2024 Vol. 7, No. 2

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The Decoding of“Xia Qi's Right Hand Holding a Ring” Narrative in Shanhai Jing—The Prehistoric Giant Wearing Jade Ornaments
YE Shuxian
2024, 7(2): 5-40. doi: 10.19857/j.cnki.ICL.20247201
Abstract:
The paper takes a perspective of literary anthropology and utilizes a four-pronged evidence method to explore the cultural significance of the prehistoric“Giant”with jade rings and the“Right Hand Grasping a Jade Ring”narrative in Shanhai Jing《山海经》（The Classic of Mountains and Seas）from the Xia Dynasty in light of Zhouyuan Xian District Museum's burial site. The use of jade rings in the burial customs of prehistoric giants，particularly on their left wrists，leads to the exploration of the connection between jade rings and burial customs in prehistoric times. By studying the new archaeological discoveries of multiple prehistoric sites，it is recognized that tying jade bracelets and rings onto the right arm of the deceased during burials was a widespread practice during the Longshan Culture period. This unique ritual behavior pattern embodies the aspiration and motivation for the soul of the deceased to ascend to heaven. By this token，the paper shifts its focus to the interpretation of the“Right Hand Grasping a Jade Ring” narrative in Shanhai Jing，which is found to match the burial customs of wearing jade rings on the right hand during the Longshan Culture period through a combination of archaeological discoveries and historical documents. Jade rings have a meaning of communication with gods and symbolized immortality in prehistoric culture. The unexplained“Right Hand Grasping a Jade Ring”narrative about the Xia Dynasty's founding monarch，which has remained mysterious since ancient times，has now been verified by the archaeological evidence of jade ring and bracelet burials during the Longshan Culture period. The mutual verification between jade rings and mythological narratives，as well as new archaeological discoveries，highlight the unique role of the“priority of material evidence”in the four-pronged evidence method in exploring Chinese civilization.
[Abstract](57) [PDF 70490KB](19)
Articles
Early Sino-French Cultural Exchange: The City of Beijing as Described by the “King's Mathematician”
BAI Zhimin
2024, 7(2): 41-57. doi: 10.19857/j.cnki.ICL.20247202
Abstract:
Li Ming （Louis Lecomte） was one of the five French Jesuits who was summoned by the Kangxi Emperor upon arrival in Beijing in 1688，initiating an early cultural exchange between the two countries that lasted nearly a century. He was one of the first Frenchmen in the late seventeenth century to go into China to study，travel，and preach，and to analyze and account for what he had seen and heard. Throughout his depiction of Beijing，it is easy to find out that the author had always held a strong curiosity for exploring the city with his own eyes and for examining what could be seen in the foreign capital，and his depiction presented a living picture of Beijing during the Kangxi period. Li Ming provided a relatively objective description of Beijing's ancient history，unique architectural styles，and thriving commercial atmosphere，which was informative for French readers in the Age of Enlightenment. Although Li Ming's stay in China was brief，the fourteen letters he published after his return to France provided a very detailed introduction to Chinese society：Not only is his analysis comprehensive and detailed，but it also includes a number of cultural and historical comparisons between the situation in China and that in France at the time. Because of the“liturgical controversy，”he had to return to France to explain the missionary situation in China，and in 1696 he published in Paris fourteen letters addressed to the French hierarchy during his stay in China under the title Nouveaux mémoires sur l'état présent de la Chine. The present study focuses on Li Ming's work on Beijing，which was the first of its kind in the late seventeenth century. The present study focuses on Li Ming's analysis and description of the characteristics of Beijing，especially his comparison of the differences between Chinese and French cities. Li Ming's observations and analyses of the city of Beijing provide first-hand historical information for contemporary scholars to study the history of Beijing.
