简介： 本書旨在深化簡帛古書的詞義訓釋理論，總結經驗教訓，探索條例規律，并在此基礎上考釋簡帛古書中的一些疑難字詞。首先，著眼於漢字的“形”“音”及其所處的語法地位等，探討了簡帛古書的訓釋方法。其次，總結了見於簡帛古書的漢字古義，疏釋了字典辭書中的一些冷僻義。最後，探討了簡帛古書訓釋的標準、兩可與闕疑，以及戰國簡帛古書訓釋與秦漢簡帛古書訓釋的内在差异等重要理論問題。本書對簡帛古書詞義訓釋理論的探討，有利於新出簡帛的釋讀，也有助於完善簡帛學理論。同時，對訓詁學的發展也不無裨益，探討簡帛古書詞義訓釋理論正是古文字學與訓詁學的有機互動。

简介： 本书着重研究和改进存在图逻辑（Existential Graph Logic，简称EGL），考察其哲学基础以及在逻辑博弈中的应用。本研究有利于提高EGL自身技术的严格性，有利于学术界科学合理地把握EGL系统，进而认识皮尔士（C.S.Peirce）实用主义的实质特征等问题。EGL是一种图式逻辑，它反映了视知觉与形象思维、形象推理之间的关系，是皮尔士的逻辑学思想与哲学思想的总结性成果。存在图之所以被称为存在图，是因为它可以讨论存在命题，即它可以讨论虚拟之物或假设之物。早期 EGL受到莱布尼茨的“普遍语言”“理性演算”两个理想的启发，成为了一种以最一般的范畴为基础，通过处理图式标志（iconic sign）来展示逻辑推导过程的演绎逻辑体系。但是，从逻辑主义角度来实现莱布尼茨理想的弗雷格、罗素等人显然更加成功，这导致了皮尔士的哲学思想和EGL被排挤到学术主流之外。在当代，巴维斯（J.Barwise）、盖贝（D.M.Gabbay）和申顺珠（S.J.Shin）等人呼吁重新定义逻辑系统，目的就是为了将图式逻辑纳入到哲学逻辑的范畴中来，在逻辑学中为图式逻辑开辟一席之地。尽管EGL理论已经取得了很多进展，研究者也提出了很多具有启发性的研究角度，但是该理论仍有许多关键问题尚未解决。例如，系统不严格的问题、技术与哲学相分离的问题，等等。如果这些问题不能得到合理解决，将会严重阻碍EGL的进一步发展，也将会严重威胁图式推理、图式逻辑的合法地位。本书厘清了EGL理论中一些仍然模糊的概念，尝试解决技术上一些仍然存在的问题，进而拓展该理论的应用价值。在语法方面，本书按照现代逻辑的方法与技术为EGL系统的严格性问题提供了一个解决方案，让断言页（The Sheet of Assertion，简称SA）参加存在图的递归构造。在语义方面，本书试图重新赋予EGL一个区别于弗雷格传统的意义理论——效果论意义理论，简称效果论。以效果论为基础，提供一个分析同一性问题的新视角。在应用方面，本书将“存在图博弈定理”补充为当且仅当的关系，使皮尔士的实用主义的运作方式和目的得到了刻画。第一章绪论详细地论述了本书的主要观点、研究方法、创新成果和研究意义。第二章系统地梳理EGL的背景知识，包括“形象”的定义、形象思维的研究现状、可视化概念的特点以及柏拉图的“第二种理性”与形象推理的关系，等等。对这些背景知识的介绍与梳理能够给初次接触 EGL的读者提供一个认识该理论的研究背景与学术视野。第三章是本研究的文献综述。首先，横向比较欧拉圈推理、文恩图推理、皮尔士—文恩图逻辑和 EGL的推理能力，旨在突出EGL的优势。然后，纵向分析该理论的发展历史与发展规律，总结从19世纪末期至今该理论的研究角度与成果，整理出一条连贯的、具有进一步探索价值的文献脉络，最后指出EGL研究的前沿领域。第四章和第五章细致地研究 EGL的严格性问题。在这两章中，SA参与存在图的递归构造，这样不但能够提供一个更加接近皮尔士思想的存在图的递归定义，而且能够提高 EGL的严格性，从而建立带SA的EGL系统。第六章用博弈论中关于“策略”的概念重新定义EGL的真值概念，并以此为基础阐述皮尔士的科学逻辑观：皮尔士把存在图当作大自然和科学家博弈的图纸，把EGL当作他的科学逻辑思想与实用主义理论的论证工具。本章内容为第七章探析EGL的哲学意蕴奠定了基础。第七章在前人工作的基础上对设证推理的形式进行修正，给出一个以效果论为基础的设证推理形式ABD1。因为EGL在ABD1中演绎假设的效果，又因为皮尔士声称实用主义除了是设证的逻辑，其他什么都不是，所以EGL理论刻画了经典实用主义的运作过程。关键词：存在图逻辑；存在图逻辑的严格性；EG−δ；存在图博弈；效果论意义理论AbstractThis book focuses on the research of Existential Graph Logic （EGL）,including its philosophical basis and its application in Game Theoretical Loigc（GTS）.This study is conducive to improving the strictenss of EGL,to understanding the EGLsystems scientifically and rationally and to grapsping the essence of Peirce's pragmatism （pragmaticism）.EGLis a kind of diagrammatic logic,which reflects the relationship among visual abilities,image thinking and image reasoning.It is also the summary of Peirce's logical and philosophical works.The so called Existetial Graphssince they can present sentences with quantifers,that is,they can discuss virtual objects and hypothetica matters.The early development of EGLwas inspired by Leibniz's ideals of“universal language”and“rational calculus”.It becomes a deductive system basing on the most general category,displaying the process of deductive logic by processing iconic signs.However,Frege and Russell,who realize Leibniz's ideal from the perspective of