這部讀書隨筆集《讀書毀了我》,自二○○○年面世以來,算上即將開印的此版一刷,二十四年間大陸簡體字版共推出五版,印了十刷(前兩次以《書之愛》之名)。繁體字版,以《書之愛》之名在台灣出過一版,印了一刷(大塊文化);在香港出過三版,印了五刷(牛津大學出版社和BM本事出版)。二十多年歲月流過,竟還有認真的讀者尋找與閱讀本書,實在是作者當年未曾料到的。為避免對拿到是書卻尚未開卷的讀者可能產生的困惑,在出第四版時,作者特為此書擬了一個解釋性的英文副標題“Reading Reconstructs Me”(此版改為“The Reconstruction of a Self”),既標示出「毀了我」之「毀」,乃是「再造我」之意,絕非時下「標題黨」之作為;亦透露出作為讀者的我,遨遊於思想、文字之大海時,對那些在我看來真正「有力量」的文字所高懸的評判準繩。有涯的生命裏,凡不能「毀了我」的文字,焉能令我一次又一次獲得徹頭徹尾的自我之「新生」(Vita Nova)?
The Rudiments of Mandarin is designed for foreign students who have no prior knowledge of the Chinese language. It introduces the learner to the Chinese phonetic system Hanyu Pinyin and authentic dial
本書乃這個全球性課題至今為止的第一部專著。蓋自上世紀二三十年代起,鄂爾多斯地區發現了大量十字架造型的青銅牌符,並且以低價流通於文物市場,從而引起了西方來華傳教士及學者的注意。他們中的一些人認為這些是元代景教遺物。從此,不少有心人士開始大量收藏,一時成為收藏界和學術界熱門的話題。收藏者之中,以英國人聶克遜(F. A. Nixon)與美國人布朗(Mark Brown)為翹楚;學術界方面,有多國著名學者均對此有所探討,包括伯希和(Paul Pelliot)、穆爾(A. C. Moule)、明義士(James M. Menzies)、佐伯好郎(P. Y. Saeki)等等。現今,香港大學美術博物館藏有聶克遜捐贈的這一類文物舊藏近千枚,目前為世界第一。這批文物的發現史、收藏史、著錄史和相關的學術研究歷史,一向乏人問津;而且,從我們初步研究結果看,過去這些方面的從事者,會受到自身的信仰傾向、學術背景的影響,因此不同學者之間的分歧往往很大,未能做到互補長短。本文擬從這些方面入手,探討西方漢學在特定時間之獨特側面,並結合其他文獻、出土文物等相關資料,企圖賦予新的詮釋。我們認為:這批文物未必全屬景教遺存,亦未必全屬元代,蓋其所謂的「十字架」造型,與學術界已認定的唐元景教十字架的圖像(包括壁畫、絹畫和石刻)相差甚遠。而十字符號之文化內涵,源遠流長,即以中國而言,亦可追溯至殷商乃至更早;至於中亞,更毋庸待言。十字或類十字符號之功能,或與上古巫術息息相關,是亦有待將來更深入的探討。
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