Suchergebnisse

According to a new "textual criticism" by a scholar, the Yuan drama 'Baiyueting'of Guan Hanqing was adapted from the South tune "Baiyueting" The paper focuses on the status of the North tune "Baiyueting" and the poetry-related areas of the South tune "Baiyueting" after citing the wrong textual criticism. From the perspective of the development of the Chinese drama art history, the paper makes a deep ,penetrating and full analysis of the relations between the two and relative issues. As a result, the academic propositions are confirmed, such as "the North tune' Baiyueting' was created by Guan Hanqing on the basis of his own experiences in politics in the early stage of his creation", "The South tune 'Baiyueting'was created in the mid-Yuan dynasty by a person living in Hangzhou called Shihui by thinking over and over again of the North tune'Baiyueting'","The two stages of the booming of the north tune'Baiyueting' and the development of the South tune 'Baiyueting' are two continual stages in the development history of the Chinese drama art, which are also by no means irreversible", thus providing the academic support with new facts and the notion of original poetry for the rewriting or revising the development history of the Chinese drama. Keywords: the North tune'Baiyueting', the South tune 'Baiyueting', Place in the History of Literature, Old Edition of the Capital of Yan, Think over, Poetry-related area Résumé Un certain savant a récemment proclamé que Le Pavillon de l'adoration de la Lune de Guan Hanqing fut adapté du théatre du Sud du même nom. Cet essai, partant de la place littéraire de l'opéra du Nord Pavillon et le champ de lien de la versification du théaâtre du Sud Pavillon, analyse de façon approfondie et minutieuse leurs relations et des problèmes concernés sous l'angle du développement de l'art théâtral chinois. Cette recherche a abouti à confirmer les thèmes académiques comme « l'opéra du Nord Pavillon, originaire de Guan Hanqing, fut créé au début de sa carrière littéraire et inspiré de son expérience politique. » ; « le théâtre du Sud Pavillon fut adapté de l'ancienne édition de la capitale Yan par un habitant de Hangzhou Shi Hui en ajoutant de la musique et de la parole » ; « la prospérité de l'opéra du Nord et l'essor du théâtre du Sud constituent deux phases étroitement liées dont la relation d'héritage est irréversible dans l'histoire de l'art théâtral chinois.», et à fournir un soutien académique doté de nouvelles découvertes de fait et de la théorie de la versification des créations originales pour la révision de l'histoire de développement de l'art théatrâl chinois. Mots-clés: opéra du Nord Le Pavillon de l'adoration de la Lune ; théâtre du Sud Le Pavillon de l'adoration de la Lune , place littaraire, anncienne édition de la capitale Yan, champ de lien de la versification 摘要 有學者新近"考證"出"關漢卿的《拜月亭》雜劇是根據南戲改編的"。本文援此失敗的"考據結論"切入,著眼于北曲《拜月亭》的文學史地位與南戲《拜月亭》的詩學關聯域,對二者的關係及相關問題從中國戲曲藝術歷史發展的角度,作了深入、精微、詳實的考索與辯析,使"北曲《拜月亭》系關漢卿創作生涯早期取材於個人特殊政治情感遭際的原創作品"、"南戲《拜月亭》為元中葉杭州人施惠'翻騰燕都舊本'而成的'填詞和曲'作品"、"北曲鼎盛與南戲勃興是中國戲曲發展史上兩個前後銜接且傳承關係絕對不可逆轉的發展階段"等學術命題得到了確證,為重寫或改寫中國戲曲發展史,提供了具有新的事實發現及原創詩學理念的學術支持。 關鍵詞:北曲《拜月亭》;南戲《拜月亭》;文學史地位;燕都舊本;翻騰;詩學關聯域

The concept of vulnerability has been renewed in meaning and importance over recent decades. Scholars such as Judith Butler, Martha Fineman and Pamela Sue Anderson have endeavored to redeem vulnerability from its traditional signification as a negative individual condition, and to reveal the positive meaning of vulnerability as a transformative call for solidarity, equality and love. In this paper we examine the newly constructed positive understanding of vulnerability, and argue that the current way of pursuing this positive understanding affirms a merely functional positivity. In the recent accounts, vulnerability is still a status to avoid, yet functions positively as a corrective force to the environment that produces vulnerability. We will try to find an essential way of designating the positivity of vulnerability by revisiting the philosophical discussion on vulnerability in Emmanuel Levinas. We will argue that Levinas's notion of vulnerability is positive in a sense which goes beyond the purely functional; it is seen as essential for his definition of humanity. Yet compared to the contemporary discussion, Levinas's notion of vulnerability lacks a direct social political meaning. We will tentatively explore how the essential positivity drawn from Levinas can provide a new way to construct the political significance of vulnerability.

The task of this paper is to clarify the notion of pluralism and religious pluralism against the background of disputations on the globalized challenges of religious pluralism, for example the incompatibility between different conceptions of religious pluralism, especially from the lens of a possible conversation on religious pluralism between Jürgen Habermas and Emmanuel Levinas. With a detailed reading into the development of the conceptualization of religious pluralism in each author, addressing the questions such as what is genuine pluralism and on what ground the conflicts within religious pluralism can be re-accounted, we make our passage from challenging the total reliance on political unification by the effort of Habermas, towards adopting a Levinasian alternative path that prioritizes ethical relation over individual ways of plurality in the realization of each one's good life. Even though it can be acknowledged that Habermas raised the right question against the relativism way of seeing pluralism, it is by Levinas, the ontological ground of pluralism and the universal dimension of the plural are thought not only through justice and politics but more importantly, through a way of responding to the non-familiar tradition with love, where human religion has a single dimension that is the transcendental notion of charity and love.