logicism,are obviously much more successful,which led to the exclusion of Pierce's philosophy and EGLfrom the academic mainstream.Rencently,in order to open up a place for diagrammatic logic J.Barwise,D.M.Gabbay and S.J.Shin call for rethinking what logic system is.Although much progress has been made in the study of EGLand many en lightening research perspectives have been put forward,there are still many problems in the theory.Such as the problem of strictness,the separation of technology and philosophy of EGL,and so on.If these problems can not be reasonably solved,it will seriously hinder the further development of EGLand threaten the legitimacy of diagrammatic logic.This book solves some problems of EGL,clarifies some vague concepts and then improves EGLinheriting the ideals of Barwise,Gabbay and basing on the works of J.Zeman,R.Burch,and S.J.Shin.For syntax,let the Sheet of Assertion（SA）participates in the recursive construction of existencial graphs,give formal systems of EGLand prove their properties,which solves the problem of strictness for the systems.And for semantics,this research endows EGL with one that is different from Frege's tradition:the Effect Theory of Meaning.For application,Peirce's pragmatism can be characterized by the combination of EGLand Game Theory Semantics （GTS）.In chapter one the author discusses main viewpoints,research methods,innovative achievements and research significance of the study.In chapter two the author systematically combs the background knowledge of EGL.It includes the definition of image,the academic status of image thinking,the characteristics of visual concept and the relationship between Plato's Second Reason and image reasoning.The chapter provides a background for the readers whofirst contact with EGL.The autor gives a literature review of this research in chapter three.Firstly,the reasoning abilities of Euler Circle,Venn Diagram,Peirce-Venn Diagrammatical Logic and EGLare compared horizontally in order to highlight the advantages of EGL.Then it analyzes the development history and rules of the theory vertically,summarizes the research perspectives and achievements of the theory from the late 19th century to the present,and sorts out a coherent literature context with further exploration value,so as to point out the frontier field of studying EGL.In chapter four and five,the author limproves strictness of EGLand establishes a EGLsystems with SA.In these chapters SAparticipates in the recursiveconstruction of existential graph,which provides a strictly recursively definition of Existential Graph in accord with Peirce's original idea.In chapter six the autor redefines concept of Truth Value of EGLwith the concept of Strategyand expounds Peirce's view of scientific logic on this basis:Peirce regards existential graph as the drawing