HICCS 2025

This panel examines religious transformations and interactions in early China.

黃敬家(JING-JIA HUANG)
Department of Chinese, National Taiwan Normal University, Professor

题目：
婦女與宗教：宋代禪修女性從官宦世家到女中丈夫的轉變

摘要：
在中國佛教各宗派中，禪宗持有較為平等的性別態度，對女性的覺悟能力給予完全的肯定。然而，即使禪宗明確地聲稱覺性沒有生理性別之差，實際史料卻仍是以男性禪師為主，其中零星的女性禪修者的紀錄顯得格外珍貴。禪宗燈錄中雖然出現過唐代禪尼的身影，但她們僅是男性禪師傳記中的一段經歷。相對地，宋代禪尼在禪宗燈錄中有了獨立的傳記和明確的傳承法系，雖人數仍然不多，但有更多的禪門女性身影是被記錄在禪門筆記中。因此，本文從宋代禪門燈錄包括《嘉泰普燈錄》、《聯燈會要》、《五燈會元》，以及禪門筆記包括《羅湖野錄》、《雲臥紀談》、《宗門武庫》、《叢林盛事》、《枯崖漫錄》等所見的禪門女性修行者，來探究這些女性禪師的參學悟道過程及傳法活動，了解她們的生活樣貌，及其在禪門系譜中的地位。她們當中多有出身於士大夫官宦世家，乃至有出身皇家后宮者，她們多在生前已獲得禪師的印證，在燈錄譜系中有明確的傳承法系，擅於以詩偈傳達悟境，他們在傳法或與男性禪師逗機往來時，展現超越性別外相的悟力。透過本研究一方面可以建構宋代女性禪師的身影，以見女性禪修者獨立的人格與智慧典型。一方面有助於了解女性在宋代禪門的處境和貢獻，建構宋代禪門女性的歷史。

Elsa Cuillé
University of Strasbourg, Ph.D Candidate

Title:
Possessed by Spirits: Identities and Functions of Mediums in Tang China (618-907)

Abstract:
In short stories written or collected during the Tang dynasty (618-907), there are mentions of people whose bodies were used by spirits to convey words or actions. They were called by many names, but for the sake of clarity we will use the etic term “medium”, although the variety of emic names will also be addressed. Mediums can be defined by their association with spirit possession as a form of religious phenomenon. This paper will focus on gaining a better understanding of who these mediums were and what role they played in Tang dynasty Chinese society. This paper will start by addressing the methodological issues related to the study of less documented Chinese religious phenomena, especially when it comes to the Tang dynasty. The study of mediums in the medieval period faces a few obstacles First, there is a lack of reliable and direct sources. Second, it is difficult to identify certain situations as involving mediums. Finally, there is often no direct mention of possession, and the spirits seem to speak more than once without a clear intermediary. Then, using examples from anecdotes collected in the Taiping guangji 太平廣記 and dated to the Tang dynasty, I will question the identities and functions of the medium in Tang society. These questions will include whether the medium was a trained professional or an ordinary layman, whether he belonged to the elite or to the common people, and whether he was identified as a man or a woman. The type of spirit possession described will also be analyzed, as it may be spontaneous or induced. The rituals surrounding the possession (before, during and after) also provide information about the phenomenon and its actors. The behavior of the medium also varies; some transmit words of the entity possessing them, others do not. These words may be spoken or written in ordinary or special languages and scripts. In addition, the spirit that possesses the medium's body can be classified as benevolent or malevolent, and the interaction between the possessing entity and the rest of human society, especially the witnesses, can be positive or negative. With this paper, I hope to address a topic that is still understudied in the field of religious history, especially when it comes to religious actors in the Tang dynasty. This work may shed more light on the religious practices and actors of medieval Chinese society, as well as raise questions regarding gender and class.