[Abstract](91) [PDF 2961KB](10)
The West and Its Illusions Revealed：Schulze's Meditations at Moments of Historical Rupture
XIE Jianwen
2024, 7(2): 58-92. doi: 10.19857/j.cnki.ICL.20247203
Abstract:
Against the background of historical and institutional changes，confronting relationships among the individual，society，institutions，history and the future，renowned contemporary German writer Ingo Schulze incorporates the historical dimension of the GDR，the reunification of Germany and the reality of the new Federal Republic of Germany into his literary vision. By sketching everyday social life in particular，the writer embodies in literature people’s thoughts，feelings and behaviors during and after the historical upheavals in the society of the GDR，thus revealing a deep insight into the history of German social life and politics in the GDR，eastern Germany and the rather comprehensive history of German society that extends therefrom. By creating everyday fictional realities，he depicts the penetration of Western capitalism into the East and the aspirations and longings of some people in the Eastern world for the West. In terms of how the West came to the East，the escape/departure from the West，and how the West has become an actual problem in the West，the author shows in detail and in depth the economic，emotional dimensions and the gestures of value choices in daily life，and the essential fantasies that are embodied in the pursuits of happiness and a better life. The author discusses the fundamental problems of the West in the context of a reflection on the East， paradigmatically revealing the tragedy of the Western imagination. In the meantime， he illustrates，in a nonfictional expression and from the perspective of economic logic，the torn and deviant development of social life in the Federal Republic of Germany，and thus calls into question the values of democracy，liberty，equality，and justice that the West，especially in the transition period and afterwards，is still claiming to promote in current circumstances.
[Abstract](41) [PDF 1983KB](9)
An Analysis of the Use of Allusions in Su-Seng-Ji by Lim Jae
SUN Huixin, FAN Qiaoqiao
2024, 7(2): 93-106. doi: 10.19857/j.cnki.ICL.20247204
Abstract:
Pseudo-biographies refer to the techniques of borrowing biographies of historical figures to convey the author's creative ideas，ideals of life，and views of society. Han Yu's A Biography of Mao Ying is considered the origin of the genre of pseudo-biography in China. Pseudo-biographical works from China were introduced to Korea during the Goryeo period， coinciding with the flourishing development of Han literature in Korea. The pseudo-biographical and allegorical nature of these works were adapted to the special political and cultural background of the Korean military coup and dictatorship at that time，and were soon adopted by Goryeo literati. A considerable number of pseudo-biographies based on personified animals， plants，and inanimate objects emerged. These pseudo-biographies were often accompanied by a myriad of Chinese cultural allusions to fictionalize the life or family history of the main protagonist，thus insinuating the reality of the society，current politics and officialdom at that time. During the Joseon Dynasty，Lim Jae's Su-Seng-Ji（The Record of the Castle of Sorrow） anthropomorphized the human mind for the first time，which is of pioneering significance. This work has both the characteristics of biography and novel，and also has the characteristics of local gazetteer to a certain extent. Not only did the work inherit the artifact pseudo-biography from the outset，but it also inspired a series of novels that personify the human mind. Unlike in previous pseudo-biographies，the allusions in Su-Seng-Ji are not only sarcastic，but also reveal the author's own political stance and his personal sadness euphemistically. The types of Chinese cultural allusions quoted in Su-Seng-Ji are rich and diverse，and can be mainly categorized into allusions to“heart，”“city，”and“wine.”The use of allusions is original，flexible and unique in terms of meaning，implicit repetition，and the intertextual appropriation of collected sentences. Lim Jae's contribution to the development of pseudo-biography and his extraordinary use of allusion not only reflect the close connection between Chinese and Korean cultures and literatures，but also manifest Lim Jae's familiarity with and identification with Chinese culture and his innovative spirit to absorb the influence of Chinese literature.
[Abstract](35) [PDF 1815KB](6)
Inland Dramas Performed in Kashgar and the Local Cultural Exchange in the Period of Late Qing and the Early Republic
WANG Jianping
2024, 7(2): 107-119. doi: 10.19857/j.cnki.ICL.20247205
Abstract:
In late Qing and the early Republican period，various dramas from inland China were performed in the Kashgar region，and many a Uighur people watched these plays，which manifested a strong Chinese cultural influence. How come there was impact of the Han drama upon the Uighur society in Kashgar? What was the historical and social background? What influence did the Han opera culture exert over the Uighur people who believed in Islam? What was the reaction from the Islamic clerics in the Uighur society of Kashgar? Based on foreign and Chinese materials including major Swedish sources，this paper primarily probes the aforementioned issues in order to account for the historical rule in cultural exchange and integration，and to recapitulate some characteristics of the historical progress of the Sinicization of Islam and the crucial role of cultural interaction in the process.