of game between the nature and scientists,EGLis considered as the demonstrative tool of his scientific logic and pragmatism.This chapter lays the foundation for chapter 7 that explores the philosophical value of EGL.The form of abductive reasoning is modified on the basis of previous work in chapter seven .It provides ABD1,the form of abductive reasoning,basing on effect theory.EGLis considered the proof of pragmatism,since it parcipates in ABD1and Peirce claims that pragmatism is nothing but the resoning of abduction，Key Words:Existential Graph Logic; The Strictness of EGL;EG−δ ; GTS of EGL; Effect Theory of Meaning

简介： 显失公平规范处在民法各基本原则的交汇点，侧重不同的解读可以得出迥异的体系定位与功能预设。本书主张显失公平法理的精义在于禁止“一方以他方为代价获益”，显失公平规范的原则性选择应从形式主义易辙协助主义，重拾其独立衡平功能，将合同建立在公平的基础之上；技术性设计应当釆用“一般条款+具体规则”模式。一般条款尊重显失公平概念的规范性面向，维持其开放性与灵活性以应乎无穷的人事；具体规则基于显失公平概念的经验性面向，实现法律的确定性与可预测性。在解释论上，宜尊重显失公平法理在现代民法上的独立衡平功能与承载均衡原理回潮的体系价值，将一般条款视为一种开放性的弹性标准而非“构成要件—法律效果”式严格的技术性规则，推进协助主义时代显失公平规范体系的复兴。

简介： 本书是运用文学思想史研究方法对“乾嘉文学思想”展开专门研究的首部专著。力图在大量细读文本的基础上，对清代乾嘉时期（1736—1820）的众多文学思想现象展开深入探索，兼顾雅俗文学不同文体的共性与个性，理顺文学创作、文学批评、文学传播的关系，形成系统认识乾嘉文学思想的体系性论证。本书共分为六章，除对既往文学思想史研究方法有系统分析外，主要探讨了清代乾嘉时期政治力量、考据学术对文学思想的深度影响与全方面融通，重点论述了“盛世”背景催生对艺术的从容雕琢与“集大成”式的文学思想，同时也衍生出推重学养、个性解放的创作新局面。对“自传性”等叙事文学文体中的新变现象，本书也从文学思想的角度加以阐发。

简介： 本书以民间汉字图形为研究对象，选取明清至今在民间流传的寿字纹、万字纹、符箓、鸟虫书、花鸟字、合体字和“福”“禄”“寿”“喜”等吉祥汉字图形，通过整理两千多件民间汉字图形资料，对其生成背景、创作主题、创作题材，以及民间工艺技法等进行梳理与分析，论述了在民间艺术及文字图形设计中的审美价值和民俗意蕴，提出“因材施艺”“因技赋形”的民间汉字图形造型规律，结合符号学、设计学、民艺学等理论，对民间汉字图形多元设计思维进行了新的阐述，总结了民间汉字图形以吉祥诉求为导向的设计动机、技术经验下的样式创新，以及在传播与构建文化认同感方面的价值。

简介： 本书借鉴新闻学的理论基础，以公共管理学的公共冲突治理理论为支撑，从结构分析出发，区分媒体新闻的表层建构、深层建构，提出了与公共冲突相关的四类17种媒体新闻深层建构的议题框架，将冲突主体的意识结构分为事实认知、情绪波动、价值判断、行动意向四个方面；考察新闻深层议题框架对受众意识内容建构的引导机制，阐述以表层建构和深层建构为整体的新闻建构的四种方式对公共冲突及其管理的四个阶段的不同影响，形成基本的理论结构模型；分析新闻建构影响公共冲突及其管理的具体条件，提出判断新闻建构作用性质的标准为是否与冲突管理需要相契合，以条件管理为契机发挥新闻建构的合理功能。

简介： 所有制问题是一个重大的理论和实践问题，它贯穿了我国经济发展实践的全过程，因而是中国特色社会主义政治经济学的重大命题。从马克思主义经典文本到中国特色社会主义实践，所有制问题最具有“马克思主义中国化”的代表性。因此，本书在对经典作家理论设想、苏联和中国制度实践的历史梳理基础上，一方面对社会主义市场经济条件下公有制和非公有制经济的发展演进和面临问题进行理论分析，另一方面聚焦于新时代不同所有制经济的深化改革和创新发展，以期从历史、理论与实践三个层面构建起马克思主义所有制理论与当代中国实践研究的全景图。

简介： 诺贝尔文学奖获得者石黑一雄（日裔英籍）是当代英国文学代表作家。他的小说具有强烈的电影性和现代性，把握这两种特性对于了解其作品的隐含意义和深层意义有着至关重要的作用。但迄今为止，这两方面都未引起足够的重视，仅有一些零散的评论，且分别关注其中一个方面，忽视了两者在跨媒介意义上的联系，以及建立在此联系基础上的文本的隐含深层意义。鉴于石黑一雄笔下《远山淡影》《被掩埋的巨人》和《别让我走》与电影的关联和与审美现代性的紧密联系，本书深入系统地考察这三部小说与影视相关联的审美现代性问题，通过细致剖析三部小说跨媒介的审美现代性，揭示其如何表达与小说文本表面意义相悖的隐含意义，达到对作者的创作目的更好的把握，对作品的主题意义、人物形象、人物之间的关系和艺术手法更加全面深入的理解。绪论先梳理了以往的石黑一雄研究，评介了其东方和西方溯源的两个阶段，并以此引入石黑一雄与电影的关联以及石黑一雄与具有反思和质疑特征的审美现代性的关联。然后，以跨媒介的审美现代性为中心线，阐明本书各章的研究思路和基本框架。第一章首先结合19世纪末以来文学与电影基于审美现代性共性的关联，对本书所涉及的跨媒介的审美现代性加以界定，并说明从这一角度理解石黑一雄小说的重要性。其次，梳理了石黑一雄与电影的关系、与具体导演的具体作品的联系，评介了以往的批评研究，从跨媒介的审美现代性的角度指出以往研究存在的问题和局限性。第二章聚焦《远山淡影》与小津安二郎电影中的物哀式感伤与留白技巧的关联。本章认为，石黑一雄在小说中借鉴了《东京物语》中的物哀式感伤，来描绘主人公悦子在对女儿、公公和自己这三方面的回忆中表现出的不可靠性。由此，小说体现并发展了两种审美现代性特点：内外世界界限消失的，以凸显现实中隐藏的怪诞和超现实为特点的欧陆式审美现代性特点；以及精神与肉体、情感与理性失联的英美式审美现代性特点。