Journal of Sinological Studies 漢學研究學刊

卷首语

2025-09-14T16:48:20+08:00

由马来亚大学中文系出版的《汉学研究期刊》，自创刊以来今年已经迈入第十五个年头。作为一份刊登与汉学相关文章的学术期刊，自然必须承载传统经史子集内容的著作。另一方面，鉴于马来西亚的国情，本刊也刊登与“马华研究”有关的文章。这十五年来，承蒙各领域的专家学者赐稿，让本刊有机会收集深入探索前沿问题的文章，为汉学研究领域略尽绵力。

从2014年开始，《汉学研究学刊》从年刊转为半年刊，希望专家学者们不吝赐稿，以便本刊刊登更多高质量的研究成果，为推动汉学研究而共同努力。

本期的《汉学研究学刊》汇集探讨古代、近代、现代以及当代文学的文章，课题涵括古诗、戏曲、新文学、马华文学、歌词等。

《旧体式下的新面貌：鲍照乐府诗的承变》一文从“承继”与“新变”的角度探讨了南朝鲍参军如何赋予乐府诗以一种新风貌。《洛神与人神恋母题在戏曲中定型与演化》则从“洛神”与“人神恋”这对文学母题进行跨时代的追踪，内容先从溯源说起，接着谈及明清两代的戏曲，再到近代梅派京剧，视角新颖。《钱钟书〈围城〉的人性困境》通过小说主角的种种际遇道出其潜意识里的自卑情结，进而省思人性的困境。《“见证”的文本：〈我怎样在敌人的刺刀下生活〉的脉络化解读》从女性在政治意识形态影响下的视角，书写处于战争与革命中的女性如何显现实主义，并论证了女性在历史叙事中可见与不可见反思。《衔愁寻觅旧游踪：论南来文人许建吾歌词中的家国之思》论述了20世纪著名的现代诗人与歌词作家许建吾在歌词创作方面的多元面向，并集中讨论许建吾的歌词的创作养成，进而分析其旅居海外时的离散经验如何激发出歌词中的家国之思。

编者在此感谢所有审稿者以及作者们的支持，愿读者开卷有益。

严家建

2024年12月

洛神与人神恋母题在戏曲中定型与演化

2025-09-14T15:33:32+08:00

洛神自先秦起便是文学作品中不可方物的神女形象，她既是楚辞中无具体形象描绘的寄托之物，又是辞赋里翩若惊鸿的“斯水之神”，还是戏曲中甄后神魂化的洛水之神，经历了不断的传承和演变。从明杂剧《洛水悲》到清杂剧《凌波影》，再到梅派京剧《洛神》，宓妃与曹植间的爱情故事延续了人神恋母题的框架和文旨传统，不断塑造人物、细化情节、创新表演，使洛神的中心意象和人神恋母题在戏曲中得以定型与延续。戏曲中人神恋的描写常体现出当时关于性别等级与婚姻规范的社会讨论，一方面体现出超越现实束缚的浪漫想象，另一方面也暗含对突破既定社会秩序的焦虑。

Since the pre-Qin period, the goddess Luoshen has been portrayed as an ethereal and transcendent figure in Chinese literature. In the Chuci, she embodies abstract longing without a concrete form; in Han rhapsodies, she emerges as the goddess of the Luo River, “graceful as a startled swan”; and in traditional drama, she becomes the deified spirit of Empress Zhen. Her image has been continually reinterpreted through works like the Ming zaju Luoshui Bei, the Qing zaju Lingbo Ying, and the Mei school Peking opera Luoshen, all of which preserve the romantic narrative between the goddess Fufei and Cao Zhi. These performances refine characterization, expand plotlines, and innovate theatrical techniques, reinforcing Luoshen’s imagery and the motif of human-divine love. Such romances reflect both idealized transcendence of worldly constraints and implicit anxieties about disrupting social and moral norms, making the human-divine romance a means of aesthetic expression and a lens for negotiating sociocultural tensions.