Meng Wang
Department of philosophy, Renmin University of China, Ph.D Candidate

题目：
從無明到戲論——龍樹對「緣起論」從本體論到認識論的解釋方法之轉變

摘要：
一直以來，龍樹都被看作是佛教思想的革新者，因其中觀學說的成立，佛教內部出現了部派佛教與大乘佛教的根本分野。龍樹為了防止有部學說基於「假必依實」的「本體論」準則來理解「緣起論」造成的種種過失，從「認識論」的角度重新理解緣起論，不僅徹底貫徹了緣起理則，而且使得緣起論更具語言哲學的意涵。而實現此種革新的核心路徑在於引入「戲論」這一重要概念，代替原先居於首要位置的「無明」，重構了認識論視角下的緣起鏈條，即戲論——分別——煩惱、業。此種路徑實現了對緣起論的解釋方法從本體論到認識論的轉變，是龍樹對於佛教核心理論「緣起論」的一次既重理性又重實修的成功拓展。

István Olajos
Eotvos Lorand University, Ph.D candidate

Title:
Hostility, Heated Debates and Silent Thievery – The Thousand Faces of Vivid Religious Interaction in Early Medieval China Recorded in the Shamanic Stories of the Taiping Encyclopedias

Abstract:
The main objective of the recent paper is to offer an in-depth analysis of the development of religious life in early medieval China, focusing on the role of Chinese shamans (wu 巫) and their practices (wushu 巫術).
A key element of the author's study is the investigation of how shamanism persisted beyond the Han 漢 era (after-220 AD), along with an exploration of the various activities and rituals associated with wu that are depicted in later sources from the Song dynasty 宋朝 (960–1276). These source materials, i.e. encyclopedia Taiping yulan 太平御覽 and Taiping guangji 太平廣記, are dating back to the 10th century, and provide a unique advantage over other contemporary works: they preserve numerous accounts from the examined era that cannot be found in any other sources. Another important aspect of the analysis is an examination of the relationship between shamanism and the new religious movements emerging in the religious landscape of medieval China. Two major religious organizations, Buddhism and Taoism, are highlighted in this paper as they began their proselytizing activities during the same era and thus interacted not only with shamanism but also with one another.
A thorough examination of the rich source material in the Taiping encyclopedias provide us vital information about Chinese shamanism in the post Han period: first, the persona of wu and its shamanic activities did not disappear with the fall of the Han Dynasty, moreover it played an important part in people’s life in the turbulent historical period. Second, a categorization of shamanic activities emerges based on the application of wu techniques, depending on whether the shaman served at the imperial court, in rural areas, or during wartime.
Surprisingly, Buddhism and Taoism did not only see shamanism as a competitor and a collection of heretical practices, but in order to attract more followers, they often adopted various techniques from the wu. This religious rivalry and "thievery" are well-documented in the encyclopedias Taiping yulan and Taiping guangji. As for Buddhism, the stories often feature monks with supernatural abilities, who are portrayed as more effective healers than shamans. The tales also expose the negative karmic consequences (bao 報) associated with shamanic activities, which were often linked to Taoist practices. In the case of Taoism, it is generally observed that their main goal was to reform their system of activities and to minimize similarities to shamanistic techniques as much as possible.
Thus, the analysis of these stories offers a deeper understanding of the formation, relationships, and interactions among early medieval religious organizations. Moreover, it provides evidence for the continuity of shamanic activities during this period, which is often overlooked by scholars.

本中文论坛聚焦中国经典文本的研究与阐释，探讨其在不同文化与理论视角下的解读。

Yue Cheng (程跃）
Anhui University of Science and Technology, PhD Assistant Professor