通过这样的分析，本章旨在说明，石黑一雄不但借助现代鬼故事手法和小津电影中的物哀，凸显了人们对回忆和自我认识存疑的审美现代性特点，也揭露了人们尝试与过去和解之难。第三章通过挖掘石黑一雄的《被掩埋的巨人》与日本导演黑泽明的《罗生门》、沟口健二的《雨月物语》以及俄国导演塔可夫斯基的《潜行者》的关联，分三个方面分析小说中表现的质疑“现实”和“现时”的审美现代性——故事中的主人公对现时中的人、上帝信仰以及现实世界的怀疑，读者对复杂多面的中性叙述眼光的质疑，作者利用电影叙事中的思想实验结构展现对“现实”和“现时”的质疑。通过这一探讨，我们可以达到对作品表达的现代主题意义、现代他者式的人物形象及现代艺术手法更加全面和深入的理解。第四章结合小说的英国与日本两部同名影视改编分析《别让我走》中凯茜的认识在两方面上的不确定性：对自己私情的认识和对自己记忆的认识。本章依据作者的创作目的，聚焦于批评界倾向于忽视的凯茜与露丝和汤米之间的三角关系。通过深入细致的考察，本章不仅揭示出三个主人公之间复杂又深刻的情感关系，而且也揭示出露丝和凯茜的形象以往被忽略的一些重要方面，以及小说中对即将逝去的信念及旧秩序的怀念和乡愁的同时，又对眼前的认识以及对不得不投身于其中的新秩序充满焦虑和怀疑的审美现代性特点。结语总结本书通过探讨石黑一雄小说与电影的审美现代性的关联，所揭示的小说隐含的主题意义和深层立场，并简要讨论了一个世纪以来文学与电影的联动对现当代小说创作的影响。最后总结本书从跨媒介的审美现代性角度考察石黑一雄的小说与电影的关联，在石黑一雄研究的框架中，以及在文学与电影研究的整体框架中所具有的研究价值。关键词：石黑一雄；小说与电影；审美现代性；跨媒介研究AbstractThe Japanese-British novelist Kazuo Ishiguro was awarded the 2017 Nobel Prize in Literature for his ability to reveal the abyss beneath our illusory sense of connection with the world.His novels that touch on memory，time，and self-delusion present a strange amalgam of literary and cinematic modernist techniques.Attending to both is criti cal for understanding his rich，multi-layered texts.While scholars have mentioned the connection between Ishiguro’s novels and cinema，they have not criti cally examined the interrelation between these two media.This project fills this gap by exploring Ishiguro’s references to films with a particular focus on the representation of aesthetic modernity in his novels.It asks，what other connections，besides explicit references to cinematic works，do Ishiguro’s novels have with films？And，most importantly，how can such connections help the readers discover the implicit themes and undisclosed characteristics of his protagonists？On a larger s cale，this book demonstrates a new way to address the relationship between literature and film.Employing the category of“aesthetic modernity”，whichMatei Calinescu delineates as a motif against“Bourgeois idea of Modernity，”casting doubt on the way knowledge is acquired and reality is perceived，I claim that modern filmmakers and novelists seek to embody this aesthetic modernity from their separate media.My argument is that Ishiguro，inspired by cinematic culture and its ways of simultaneously presenting and questioning the world，casts doubt on the nature of reality in his novels and shares this motif with several postwar directors he admires：Yasujiro Ozu，Akira Kurosawa，Kenji Mizuguchi，and Andrei Tarkovsky.On a smaller s cale and in the context of Ishiguro’s work，this study also executes close readings of the author’s novels on the topic of aesthetic modernity to show that Ishiguro is a writer who has taken cinema inside his prose by either making various textual references to films or else transmitting cinematic effects to novelwriting.Under this frame，this study eventually aims at uncovering the