旧体式下的新面貌：鲍照乐府诗的承变

2025-09-14T15:37:44+08:00

鲍照（约414-466）最为人称道的是其拟、代乐府诗，尤以《拟行路难》最为学界所关注。此组诗沿用旧有曲题，同时亦运用时人视为“体小而俗”的七言、杂言体进行创作，并且开创隔句用韵的方式，成功开辟出富有抒情张力的新体式，对文学体式的革新与发展具积极意义。然，值得一提的是，与《拟行路难》同属乐府诗范畴的“代”乐府，占现存诗作的多数，却较少被深入探究。论者多聚焦于其抒情特质及题名“代”之意涵，虽其内容大多承续汉魏以来游子思妇、香草美人等主题，然若从“文体”角度观之，实可窥见其对乐府传统体式的承接与创变。是以，本文将鲍照所有乐府诗纳入考察范围，尝试以“承继”与“新变”为研究视角，探讨其在体式层面对传统体裁、题材与体貌的赓续与转化，并进一步揭示其所构建的另一种乐府体式风貌。

Bao Zhao (CE 414-466) is best known for his imitative (Ni) and persona (Dai) yuefu poems, with scholarly attention primarily focused on the Ni Xinglu Nan (Imitation of “The Lament of the Road”). These poems retain traditional yuefu titles while adopting poetic forms—such as seven-syllable and mixed-meter lines—often seen by contemporaries as “minor” or “vulgar.” Bao Zhao’s use of alternate-line rhyming, instead of rhyming every line, introduced a new style of heightened lyrical tension. These innovations significantly advanced the development of literary form in early medieval China. Although the Dai yuefu poems make up the bulk of Bao Zhao’s extant yuefu, they have received relatively little scholarly attention. Existing scholarship largely centers on their lyrical features or on readings of dai (persona) as a mode of “speaking on behalf of another,” often emphasizing inherited Han and Wei motifs such as the absent traveler, the longing woman, and the fragrant beauty. Yet viewed through the lens of literary form, these poems reveal a dynamic interplay of continuity and innovation within the yuefu tradition. This article examines the full corpus of Bao Zhao’s yuefu through the dual lens of inheritance and innovation, tracing his engagement with traditional forms, themes, and styles, and his transformation of them into a distinct yuefu mode. In doing so, it sheds light on his role in reshaping the formal horizons of the yuefu poetry tradition.

“见证”的文本：《我怎样在敌人的刺刀下生活》的脉络化解读

2025-09-14T15:45:02+08:00

《圣经．约伯记》里有一句话：“我是惟一一个逃出来向你报信的人”。《我怎样在敌人的刺刀下生活》一文里，报信人没有报出自己的名字来历，却说了一个抗争的故事，成了记忆、历史和时代的“证言”。这是赵戎编《新马华文文学大系》（1971）散文集，陈大为和锺怡雯编的《马华散文史读本 1957-2007》（2007）一书，皆收录此文之因。“在阐述故事从何而来这个问题之前，必须先回答他是什么这个问题。”^[1]作为文学里难得一见的女性抗战经历和题材，抗日的事迹是如何被叙述的？文章发表于何处，作者表达了怎样的意识型态与意图，经由什么成员阅读与想象，凝聚共同体意识？历史可能依据政权需求筛选过去，文学作为修复记忆的功能，有时候也会参与意识形态的建构，如此又如何以文证史？而女性被动地卷入战争，她的参与和表述，除了见证之外，是否也是时代和党派下的宏大叙事？本论文从失记的角度切入，探讨文本的再现机制，以及历史、文学、女性的可见与不可见。

In the Book of Job from the Bible, there is a line that reads: "I alone have escaped to tell you." In the essay "How I Lived Under the Enemy's Bayonets", the messenger who delivers the story reveals neither name nor origin, yet conveys a tale of resistance that becomes a testimony of memory, history, and its time. This is why the piece was included in The Anthology of New Malaysian Chinese Literature (1971) edited by Zhao Rong, and later in A Reader in Malaysian Chinese Prose 1957–2007 edited by Chan Tah Wei and Chong Yee Voon (2007). “Before we can say where a story comes from, we must first ask what it is.” This essay—structured around a rare account of a woman’s experience during wartime—raises key questions: How is the anti-Japanese resistance narrated when framed through a female perspective? Where was the essay first published, and what ideological stance or intention does the author convey? Through whose reading and imagination did it help forge a sense of community consciousness? History may be filtered through the needs of state power, and while literature often serves the function of restoring memory, it can also participate in the construction of ideology. In such a dynamic, how can literature serve as testimony to history? Moreover, when women are passively drawn into war, is their participation and articulation merely testimonial, or does it also serve as part of the grand narrative shaped by party and epoch? This paper takes the perspective of erasure and forgetting as its point of departure to explore the representational mechanisms of the text, as well as the visibility and invisibility of history, literature, and women.

