《离骚》本草说故里——关于屈原出生地的另类臆断

屈原故里是研究屈原的诸多学术争执中一个常见的话题。关于屈原的故里,最早记载屈原生平事件的《史记·屈原贾生列传》没有文字的记载,后人普遍认为秭归是屈原的故里,及后又有江陵说、奉节说、临湘说、汉寿说等诸多说法。如果从屈原代表作《离骚》中所描写的本草来考察其故里,则会发现,在人们对屈原故里的诸多判断中,秭归说应该是最为合理和科学的。     

《楚辞补注》对屈原形象的重新确立

<楚辞补注>中的屈原,既有"忠君"思想,又有"爱国"精神,也有儒家推崇的坚贞节操,而在对节操的坚持中又体现出其个体的独立人格.这是洪兴祖注释出的屈原新形象,在这个形象中体现着宋代独特的社会政治背景、文化氛围以及洪兴祖个人的精神风貌.     

从《多余的话》看文人瞿秋白的荒诞存在体验

《多余的话》是文人瞿秋白面对死亡考量自己短暂一生的荒诞体验书写。瞿秋白站在死亡的边缘,终于从"沉沦"中解放,获得了彻底的自由,发现了自己的荒诞性生存状态。命运的左右,主观愿望与客观现实的对立,真实自我与社会身份的疏离,失去了精神故乡的流浪,与现象生活的隔膜,所有这些都构成了瞿秋白的荒诞感。《多余的话》超越了阶级、政党和各种"名目",是文人瞿秋白源于生命存在的自由言说。     

瞿秋白是探索"农村包围城市,武装夺取政权"的先驱

在1921年7月到1927年7月的毛泽东思想萌芽时期,瞿秋白提出中国革命必须以武装斗争--"革命战争"为主要形式;必须建立革命军队、党指挥枪、进行土地革命;必须建立"农民政权"--实际上就是建立农村革命根据地,以"农村包围城市"思想的萌芽.瞿秋白对中国革命道路理论的前所未有的探索是开拓性的贡献.瞿秋白是探索中国革命道路的先驱.     

文学经典的颜色革命——《子夜》接受史中的瞿秋白

红色经典是存活在特定历史时空中的特殊群体,能成为经典首先源于其被染色,即红色的坚强附着。红色经典存在艺术质量与其它经典同样高超的杰作,但红色的获得和坚守却先在地定格其地位,也放大其经典的魅力,更生成别样的艺术张力。因此,是颜色政治学的存在造成了文学史上颜色化的文学经典。对瞿秋白与《子夜》接受史的互动考察,意义也在于此。     

论常璩、徐弘祖、顾祖禹历史地理学成就之异同

历史地理在中国有悠久的历史,著作之才,接踵而出,自古历史地理文献数量多,内容丰富。在历史上诸多地理书中撷取东晋常璩的《华阳国志》、明代徐宏祖的《徐霞客游记》、明末清初顾祖禹的《读史方舆纪要》,考察它们产生的时代背景、撰述宗旨以及对历史地理记载等的异同,以明其在我国历史地理学发展史上的地位。同时,也为我们今天历史地理文献的编纂如何体现时代特色和地方特色,如何为经济建设、文化建设和为乡土教育、爱国主义教育服务,提供借鉴。     

屈原在民族文化形成发展过程中的贡献

屈原是最早出现在中国文学史上的著名诗人,是中华民族孕育出来的世界性的伟大诗人。他的艺术创新为民族文化创作的个性化开辟了道路;他独特的思维方式为代代相继的文化革新提供了启示;他的心理情感普遍地影响了中国历代知识分子,并已成为中华民族文化心理的一种特质。     

瞿秋白对苏俄新经济政策的论述及其当代意义（上）

瞿秋白在俄国盘桓的两年,正值苏俄经济从“战时共产主义”转向“新经济政策”时期,他对“新经济政策”有较为全面地介绍、认识和分析,为此留下了大量关于这一政策实施依据、实施内容、实施效果的第一手资料,并对如何建设社会主义经济提出了自己的看法。认真梳理和分析这些资料有助于我们认清当前社会主义经济建设的发展方向。     

在现实与浪漫之间：瞿秋白译著思想探究

在30年代,瞿秋白第一次直接地、系统地翻译介绍了马克思主义创始人的文艺论著,改变了马克思文艺理论的输入路径与纷繁的理论分歧,纠正了从日本转译的经典文论中的许多错误和纰漏,为中国左翼文坛完整全面的理解马克思主义文论提供了最权威的材料。借助于经典的马克思主义文艺理论,瞿秋白完成了他对于浪漫派和现实派——主观主义和客观主义的批判,重新阐释了马克思文艺观在中国特殊语境下的内涵,并对“新现实主义的创作方法”作了一种潜在的规定和说明。     

