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Editorial Report Editorial Report 1. This issue of the Bulletin of the Department of Chinese Literature, National Chengchi University (“the Bulletin”) received 21 submissions (15 from Taiwan, six from overseas). Two submissions were rejected and returned during the preliminary editorial committee review. Of the remaining 18 submissions (excluding the feature article submission), six submissions were selected through double-blind reviews by two extramural experts for each submission. Excluding the feature article submission, six submissions out of 20 were selected, resulting in an acceptance rate of 30 percent, and a rejection rate of 70 percent. This issue publishes eight formal academic articles, with three articles by full-time teachers of the Department of Chinese Literature, National Chengchi University, the rate for internal release is 37.5 percent. The Bulletin aims to enhance academic standards and expand research horizons, we sincerely invite submissions from all scholars of Chinese studies. 2. In this issue, we feature “Writing on Landmarks: From Yellow Crane Tower to Phoenix Terrace” by Professor Shang Wei, Du Family Professor of Chinese Culture, Columbia University. This feature article begins with a close reading of Li Bai’s “Ascending Phoenix Terrace in Jinling” to explore his varied responses to Cui Hao’s “Yellow Crane Tower.” Tracing a series of poems related to the same subject, it examines the poetic practice of writing about scenic spots or landmark sites during the Tang dynasty, with reference to the literary discourse on this practice and other pertinent topics. By tracing a series of poems related to the same subject, Professor Shang tells the story of how poets during the Tang dynasty imitate and compete through writing about scenic spots or landmark sites, paying attention to the subtly complicated relationship between literary text and critical discourse, questioning the ideal mode of extempore verse and its premise, at the same time exploring what classical poetry can and cannot do, its potential and boundary. 3. The special article column section in this issue, titled “Encyclopedic Record: How Knowledge Becomes Literature,” is coordinated by Professor Chou Chih-huang, Department of Chinese Literature, National Chengchi University. Three articles are accepted. The first article is titled “Hidden Literary Imaginations: Discussing Knowledge and Writing Techniques of the Ming dynasty’s Western Guangdong Travel Accounts, Chi Ya, etc.” by Professor Fan Yi-ju, Department of Chinese, National Taiwan Normal University. This article examines mainly Chi Ya by Kuang Lu, as well as other travel accounts about the “Western Guangdong” region (present-day Guangxi Province) of China. Comparing to traveling officials’ accounts, which tend to record local histories and express emotions, Kuang Lu’s position as the secretary to a female chieftain put him in a unique position to participate in and observe tribal lives in the “Western Guangdong” region. Chi Ya is regarded as the southern version of Shan Hai Jing, referring to the mythologies and romanticism in its accounts. As an importance source of information about the “Western Guangdong” region, Chi Ya also became part of Qu Dajun’s repertoire of knowledge about the region. The second article is titled “The Luster of Cultural Relics and the Immortal Pursuit: A Study of the Jinshi Poems by Weng Fanggang” by Assistant Professor Yip Cheuk-wai, Department of Literature and Cultural Studies, The Education University of Hong Kong. Professor Yip points out that Jinshi poems were criticized as lifeless and lacking emotional experience by the Xingling School and Yuan Mei, this type of evaluation is generally accepted in rencent literary history research. This article discusses Jinshi poems written by Weng Fanggang, after he finished the textual research on the Jiuyau Stone in Guangzhou. Professor Yip notes that Weng’s poetic approach and style are deliberately distinguished from the object-chanting (Yongwu) poetic style, in order to develop a new object-subject relationship for poem writing, and to present a new framework of knowledge and literature. Weng’s Jinshi poems created a new discourse, bearing on the political power at the time, This particular style of Jinshi poems fulfilled self-imagination, in efforts to pursuing immortality at the height of the Qing dynasty in the full glory. The third article is titled “Hua Jing (Floral Mirror) as discussed in Zhou Zuo-ren’s Naturalist Discourses” by Associate Professor Huang Sin-yu, Department of Chinese Language and Literature, National Chi Nan University. This article starts by establishing the linkage between “Literature” and “Natural History”, then goes on to discuss the significance of Hua Jing, a literati Pulu (a way of registering/compiling documents) written during the Ming-Qing transition, on Zhou Zuo-ren’s naturalist discourses. Thie article points out that Zhou Zuo-ren not only acknowledged the lyrical tradition of the classical poetry to “become largely acquainted with the names of birds, beasts, and plants” (The Analects 17), but also paid special attention to “examining,” “describing,” and “explaining” objects under study, in order to achieve “elegant” and “orderly” writing mode. With contemplations on both life issues and writing mode, Hua Jing within Zhou Zuo-ren’s naturalist discourses connects it with modern knowledge and cultural movement. 