[Abstract](41) [PDF 1791KB](6)
An Intrinsic Correlation between Shanghai-Style Culture and the Jiangnan Culture：A Study Focused on Literati Gatherings in Shanghai before and after the Opening of the Port
TANG Yongyu
2024, 7(2): 120-136. doi: 10.19857/j.cnki.ICL.20247206
Abstract:
Shanghai，formerly known as Haishang and Shangyang，was next to the Yangtze River and the sea. In the Song Dynasty，it burgeoned as a market town due to commercial exchange. In the Yuan Dynasty，the town was upgraded to a county owing to the flourishing ports. When it came to the Ming Dynasty，a city was built in the region in resistance to Japanese invasion，gradually shaping the old city of Shanghai. During the Ming and Qing Dynasties，the economy boomed and the city was well received by the world. The Shanghainese have always had high regard for literature and education，for which reason the imperial examination system prospered and talents emerged in various fields such as literature，art，connoisseurship，craftsmanship and Sino-Western cultural exchange，contributing significantly to the Jiangnan culture by and large.The practical spirits of humanistic pragmatism，which seek to revitalize the city through port trade，commerce and immigration，were particularly prominent in the development of Jiangnan culture in Shanghai during the Ming and Qing Dynasties. In the early years of the Jiaqing reign，the circuit official of Shanghai Li Tingjing initiated the Pingyuanshanfang literati gathering. Then Li Yunjia followed suit and launched the Wuyuan literati gathering. The latter event lasted for a long time，rich in content and involving a wide variety of participants. With a considerable number of celebrities gathering in Shanghai，it is safe to say that it was an“unprecedented”gala following the Yangzhou and Nanjing literati gatherings. After the opening of the port of Shanghai，the Pinghuashe literati gathering，the Feidange literati gathering，the Yuyuan Painting and Calligraphy Charity Association and Haishang tijin Calligraphy and Painting Association were transformed from traditional calligraphy and painting literati gatherings to modern calligraphy and painting societies. There were fixed venues， administrative organizations and regulations for these societies，and prestigious calligraphers and painters were recommended as presidents to boost the commercial promotion of calligraphers and painters. Literati gatherings that feature calligraphy and painting appreciation give special weight to cooperation，charity and mutual assistance，encouraging artists and literati to learn from each other and to integrate new styles，forming a unique Haipai（Shanghai Style）culture that accentuates mutual appreciation of calligraphy and paintings that appeal to both refined and popular tastes，freestyle， diverse genres，and innovation. Before the opening of the port，the Jiangnan culture in Shanghai nurtured the genes of the Haipai culture，and was the source of the Haipai culture. This article analyzes the genes of Haipai culture within the Jiangnan culture in light of Haishang literati gatherings before and after the opening of the port of Shanghai，and probes into the causal nexus between the Jiangnan culture and the Shanghainese culture.
[Abstract](52) [PDF 1813KB](6)
Reviews
Classic Topic，New Approach，and Unresolved Issue in Aesthetic Transformation：Three Questions on “Intermediary Aesthetics”
LI Jiahua
2024, 7(2): 137-152. doi: 10.19857/j.cnki.ICL.20247207
Abstract:
Wang Yaochong proposes the“Intermediary Aesthetics”in response to the current decline in aesthetics， which originates from the “classic topic” of aesthetic transformation. The unique position of aesthetics in modern social life has rendered it a symptom in the history of thought. This not only results in the failure of art to have independent territory in Kantian philosophy and thus Hegel’s claim to“The End of Art，”but also unveils the absence of aesthetics in critical theory after Habermas. The reason behind this is closely related to the longstanding paradigm shift in theories of modernity from subjectivity to intersubjectivity. When considered in the context of the intellectual history between Kant and Hegel，it is easily discernible that the“new approach”of Intermediary Aesthetics combines the strengths of both Kant and Hegel. By reconstructing the theory of modernity，Intermediary Aesthetics commits itself to integrating the issues of complexity and legitimacy in modern society. Arguably， Intermediary Aesthetics not only follows the logic of continuous differentiation in various fields of modern society，it also endows modern society with meaning as a whole. This requires that aesthetics change its traditional position and emphasize the interaction between nature and history. The so-called“natural-historical space”refers to a field in which Intermediary Aesthetics can apply its new approach，wherein the dual medium is subject to perceived constraints and articulates ideas at the same time. By this token，Intermediary Aesthetics can be seen as a philosophy of the in-betweenness of media，but as a“new［methodological］approach，”it also raises an unresolved issue： On the one hand， Intermediary Aesthetics is committed to establishing the intellectual coordinates of media，while on the other hand，it continues to stubbornly identify itself with aesthetics. Can Intermediary Aesthetics be considered as aesthetics? This indicates that Intermediary Aesthetics，as a new approach closely related to modernity theory，has not yet provided a matched philosophy of history to clarify its historical position.
[Abstract](58) [PDF 1808KB](5)
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