hidden meanings of Ishiguro’s texts and shedding light on some crucial aspects of the author’s style.Ishiguro’s close relation to cinema has opened the back door for a priori knowledge by demanding a conscious，sophisticated reader who reads the text forward and backward and who makes use of outside knowledge to analyze texts.In this study，I attend to the relationship between Ishiguro’s A Pale View of Hills（1982），The Buried Giant（2015），and Never Let Me Go（2005），and Yasujiro Ozu’s Tokyo Story（1953），Kenji Mizoguchi’s Ugetsu Monogatari（1953），Akira Kurosawa’s Rashomon（1950）and Andrei Tarkovsky’s Stalker（1979）.Specifi cally，I explore how through aesthetic modernist tools，such as neutrality，elliptic style，non-linear narrative，reinventing myth，turning toward emotions rather than reasons，each chapter addresses key themes in Ishiguro’s novels，including the role of memory，unreliability，self-illusion of the world，and blurring of the real and fantastic，dream and reality，present and past.I begin this book with an introduction that surveys the existing criticism of Ishiguro’s works along two contrasting tracks：first，reading Ishiguro in relation to eastern traditions；and second，reading Ishiguro in relation to western thoughts.I then move along to discuss the connection between modernity and Ishiguro’s writing and films.In the first chapter，I introduce the concept of transmedia aesthetic modernity as a liaison that connects modern fiction and film，and explain how examining Ishiguro from this new perspective would yield to a fresh understanding of his work.I end Chapter 1 with a survey of the connection between Ishiguro’s novel-writing and the filmmakers and their masterpieces this study involves.After establishing a specific histori cal，biographi cal，and intertextual frame for the texts under discussion here，I discuss how each of Ishiguro’s three novels engages with film in the following three chapters.Chapter 2 concentrates on Ishiguro’s A Pale View of Hills（1982）in relation to Yasujiro Ozu’s Tokyo Story（1953）and explores the expression of Mono no aware and the use of ellipsis.I examine the novel with references to Ozu’s film to reflect on Ishiguro’s protagonist’s unreliability from three aspects—her relationship with her daughter，with her father-inlaw，and with herself.Through the analysis，I claim that the novel，on one hand，combines the characteristics of modern ghost story narratives with Ozu’s style of Mono no aware to express the protagonist’s unsaid guilt toward her daughter’s death，urging the readers to reflect on the unreliable way we require knowledge of oneself and the others.On the other hand，the novel borrows the relationship between the daughter and father-in-law portrayed in Ozu’s film to reflect on the protagonist’s inappropriate resort to emotion when dealing with Japan’s past