题目：
20世纪后半叶以来北美学者对《淮南子》的英译与阐释

摘要：
第二次世界大战之后，西方汉学的研究中心由欧洲转向北美，美国和加拿大学者成为英语世界《淮南子》翻译与研究活动的主力。在半个多世纪的时间内，共产生《淮南子》英文选译本6部，全译本1部。北美学者的《淮南子》英译活动以20世纪末为界，分为两个阶段，呈现出不同的阶段性特征。整个20世纪后半叶，北美学者的《淮南子》英译主要服务于汉学研究。在“中国中心观”的影响下，译者倾向于深入到中国古代历史文化语境之中，围绕原典展开全方面的研究。译文作为分析的基础而存在，与注释、评述等部分共同构成对原典思想的深度阐释。20世纪末以来，受西方后现代主义思潮的影响，北美学者在对《淮南子》的解读与诠释中融入了西方的、现代的学术视角与文化资源，形成了有别于传统研究的新路径，展现出中西方文化的整合与重构。译文成为译者对原典理解新观点的体现。纵观整个历程，北美学者的《淮南子》英译活动，由强调真实性与准确性的认知活动，发展为具有创造性与实践性的哲学建构。既是在西方哲学语境中对中国哲学的重构，同时也是对西方哲学的重新认识，促进《淮南子》成为推动中西方思想交流与互鉴的重要资源。

YingYing Tsai
Department of Chinese Language and Literature, University of Taipei, Assistant Professor

题目：
論《左傳》中文字與非文字的記憶

摘要：
本文嘗試運用「文化記憶」的相關概念，並以《左傳》為對象，考察其中「文字」與「非文字」的記憶媒介，透過個案之舉證，析論文化記憶理論的重要觀念如儀式一致性、文本一致性、文體作為記憶場等，並嘗試思考早期中國歷史敘事的記憶與詮釋論題。
第一節先略述「文化記憶」的定義與研究價值，指出其對「文字」與「非文字」的分析與討論，實有助於我們釐清記憶的功能與文化意義，並介紹相關重要學說與概念。第二節討論地點、器物、儀式三種「非文字」的記憶特質。第三節則以「文字」記憶出發，而著重討論文字帶來的多元詮釋與記憶之關聯。結語則透過前述「文字」與「非文字」的討論，反思民國以來對「口傳」歷史的看法，指出從「文化記憶」的角度觀之，口傳與文字並非進化式的發展，也未必有取代關係，而宜著重在不同媒介的特質及其對過去之態度與詮釋的轉變。

Ming-Shu Lee (李明書)
School of Philosophy, Zhejiang University, Professor

题目：
从关怀伦理学视角论孔子的道德教育如何可能

摘要：
本文以比较哲学的进路，藉由关怀伦理学的观点，证明孔子的道德教育之所以可能，在于人人皆有的关怀他人之情。孔子思想以“仁”为本，目标在于使人成为有德者。有德者的基础在于具备“仁”的真情实感，进而培养各种德性与立身处世的能力。关怀伦理学重视人与人之间自然情感的关怀，在关怀的基础上培养理性的道德能力与工作技能，在道德教育的基础上，和孔子思想有相似之处。关怀伦理学认为人皆有自然关怀他人的能力，因此道德教育之所以可能，在于可将人人皆有的关怀之情发挥而出，而非诉诸理性的道德原则或抽象的德性概念。“仁”的情感意义接近于关怀伦理学所说的“关怀”（care），均指父母与子女之间的真情实感，是故孔子道德教育亦应从“仁”的情感入手，才具有普遍性与可能性。

This panel investigates the intersections of education, morality, and media in shaping societal and historical narratives.

Anna Ivanova
Washington State Unviersity, Ph.D Candidate, Independent Instructor

Title:
Exploring the Influence of Academia Sinica’s Epistemic Community on Taiwan’s Education Policy

Abstract:
This research aims to explore the influence of Academia Sinica on the formation and implementation of education policy in Taiwan. Building on the epistemic community framework, the study examines the engagement of a network of Academia Sinica’s experts united by shared values, causal beliefs, and notions of validity in the policymaking process. Through a mixed-method approach, including interviews with key stakeholders and content analysis of relevant documents, this research identifies the reasons for Academia Sinica’s effective influence on education policy in Taiwan. The findings reveal key factors, including active engagement, institutional prestige, autonomy, and historical context, to impact education policy.

