述补结构与处置式发展关系初探

2007 ◽  
Vol 36 (2) ◽  
pp. 187-218
Author(s):  
Lju Ziyu

This article investigates the development of verb complement structures and the disposal form in terms of their combination and interaction, from the Six Dynasties to the Qing dynasty. The process of grammaticalization of the disposal form began in the Six Dynasties, developed throughout the Tang and Song Dynasties and gradually took shape during the Yuan and Ming Dynasties, finally being completed in the Qing Dynasty. It is suggested that the emergence of the verb complement structure accelerated the process of grammaticalization of the disposal construction in its present form, testified by its frequency in later periods.

2020 ◽  
Vol 35 (35) ◽  
pp. 071-110
Author(s):  
賴信宏 賴信宏

<p>清代以來對《唐宋叢書》的評價存在許多歧異,特別是真偽本的分判,背後隱含著書坊在板片轉移後的重新編排。《唐宋叢書》現存有兩種傳本:一為繁本,收編全帙為主,根據目錄所收為88種,實際收書為90種,其中有兩本目錄缺載,另外《異林》一書,總括四種書,若採計之,則有93種之多。一為簡本,書名頁作「經德堂藏板」,所收多為重編《說郛》舊版,內容雖與繁本重疊,然多抽換或新增節錄之本。二種皆增列漢魏20種,故知該書編輯延續《廣漢魏叢書》而來。前人不明繁、簡二本有同名異實之別,故滋生淆亂。本文試圖比對二本編排之差異,說明二本編排上的延續性與特殊性,並考察所收各書的版本價值,以供近人利用《唐宋叢書》之參考。</p> <p>&nbsp;</p><p>The reviews and evaluations of Tang Song Congshu (The Collectanea of the Tang and Song Dynasties) have diverged considerably since the Qing Dynasty, particularly the differentiation between the authentic and spurious versions, which concerned the publishers&rsquo; rearrangement of the slips. There have been two versions of Tang Song Congshu passed down to date. The first is the complete version, a comprehensive compilation of 90 kinds of book among which two titles were missing in its table of contents, or 93 kinds if the four books included in Yilin is considered. The second is the abridged version. Most of its copies contained the term &ldquo;Jingde Pavilion Collection&rdquo; in its title. Reorganizing the early version of Shuofu, the abridged version replaced some books and added some shortened ones although its contents overlapped with the complete version. Both versions contained 20 kinds of books published during the Han and Wei Dynasties, from which we may infer that Tang Song Congshu was compiled by reference to Guang Han-Wei Congshu. Previously, scholars were unaware of the difference in contents between the two versions, hence widespread confusion. This article seeks to explain the continuity and peculiarity of the two versions by comparing their respective arrangements of contents and assessing the value of the books they included, thereby providing an alternative source of reference for scholars who are interested in Tang Song Congshu.</p> <p>&nbsp;</p>


2019 ◽  
Vol 41 (1) ◽  
pp. 39-55
Author(s):  
Takashi Takekoshi

In this paper, we analyse features of the grammatical descriptions in Manchu grammar books from the Qing Dynasty. Manchu grammar books exemplify how Chinese scholars gave Chinese names to grammatical concepts in Manchu such as case, conjugation, and derivation which exist in agglutinating languages but not in isolating languages. A thorough examination reveals that Chinese scholarly understanding of Manchu grammar at the time had attained a high degree of sophistication. We conclude that the reason they did not apply modern grammatical concepts until the end of the 19th century was not a lack of ability but because the object of their grammatical descriptions was Chinese, a typical isolating language.


2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.


Sign in / Sign up

Export Citation Format

Share Document