacular, is also replete with earthy expressions, double-entendre, and unusual Chinese graphs based on dialect homophony. In this regard it differs strikingly from The Water MarginThe Three Kingdoms, and The Story of the Stone. This situation compels us to explore its linguistic characteristics more deeply and seek out their motivation. We find that the dialect elements reflect the linguistic background of the author. The more obscure and difficult to understand the words are, the more that they reflect the speech of the author’s place of origin. Most readers understand when paishou is written with the graphs for ‘clap’ or the graphs for ‘hands together’. But when obscenities are obscured by their written form, utilizing unfamiliar graphs, they are much harder to figure out. And when an apparently innocuous name conceals an arcane connotation, the reader must utilize phonology and dialect comparison to uncover the interpretation. The language of the Jin Ping Mei, like its title, ‘The Plum in the Golden Vase’, and the appellation of its anonymous author, Xiaoxiaosheng ‘The Merry Fellow’, uses the pretext of playful entertainment, in both delighted laughter and vexed curses, as a means to vent the oppressions weighing on one’s bosom while preserving a cover to protect oneself. The true picture is left to future generations to unwrap.

Bionote

張惠英, 海南師範大學對外漢語中心教授, 曾任中國社會科學院語言研究所研究員(30年), 也曾多次在海外著名大學為訪問學者(包括在哈佛大學、美國華盛頓大學、荷蘭萊頓大學等), 論著包括《金瓶梅俚俗難詞解》(1993)、《漢語方言代詞研究》(2001)、《語言現象的觀察與思考》(2005)、《崇明方言研究》(2009)、《音韻史話》(2011)、《海南島和周圍語言比較研究》(2017) 等。

Professor Huiying Zhang has held professorial and research positions at Hainan Normal University and the Institute of Linguistics in the Chinese Academy of Social Sciences; she has also been visiting professor at many universities overseas (including Harvard, the University of Washington, Leiden University, etc.); her many publications include Annotated Glossary of Vulgarities and Difficult Words in Jin Ping Mei (1993), Research on Pronouns in the Chinese Dialects (2001), Thoughts and Observations on Languages Phenomenon (2005), Research on the Chongming Dialect (2009), On the History of Phonology (2011), Comparative Study of the Dialects of Hainan and Neighboring Regions (2017).

All are welcome

Poster:
http://web.chinese.hku.hk/poster/20191119.pdf

http://www.hku.hk/chinese

[Cancellation of the seminar] 冷戰與中國民族主義革命:「五四研究」在美國的興起與衰落 Cold War and the Chinese Revolution: The Rise and Fall of “May Fourth Studies” in the United States

Please note that the below seminar is cancelled.

2019/2020 School of Chinese Seminar

Cold War and the Chinese Revolution:
The Rise and Fall of “May Fourth Studies” in the United States
冷戰與中國民族主義革命:「五四研究」在美國的興起與衰落

Carlos Yu-Kai Lin林毓凱

November 18, 2019 (Monday); 4:30-6:00pm
Room 730, Run Run Shaw Tower, Centennial Campus
Language: English

The question of how to interpret the nature of the May Fourth Movement, arguably the most important sociopolitical event of modern China, has been at the center of many debates concerning the development of Chinese history, culture, and politics. Yet the studies of “May Fourth” had increasingly lost its momentum and appeal to the younger generation of scholars in the twenty-first century. Many believe that the movement has been overevaluated and overrated. This talk aims to historicize the development of “May Fourth studies” in the Anglophone world as an example to shed light on the three major challenges that the field faces nowadays: the changing international situation, the limitation of old research methods, and the emergence of new scholarship. The author argues that the rise and decline of “May Fourth studies” is closely related to the Cold War geopolitics and is thus a product of a specific socio-historical context. How to address the new world order and local politics is thus key to the survival of this field.