一个多民族文学融合互动的范本——《述善集》文学文献价值考述

“Tangwu” is an alternative name for the descendants of the Xixia dynasty. In 1227 AD, a number of these Xixia descendants moved inland after the destruction of the Xixia Dynasty by the Mongolians. One group of them migrated to the area near Puyang, Henan Province. Tangwu Chongxi ( Yang Chongxi ) of the Yuan Dynasty compiled the Shu San Ji, which is divided into three volumes: Shansu, Yucai and Xingshi, and appended with the biography of Boyan Zongdao. It reflects the historical origins, social class, living conditions and the relations with the Han people of the descendants of the Dangxiangqiang minority af-ter they moved to Puyang. This book attracted a lot of attention in academic circles, and it was there-fore reorganized and published in 1985 after being treasured by the people for more than 600 years. It has high academic value for its comprehensive his-torical records. We can not only acquaint ourselves with the history of the make-up of the Chinese na-tion, but also research this diversity from multiple perspectives, such as history, nationality and folk-lore . That is why it has drawn so much attention a-mong academic researchers. The book contains po-ems, prose and biographies, which belong to dif-ferent celebrated scholars from different ethnic mi-norities, all of whom had relationships with Tang-wu Chongxi. It is also a typical model of Qiang-Han literature, which is very rare. This paper gives a preliminary exploration on the book, and shows a small part of its comprehensive value. Shu San Ji is not a merely personal collec-tion, but is also different from general literature collections. The compilation of the book took a long time. Shu San Ji Xuxie ( Continuation of Shu San Ji) , written by Zhang Yining, was finished in the 18 th year of the Zhizheng Period in the Yuan Dynasty (1358), which indicates that the Shu San Ji had already been finished by that time . Zeng wuwei chushi yangxiangxian xu ( Presented to Chu Shi Yang Xingxian·Preface ) , written by Wei Su and finished in the 24 th year of Zhizheng ( 1364 ) , suggests that the Shu San Ji had been compiled in-to a book by that time, and that it was compiled with the compositions of social celebrities of the time. However, the Shu San Ji, as it has been handed down to us today, includes the Song Yang-gong Xiangxian gui Tanyuan xu ( Preface of Send-ing Yanggong Xiangxian Back to Tanyuan) by Tao Kai, written in March in the 5 th year of Hongwu in the Ming Dynasty ( 1372 ) . It indicates that Yang Xiangxian kept on collecting articles even after the book was finished. The Xu yangshi yiji ( Preface of Yang’s Last Collection) by Wang Chongqing, writ-ten in the 6th year of Jiajing (1527), indicates that the Shu San Ji was still being written after Yang Chongxi’s death. At the end of the Shu San Ji , Boyang Zongdao zhuan ( Biography of Boyang Zongdao) and Weiti shi (Poems) were collected in the 16 th year of Zhengde in the Ming Dynasty (1529) and in the 16th year of Shunzhi in the Qing Dynasty (1629), respectively. It suggests that the
Shu San Ji had been supplemented and continually recompiled since Yang Chongxi firstly finished his book in 1358. After 271 years, in 1629, the Shu San Ji, as we read it today, was finally comple-ted. Through the basic components of the Shu San Ji,readers can understand that the Tangwu family was a harmonious, multi-ethnic family. A number of multi-ethnic writers spent long periods compos-ing works collected in the Shu San Ji and Tangwu Chongxi was also influenced by China’s diverse culture and traditional Confucian culture. The work is strongly connected with his study in Guozixue. In the late Yuan Dynasty, the restora-tion of the imperial examinations promoted Confucianism’s influence further. Pan Di, as Tang-wu Chongxi’s teacher in Guozixue, wrote most arti-cles in the Shu San Ji, which shows their close re-lationship and his influences on Tangwu Chongxi’s literature and Confucian studies. Tangwu Chongxi and others’ works reflected their sense of admira-tion for and deep feelings for their Dangxiang an-cestors, but more so helped to propagate the con-cepts of Confucian edification, diligence, thrifti-ness and benevolence, and some of them did so in a very polemic way. For example, Boyan Zongdao wrote the Jiefu xu ( preface of “Jiefu”) and Tang-wu Chongxi wrote the Jiefu houxu ( epilogue of“Jiefu”) , which reflect the social reality and ide-ology of all scholars with different ethnic back-grounds at that time. His work, “Tangwu gong-bei” fushi ( Poem inscribed on Tangwu Tablet ) , was written in a plain and authentic way and showed that he always remembered his origins and his ethnic desire to inherit the family’s heritage. Meanwhile , it was also mixed with the popular ide-as of upholding the honor of their ancestors from the central plains and Han areas, which shows the
editorial purpose of the Shu San Ji and also dem-onstrates the value of Chinese multi-ethnic litera-ture and cultural integration.