wrongs.Chapter 3 discusses The Buried Giant（2015）in relation to Mizoguchi，Kurosawa and Tarkovsky’s films，revealing that the novel conveys the typi cal characteristics of aesthetic modernity that doubt present reality and present knowledge in the following three aspects：1）the protagonist casts doubt on the knowledge of others，on the belief of God，and on the present reality itself；2）the reader casts doubt on the sophistication and neutralization of the narrative itself，especially on the narrative perspective；3）the narrator destabilizes the novel’s plain of reality through thought-experiment narrative.I first claim that Ishiguro integrates the ghost story plots in Mizoguchi’s Ugetsu（1953）and Greek mythology to portray the ferryman and female ghost’s ambiguous appearance in the novel，establishing a latent narrative of the fantastic that continuously undercuts the novel’s realistic design.Furthermore，I examine the novel’s use of the mythi cal method and neutral free indirect speech in reference to Tarkovsky’s Stalker（1979）to bring irony to the reality it presents.Lastly，I argue that Ishiguro uses the thought experiment structure often used in films to reveal his idea of guarding the contemporary generation against the repetition of the history of meaningless violence and the collective and，sometimes，problematic perception of the world.Chapter 4 examines Never Let Me Go（2005）in connection to its eponymous cinematic adaptations，bringing to the fore the issue of the firstperson narrator Kathy’s unreliability regarding her memory and narration of her best friend Ruth and her love affair with Tommy.Different from the existing investigations dealing with the novel’s biotechnology，unfair social scheme，or dehumanizing ideologi cal education，this chapter，inspired by the author’s clarification of his creative intention，pays specific attention to the overlooked triangle-relationship among the three main clone characters.Overall this chapter not only aims to reveal some significant aspects in Ishiguro’s characterization of Ruth and Kathy，but also tries to disclose the novel’s modernist nostalgia.It is a nostalgia for the passing order of the old world while feeling compelled and doubtful to move on to the new world.As a conclusion，I summarize the significance of the present study on Ishiguro’s novels in relation to films under the framework of transmedia aesthetic modernity.This approach helps to shed light on some implicit themes and misinterpreted plots in Ishiguro’s works.After a brief discussion of the value of such a study may bring to contemporary literary studies in general，I end the book on a note of its contribution respectively to Ishiguro criticism and to the research on the relationship between literature and film.Key Words：Kazuo Ishiguro，Fiction and Film，Aesthetic Modernity，Transmedia Study