過去一個世紀以來,關於“五四”的研究一直是探討中國文化、政治、歷史發展的辯論焦點之一,但在21世紀的今日,“五四研究”卻面臨多重的挑戰。近年來常有論者認為“五四運動”是個被過度詮釋、過度評價的運動,“五四研究疲乏說”因此成為部分論者的時髦論調。本文以“五四研究”在美國的興起與衰落為例,說明“五四研究”在21世紀的三大挑戰:(一)國際情勢丕變、(二)舊五四關鍵詞的觀點限制、(三)以及新論述典範的崛起。講者認為美國“五四研究”的興衰與冷戰有著密切關聯,該領域因此是特定時空與歷史脈絡的產物,如何因應新的國際情勢與在地的文化政治因而是“五四研究”的新課題與存活關鍵。

Carlos Yu-Kai Lin is an Assistant Professor in the Department of Linguistics and Translation at the City University of Hong Kong. His research focuses on the intellectual history of modern China, history of Chinese fiction, and May Fourth Movement. His works appear in Intellectual History, Journal of the History of Ideas in East Asia, Theoretical Studies in Literature and Art, Frontiers of Literary Studies in China, and Dangdai. He is also the chief editor of Remembering May Fourth: The Movement and its Centennial Legacy (Brill, 2020).

林毓凱為香港城市大學翻譯及語言學系助理教授,主要研究領域為晚清民初思想史、中國小說發展史、五四運動研究。其論文散載於《思想史》、《東亞概念史集刊》、《文藝理論研究》、《當代中國研究》、《中國文學研究前 沿》、《當代》,另主編Remembering May Fourth: The Movement and its Centennial Legacy (Brill,2020)。

ALL ARE WELCOME!

Frankenstein in China: Liang Qichao and the Monstrous Sleeping Lion

2019/2020 School of Chinese Seminar

Frankenstein in China: Liang Qichao and the Monstrous Sleeping Lion

Ari L. N. Heinrich 韓瑞 (UC San Diego)

November 28, 2019 (Thur); 1:30-3:00pm
Room 730, Run Run Shaw Tower, Centennial Campus, HKU
Language: English

本演講探討科學怪人的怪物鮮為人知的在中國的來世。首先梳理科學怪人在中國的早期翻譯譜系(比瑪麗雪萊著名的《科學怪人》翻譯來得更早),聚焦過去兩個世紀怪物身體的再現的主要變化。在分析譜系時,也將追溯科學怪人的文化翻譯與19世紀末,因梁啟超等人而出名的中國作為「睡獅」的政治刻板印象之間,出人意料的關聯。此報告以本人2018年出版,探討生技年代的種族、美學、與作為商品的人體之專書Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body的部分內容為基礎。

In this talk I explore the history of Frankenstein’s monster—in his little-known Chinese afterlife. Sketching out a genealogy of the early Chinese translation of the idea of Frankenstein (which actually preceded the translation of Mary Shelley’s famous book itself), I highlight major shifts in representations of the monstrous body over the last two centuries. Along the way, I trace the unexpected relationship between the cultural translation of Frankenstein and the late nineteenth-century political stereotype of China as a “sleeping lion” made famous by Liang Qichao and others. This talk is based on material from my latest book, Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Duke UP, 2018), which explores race, aesthetics, and the human body as commodity in the age of biotech.
韓瑞為美國加州大學聖地牙哥分校中國與文化研究教授,著有The Afterlife of Images: Translating the Pathological Body Between China and the West (2008), Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (2018),也是台灣作家邱妙津《蒙馬特遺書》的英譯者。

Ari Larissa Heinrich is Professor of Chinese and Cultural Studies at UCSD. He is the author of The Afterlife of Images: Translating the Pathological Body Between China and the West (Duke UP, 2008) and Chinese Surplus: Biopolitical Aesthetics and the Medically Commodified Body (Duke UP, 2018), and the translator of Qiu Miaojin’s Last Words from Montmartre.

ALL ARE WELCOME!