衔愁寻觅旧游踪：论南来文人许建吾歌词中的家国之思

2025-09-14T15:53:14+08:00

许建吾（1903—1987）是20世纪著名的现代诗人与歌词作家。一生漂泊的生命轨迹，南京、香港、新马及台湾等地都遗留着他对当地音乐文教的贡献，而歌词承载着许建吾在不同地域之间的心境变化。许建吾的歌词创作具有多元面向，从军歌战词到抒情艺术歌曲皆有涉猎。然而，许建吾至今较少受到学界关注，现有研究多止于其生平事迹与作品的搜集整理，且相关论述长期以来主要来自音乐界，文学领域对其歌词的探讨仍属阙如。有鉴于此，本文尝试以许建吾的歌词为研究材料，首先探讨其在中国国内所受军中文艺环境下的创作养成；继而分析其旅居海外时南来北往的离散经验如何影响其思想基调，藉此呈现许建吾作为“南来文人”在动荡年代中的家国之思。

The study focuses on the lyrics of Hsu Chien Wu (1903-1987), a famous modern poet and lyricist in the 20th century. Throughout his wandering life, he made enduring contributions to local music, literature, and education in cities such as Nanjing, Hong Kong, Singapore, Malaysia, and Taiwan. His lyrics serve as an expressive medium that captures the emotional shifts he experienced across these diverse geographical and political landscapes. Hsu’s lyric creations are marked by their stylistic diversity, ranging from martial anthems to lyrical art songs. However, Hsu has received limited scholarly attention. Existing research has largely focused on biographical documentation and the collection of works, with most discussions originating from the field of music studies, while literary analyses of his lyrics remain scarce. In light of this gap, this paper focuses on Hsu’s lyrics as primary material. It first examines how his early creative development was shaped by the military literary environment in China, and then analyzes how his diasporic experiences during his time abroad informed the ideological tone of his works, aiming to reveal Hsu Chien Wu’s thoughts of home and country as a “Southbound Literatus” in the turbulent years.

钱钟书《围城》的人性困境

2025-09-14T15:59:01+08:00

钱钟书(1910年—1998年)的《围城》反映了人类的“无毛两足动物的基本根性”，象征一种人性的困境。这是一种人性科学的表达方式，蕴含人性心理学与哲学的理性成分。钱钟书通过当中人物尤其是主人公方鸿渐的各种人事应对与其潜意识，暴露出他如何因心理上的自卑情结与不安全感，从而陷入欲望、现实与良心的无尽纠结与彷徨当中。其实，这是人们普遍具有的心理常态，更是一般人类普遍面对的一种人性困境。本文将征引弗洛伊德的自我心理学与阿德勒的个体心理学理论，探讨钱钟书对《围城》主人公方鸿渐的心理揭示，通过对其自卑情结的分析来挖掘其心灵对安全感的诉求，进而省思人性的困境。

Zhongshu Qian (1910–1998) in his novel Fortress Besieged (1910–1998) reflects what he describes as “Basic nature of hairless, two-legged animals”, symbolizing a fundamental dilemma of human nature. This represents a scientific expression of human nature, imbued with rational elements of psychological and philosophical insight. Through the characters—especially the protagonist Fang Hongjian—and his various responses to social situations, along with his subconscious impulses, Zhongshu Qian reveals how Fang becomes entangled in an endless struggle between desire, reality, and conscience, driven by a deep-seated inferiority complex and a pervasive sense of insecurity. In fact, this psychological state is common among individuals and reflects a universal human predicament. Drawing on Freud’s ego psychology and Adler’s individual psychology, this paper explores Zhongshu Qian’s psychological portrayal of Fang Hongjian in Fortress Besieged, analyzing his inferiority complex in order to uncover his soul’s longing for security, and ultimately to reflect on the broader dilemma of human nature.