Chen Xin
Jilin University, Ph.D Student

Title:
Active Morality versus Passive Morality: The Differential Emergence of Moral Imperatives

Abstract:
As a social ideology and a code of conduct and norms for people to live together, morality has shifted its exploration paradigm from the ultimate question of "how individuals should lead to a happy life" to the social law of "what kind of moral rules a person should obey". It is worth noting that there is a tension between Kant's moral judgments and the moral reasoning of Chinese style ethics. When we attempt to examine moral principles, we must recognize the fundamental shift that intersubjectivity may cause in the evaluation perspective, and avoid consequentialist simplifications. At the same time, we must value the significant role of moral principles in practical applications, recognize the difference between active morality and passive morality, and use an intersubjective moral principle to reconstruct and reflect on moral principles.

Yihe Zhang
The Chinese University of Hong Kong, second year M.Phil. Student

Title:
A Story of Hyponotism: (Pseudo)scientific Media Technology and Global Diplomatic History in Flower in a Sea of Retribution

Abstract:
This paper presents a case study situated at the confluence of media studies, diplomatic history and Late Qing fiction. Employing a diplomatic journey portrayed in the historical novel, Flower in a Sea of Retribution (Niehai Hua 孽海花), the study sheds light on China’s responses to scientific innovations and global political landscape at the turn of the 19th and 20th centuries through the lens of hypnotism.

Challenging the prevailing notion that hypnotism, as a category of paranormal phenomena, arises from novelistic exaggeration, this paper offer a material and historical guide to re-evaluate hypnotism. To be specific, it showcases the dialogue between surrealist hypnotic narratives and modern optics within the cross-cultural knowledge flow, demonstrating that hypnotism serves as an analogical framework for comprehending and imagining new visual media and technology. Furthermore, inspired by this cognitive framework, Flower in a Sea of Retribution contextualizes hypnotism in Sino-Western diplomatic history. The novel, therefore, elucidates how Late Qing China identified, reflected upon, and ultimately mastered the strategies and principles of diplomacy within the realm of global (geo)politics.

In conclusion, this paper uncovers overlooked aspects of media and diplomatic history, highlighting the crises faced by China and its creative responses. Rather than focusing on the analysis of novel characters and their historical counterparts, this research adopts a material studies approach to showcase how hypnotism facilitates a more comprehensive and nuanced exploration and commentary on the intricate scientific and political history conveyed through Late Qing fiction.

This panel explores the evolution and cross-cultural exchange of Chinese performing arts.

Hongyan Hao
Faculty of Arts and Social Sciences, University of Sydney, Ph.D Researcher

Title:
Inheritance and Innovation: A Study of Jingju Master Li

Abstract:
Li Weikang is one of the most famous performing artists of Jingju which is Peking Opera, in contemporary China. She is
deeply loved by the audience and her fans come from all walks of life. Li Weikang has outstanding talents, she has solid fundamentals and innovative spirit. She adheres to the artistic concept of inheritance and innovation. Her vocal style, performing, make up, costumes, stage arts and lighting sets during the performance are all unique. This paper will focus on two questions that why Jingju Master Li Weikang has a large number of fans and whether she can form a new school. From the three aspects, which including her acting career, the characteristics of her vocal style and performing arts and the conditions required for forming a new school, this paper analyses and discusses Li Weikang’s inheritance and innovation of Jingju arts, as well as her contribution to the development of Jingju.

This paper will analyse and discuss Li Weikang’s singing skills, vocal style, performance, makeup, costumes, stage scenery, lighting sets and other aspects in combination with the analysis of her signature repertories. Based on the above analysis, this paper will compare and contrast the subjective and objective conditions of forming Jingju schools, from the literatures on the development of Jingju, to evaluate and analyse whether Li Weikang meets the conditions of forming an independent school. Meanwhile, in light of the social environment of contemporary China, the dynamics and resistance of forming of a new Jingju school are further evaluated. This paper concludes with answers to the two questions raised at the beginning, based on the above analytical conclusions.