4. The special article column section of the 29th Issue, titled “Theory and Practice of Literary Antiquarianism in the Ming Dynasty,” will be coordinated by Professor Chen Ing-jie, Department of Chinese Literature, National Chengchi University. “Literary Antiquarianism” was mainstream in the literary world for more than a hundred years during the Ming dynasty, and despite challenges and criticism by other literary schools, it remained relevant and significant in its influence, and was therefore considered the most influential literary school during the Ming dynasty. However, until today, multiple books on history of Chinese literature with far-reaching impact still lack positive evaluation of this most important school during the Ming dynasty. This negative view is even taught in academic institutions, turning stereotype into common knowledge among young scholars. In books on history of Chinese literature, coverage of the Ming dynasty focuses mainly on vernacular genres such as novels, traditional opera, etc. This phenomenon certainly has its merits, however, it lacks due attention to traditional poetry. Even in the realm of poetry, “Xingling Theory”, advocated to counter “Literary Antiquarianism,” is more often lauded as possessing “progressive” value. Thus, the significance of the “Literary Antiquarianism” movement in the Ming dynasty has historically been largely overlooked. The intention to feature “Theory and Practice of Literary Antiquarianism in the Ming Dynasty” in this special article column section is not to overturn the negative evaluation on or emphasize the correctness of antiquarianism in the Ming Dynasty, but to encourage scholars new to academic research in Chinese studies to break through the stereotype, and advance research in this area. We welcome submissions on research topics on literary theory, creative writing and cultural history of antiquarianism in the Ming dynasty, on history of acceptance of “Literary Antiquarianism” during and after the Ming and Qing dynasties, from debates regarding the “imitation” style to methodologies for creating writing and literary criticism. Submission for this special article column section ends by the beginning of March in 2018. We welcome submissions from domestic and overseas scholars. 5. The special article column section of the 30th issue, titled “Liang Zongdai and Research on Modern Chinese Poetry,” will be coordinated by Professor Liao Dong-liang, Department of Chinese Literature, National Chengchi University. Liang Zongdai (1903-1983) was a poet, a critic of poetry and a famous translator. His entire life was devoted to Chinese and western literary studies. He wrote lyrics and new poems, his translation works include Tao Yuanming’s poetry (“Les poèmes de T'ao Ts'ien”). During his study in France, he was a close friend of Paul Valéry, and because of this relationship, played a key role in promoting symbolism in modern Chinese poetry. The significance of Liang Zongdai’s poetic theory is not limited to Chinese-western comparative literary studies, his poetic writing also key to testify the transition from classical poetry to the vernacular new poetry. We welcome submissions on research topics on Liang Zongdai and classical poetry, Liang Zongdai and comparative literary studies, Liang Zongdai’s poems, Liang Zongdai’s literary criticism, Liang Zongdai’s translation works, and translation and introduction of Liang Zongdai’s works. Submission for this special article column section ends by the beginning of September in 2018. We welcome submissions from domestic and overseas scholars. 6. The Bulletin won subsidies for editing costs in 2008, 2009, 2010, 2011, 2013, 2014 and 2015; was selected as a THCI-Core journal in 2010, 2011, 2012, 2013, 2014 and 2015 and won the highest ranking of THCI, by the Research Institute for the Humanities and Social Sciences, Ministry of Science and Technology of Taiwan. We hereby thank all of our supporters in acacemic fields and the Research Institute for the Humanities and Social Sciences for their recognition. The Bulletin anticipates listing in the A&HCI (SCOPUS) database in the near future. 7.
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