著者
陳 仲奇
出版者
島根県立大学
雑誌
総合政策論叢 (ISSN:13463829)
巻号頁・発行日
vol.1, pp.149-170, 2001-03-31

The aim of this paper is to explain the complex mental structure of Shenxian theory (神仙節) in Taoism (道教) using spiritual historical analysis. Originally the primitive cult of immortality was seen in inland beliefs such as the Kunlun myth(崑崙神話). However, after f the Warring States Period in the middle of 4th century B. C., Haixian belief(海仙信仰) (e.g. the Legend of Penglai 蓬莱伝説) originated from countries in coastal areas, such as Qi (斉) and Chu(楚), and those beliefs became assimilated. Later, the Shenxian theory was supported by alchemy which was the high technology at that time and absorbed ancient Chinese folk beliefs, the Taoist school (道家) metaphysical views of nature alchemists' delusion of grandeur in the universe, tradition of techniques to attain Yangshenshu (養生術) since the Qin'Han(秦漢) dynasties, and outcomes of folk medicine. Then the eminent scholar GeHong (葛洪) in Eastern Jin(東晋) systematized and established the Shenxian theory. The Shenxian theory established by GeHong has theoretical and rationalistic tendencies. Especially the empirical and realistic thonght (that Shenxian is not innate but attained through trainings) and mundane spirit (seen in Dixian theory (地仙説) that Shenxian does not ascend heaven but stayed in this world for a long time) reflect the rationalistic and utilitarian values of traditional Chinese culture. From this perspective cultural characteristics of Taoism can be understood. The Shenxian belief(神仙信仰) for immortals was just a fantasy, but in that approach we see the Chinese active attitude toward nature. The theoretical foundation of Shenxian theory formed by GeHong was influenced by this anti-fatalistic natural philosophy. Compared with the Confucian (儒家) tradition, which is characterized by neglect of technology, awe of Heaven's will, respect for the teachings of ancestors and primary emphasis on texts the Shenxian theory in Taoism is unique.
著者
陳 仲奇
出版者
島根県立大学
雑誌
北東アジア研究 (ISSN:13463810)
巻号頁・発行日
vol.8, pp.1-18, 2005-01

The national project of checking, punctuating and republishing the twenty-five Chinese historical classics was initiated by Mao Zedong in 1958, but failed to continue due to Culture revolution started in 1966. However, under Mao's instruction it proceeded in 1971. The power struggle over the leading position in the project between Zhou Enlai and Yao Wenyuan started as Mao's instruction was made. The special cultural project in this particular time (Culture revolution) represents not only cultural characteristics of this period, but also the considerations of those in power. Therefore, it can be regarded as the epitome of the power struggle of that time. In order to clarify the feud between Zhou and Yao, the thesis focuses on the events around the time when the project was restarted in 1971. It's based on the interview of participants of the project and classified materials collected in Beijing. The author's research "China Press and systemization of classical books in People's Republic of China-the background of checking, punctuating and republishing the twenty-five Chinese historical classics" is sponsored financially by (A) "Northeast Asian Publication Cultural Research Project." The thesis is part of the research achievements.
著者
陳 仲奇
出版者
島根県立大学
雑誌
総合政策論叢 (ISSN:13463829)
巻号頁・発行日
vol.10, pp.55-71, 2005-12

The thesis of this paper is based on the following hypothesis. Cultural communications between Japan and China are represented by words of the same characters in Japanese and Chinese. During the May 4th Era, China borrowed many new words from Japan. The majority of the new Japanese words, written in the same characters as Chinese, have been absorbed into the Chinese language and used by the Chinese in daily life without any sense of incongruity as if they were native Chinese words. However, some Japanese words with the same characters but different meanings have not been absorbed by Chinese society, as if the stones carried by the waves in the high tide were left scattered on the beach on the ebb tide, which may also be characteristic of the cultural communications between the two countries. The works of Luxun are representative of this. It is in the light of the original age of the particular works and the original language environment that the "marks" of cultural communications between the two countries can be understood and clarified. Only in this way can the wordings be analyzed. Through an analysis of Luxun's works in this may, many Japanese expressions were found.