The Chu ghosts and spirits are divided into those “above” and those “below.” “Above” and “below” cannot be understood only as referring to heavenly spirits and earthly deities but should include also ancestral spirits. The Chu people’s sacrifices and prayers are also divided into those “internal” and “external.” This distinction is a spatial one that is not based on blood relations. The complete, well-organized system of heavenly spirits, earthly deities, and human ghosts had not fully formed in Warring States Chu culture.
The present study offers a new reading of the Wangjiatai Gui cang’s pure yin hexagram text. I make a comprehensive analysis of the composition and layered texture of the text, by employing a methodology to engage with its images and narratives at an emic level. I determine that there is an iconographic resemblance between the hexagram picture and the graph writing its name, identify an image program centered on being “alone”, “inhumanity”, and “water”, and provide a context for the independent but interlocking narratives of Xia king Qi and Gong gong. Taken together, evidence points to Gua寡 “Alone” as the candidate with the lowest odds among various proposals for the hexagram’s name. The overall meaning of “Alone” is that being bad, self-serving, and immoral will lead to one being divested of spiritual blessings and support of the people. The image of water in the two narratives is a metaphor for wantonness that also functions as a conduit for its disposal.
This article, starting with the modal particle wunai毋乃, analyzes the tone of a dialogue between Confucius and Zigong in the *Lubang da han魯邦大旱 manuscript. It points out that the attitude to a certain viewpoint is often contained in the tone of the speaker, and improper understanding of this information may lead to misreading a person’s point of view and their relationship with others.
This paper presents a comprehensive discussion of the terms lu戮 and dingsha定殺 for the death penalty in the excavated legal document entitled *Falü dawen法律答問 (Questions and Answers on Law) of the Shuihudi 睡虎地 slips. After a detailed philological and grammatical analysis, this paper argues that lu was a term for the death penalty by which mutilation was imposed on the offenders either before or after the executions. In this regard, the lu penalty was divided into shenglu生戮 and silu死戮. On the other hand, dingsha, also known as xingsha刑殺 in received texts, belongs to a form of death penalty in which the offender was killed by drowning or being buried alive, and that these two procedures are identified in the manuscript as shengdingsha生定殺 and shengmai生埋 respectively.
In 1996, a batch of slips (jian簡) and tablets (du牘) from the Three Kingdoms state of Sun Wu was excavated at Zoumalou, Changsha. It is the largest batch of slips and tablets ever discovered in China. As of 2016, the cleaning, protection and study of the Zoumalou materials has been going on for 20 years. Both the publication of the materials and research on their contents have yielded fruitful results. This paper does not seek to comprehensively review all of that work, but rather intends to outline the development of the field of Wu slip studies itself, and the topics that have been hotly debated have changed over time. When the Zoumalou slips were discovered, they had been damaged and mixed up, so the ideal situation would have been to start with reconstructing the documents, and then use relatively complete historical texts to explore relevant historical issues. Due to the long publication process, scholarship first centered on reconstructing the Household Registration and Accounting Documents in the Wu slips, and then on the Wu’s administrative documents as published in the successive official volumes of the slips and boards of official documents. These included a wealth of administrative information that needed to be sorted out. One of the main directions for future research on Wu slips will be using these official documents to study the administrative document system of Sun Wu’s commanderies and counties.
The stories *Dan丹 from the Fangmatan 放馬灘 Qin manuscripts, and Taiyuan you sizhe泰原有死者 from the Peking University Qin manuscript collection, tell of the afterlife and the proper burial and sacrificial practices for the dead through the words of two men who died and returned to life. The proper burial and sacrificial practices proposed in the texts include the replacement of money and silk with symbolic objects, the abandonment of burying a body in the bent position and the breaking of burial goods, the restriction on joint burial of husband and wife, and advocating moderation and cleanliness in sacrificial rituals at the grave. The two texts reflect how the literate class endeavored to make the old burial and sacrificial customs in Qin culture closer to the collective customs of the six eastern states.
In 1980, Umberto Eco’s first novel Il nome della rosa was published in Italy and has quickly had global resonance, entering China by the late 1980s. Since then, six translations have been published in the Chinese language, including two issued by Taiwanese translators. It is interesting to observe how each version is able to refract the socio-cultural contexts of the translators, depending on the aspirations and cultural images created in the different periods and geographic areas. We need also consider that, especially in the case of Eco’s novels, the translators had to not only deal with the different needs and expectations of their readers but also imagine a ‘new model reader’, just as Eco did. Therefore, this paper aims at confronting the six different translated versions, by identifying the new model readers imagined by the translators, considering their own expectations, knowledge, and cultural context.
This paper is a brave and largely successful effort to make sense of bamboo slips unearthed from ancient Chinese tombs and the astrological texts written on them, and especially their relationship to music. Jao Tsung-i then relates these primary texts to near-contemporary and other passages on the subject that survive only in later redactions and establishes clear linkage between the two. The picture that emerges is a complex web of interconnection between musical mode, notes, wind direction, climate, human health, harvest, and military action. Ancient China was clearly a world where the significance of phenomena and event was paramount.
With its multiplicity of short-lived states, the political history of the period between the Tang and Song dynasties in the tenth century is both confusing and convoluted. This essay makes sense of this background in order to give a context to the pipa scores found in Dunhuang that constitute some of the most important early musical notations that survive. The principal sources that Jao Tsung-i deploys are the Dunhuang manuscripts themselves with which he was evidently intimately familiar. To add contemporary drama to his narrative, a strong subtext is acerbic dissection of opinions on the topic put forward by fellow scholar He Changlin 何昌林.