Xinying Zhong
School of Communication, Shenzhen University, Ph.D student

Title:
The Most Beautiful Harmony: A New Path for International Communication of Chinese Stories: An Examination of International Student Choirs

Abstracts:
In the context of globalization, the shaping and dissemination of national image is the key to measuring the soft power of a country and an important aspect of international exchange. With the increase of international exchanges, the traditional way of national image communication is developing towards diversification and innovation. Taking the “Cloud” choir as an example, this study explores how the choir spreads China's story through music and Chinese singing, and becomes a new platform for cross-cultural exchanges and national image dissemination. Using case studies and content analysis, the study combines theories of communication, cross-cultural communication and social identity to analyze how the choir presents Chinese stories to the international community visually and emotionally through music. The study finds that the choir, as a platform for cross-cultural communication, promotes the cultural adaptation and identity of international students and enhances their understanding of China through musical art and emotional expression. By utilizing the “music + Chinese” model, the choir successfully portrayed the image of China and aroused emotional resonance through original stories and multimodal narratives. The study also points out that choirs should adjust their performance strategies according to different cultural environments, and utilize VR, AR, AI and other technologies to enhance the effect of cultural communication. In the era of globalization, international student choirs not only promote cross-cultural exchanges, but also contribute to the building of a community of human destiny and the international recognition of the national image, demonstrating the innovative and diversified nature of China's national image communication.

Yukiyo Hoshino
Nagoya University, Professor

Title:
Performing Arts Exchange in the Absence of Sino-Japanese Diplomatic Relations: Focusing on the Reaction of The White-Haired Girl in the Japanese Workers' Journal

Abstract:
Even though Japan and China did not have formal diplomatic ties from the 1950s to 1972, there were many instances of cultural exchange. How were these exchanges conducted, and what kind of cultural production and exchange of ideas took place? With this question in mind, this study takes up the Matsuyama Ballet Company's The White-Haired Girl, an adaptation of the Chinese opera, as a case study to examine how Japanese laborers evaluated The White-Haired Girl (WHG)” at the time. We are highlighting the ballet WHG because it represents the Japanese's affinity for China and Chinese literature and art during no formal diplomatic relations. Japan's achievement in adapting the opera WHG into a ballet is noteworthy, as it later became one of the Model Operas during the Cultural Revolution.
This paper utilizes the magazines of the Laborers' Music Council as the new material. Since Ro-On had branches throughout Japan at the time, we'll concentrate on the branches in the capital, Tokyo and Nagoya, the largest city in central Japan. The Laborers' Music Council, or Ro-On for short, was an organization formed voluntarily by Japanese workers in the 1949-60s to organize stage performances and to make them available to laborers at low cost. Tokyo Ro-On was founded in 1953, one of the first Ro-Ons in Japan, and its journal was called Hibiki(which means “echo”). Founded in 1955, Nagoya Ro-On's journal was known as Harmony. According to the articles in these journals, Nagoya Ro-On organized a WHG performance in 1959, and Tokyo organized one in 1961.
In summarizing the audience response to WHG, it is evident that although there are regional differences, labor members are impressed by the story and also appreciate its value in responding to their workers' needs for expression. Tokyo Ro-On members had stronger demands for performers, which echoed Mao Zedong's Talks at the Yan'an Conference on Literature and Art. It is said that Tokyo Ro-On's policy around 1960 was based on the Talks at the Yan'an Conference on Literature and Art. For instance, the article about WHG in Hibiki referred to Lu Xun Institute's Academy of Arts in Yan’an, which created the opera WHG, which is not covered by Harmony. Therefore, it can be said that Hibiki was able to accurately portray the role of WHG in the ideology of the People's Republic of China more clearly than Harmony. It should be noted that not only the creators, but also many Japanese laborers at the time understood that the ballet WHG was not just expressing a simple desire for the liberation of oppressed people, but rather conveying Mao's ideology.