Summary
Luo Zhenyu and Victor Segalen might both be considered figures moving to the ‘classics’ through modernity: Luo pathfinder of the modern discipline of archaeology in China; Segalen a peculiarly modern kind of poet. They might be seen as moving in opposite directions, though each is critical of the tradition from which he comes. Luo draws on Western archaeology to call for a more inclusive study of all past artefacts, whether inscribed or not, whereas Segalen rejects the conventional frame of Western study of ‘China’, from its beginnings to the Ming period, and insists that the ‘real’ China can only be found in the early times of the Han. Luo finds a kind of poetry even in cooking-pots and the recreation of ordinary life, while for Segalen the past becomes present again only in a moment of discovery; Han lions and tigers would be made dead once again by being moved to a museum.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
The 13 classics include the Zhouyi 周易 (The Book of Changes), Shangshu 尚書 (The Book of Documents), Shijing 詩經 (The Book of Songs), Zhouli 周禮 (The Rites of Zhou), Yili 儀禮 (The Book of Rituals), Liji 禮記 (The Records of Rituals), Chunqiu Zuozhuan 春秋左傳 (The Spring and Autumn Chronicles with Zou’s Commentary), Chunqiu Gongyangzhuan 春秋公羊傳 The Spring and Autumn Chronicles with Gongyang’s Commentary, Chunqiu Guliangzhuan 春秋谷梁傳 The Spring and Autumn Chronicles with Guliang’s Commentary, Lunyu 論語 (The Analects of Confucius), Xiaojing 孝經 (The Book of Filial Piety), Erya 爾雅 (The Erya Thesaurus), and Mengzi 孟子 (The Sayings of Mencius). The formation of the canon went through a long process: in the beginning, only five jing classics were recognized by the Han government; in the Tang period, they became nine, and then twelve; the thirteen classics were fixed only by the Southern Song dynasty. For an introduction to the textual history of these classics, see the relevant entries in Loewe 1993.
- 2.
For a study of Andersson (known by his Chinese name An Tesheng 安特生) and his influence on Chinese archaeology, see Chen Xingcan 1997.
- 3.
Reconstruction of Luo’s life depends on his autobiography Jiliao bian 集蓼編, LXTHJ vol. 26, and two other biographical records Yongfeng xiangren xingnianlu 永豐鄉人行年錄 (LXTHJ vols. 178–179), Tingwen yilüe—huiyi zufu Luo Zhenyu de yisheng 庭聞憶略—回憶祖父羅振玉的一生 (Luo Jizu 1987), all edited by his grandson Luo Jizu 羅繼祖 (1913–2002).
- 4.
For a summary of Luo’s scholarship, see Wang Qingxiang 2002–2005.
- 5.
For a recent discussion, see Pai Shih-Ming forthcoming.
- 6.
See “La passe” among the “Steles along the road,” in Stèles (1995 vol. 2: 101), “Le regard par-dessus le col,” Equipée (ibid.: 274–275). We quote from Segalen 1995. The second volume is entirely dedicated to China and presents the main archaeological materials. The archaeological writings are presented by Vadime Elisseeff, who in 1948 was already working at the Musée Cernuschi in Paris and gave the first presentation of Segalen’s archaeological activities in the Cahiers du Sud, updated in 1972 and 1995 (1995 vol. 2: 736–743). The first contains his sketches Briques et tuiles and Feuilles de route (vol. 1: 839–1249). We have about 1,400 pages related to China and nearly 300 concerning archaeological topics (vol. 2: 733–1007).
- 7.
In a certain sense, the text has only recently been published (Segalen 2011). Until 1972 only the scientific reports, articles, and the account edited by Jean Lartigue after Segalen’s death were available. Then Segalen’s daughter, Annie Joly-Segalen, provided a readable transcription of Segalen’s manuscript under the title: Chine. La grande statuaire, which was soon translated into English (Segalen 1978). A closer look reveals that this version is a recomposition that omitted many references (Chinese as well as European) and details, and cut down the whole project, which would have included a second section, which we know as Les origines de la statuaire de Chine (published 1976 by A. Joly-Segalen), plus the little text Orchestique des tombeaux chinois (edited by Philippe Postel in Segalen, 1998). Philippe Postel has now published a new “critical” edition (Segalen 2011). It was not possible to use it for this paper; a review will soon give an account of its relevance to our topic. In his preparatory study (Postel 2001), he gives many suggestive and useful indications, e.g. in the first section, “A l’école d’une sinologie naissante,” where he sketches Segalen’s relation to Chavannes (27–43) and his own conception of the work of an archaeologist (45–88). We need not follow Postel’s attempt to see in The Great Statuary of China the invention of an “écriture critique” beyond fiction and science in order to derive profit from his groundbreaking work.
- 8.
Luo Zhenyu 1968b.
- 9.
This is a very significant publication. China did not have the social Darwinist style ‘evolutionary history’ before. See Wagner 2001.
- 10.
Wang Guowei (1930–1935) 2003.
- 11.
Wang Guowei ibid.
- 12.
Beijing daxue rikan (Peking University Daily), June 4, 1918.
- 13.
See Shen Weiwei 2003.
- 14.
This letter was first named “Guqiwuxue yanjiu yi 古器物學研究議” and was included in his Yunchuang mangao 雲窗幔稿 (Luo Zhenyu 2005c).
- 15.
Wang Cheng-hua forthcoming. Wang however did not cite Luo’s letter.
- 16.
- 17.
For a recent discussion on the transition from the jinshixue to archaeology in the late nineteenth and early twentieth century, see Liu 1998, in which he argues that there is a direct link between the two. This paper listed Luo Zhenyu among the scholars who were active in the movement, but did not even mention Luo’s letter to Cai Yuanpei.
- 18.
For an in depth study of Fu Sinian, see Wang Fan-Shen 1993.
- 19.
- 20.
- 21.
Bouillier 1961. This remains the most comprehensive study of the whole of Segalen’s work.
- 22.
In April 1902, Segalen published a medical and aesthetical essay in the Mercure de France, “Les synesthésies et l’École symboliste” to contest the decadence verdict of Max Nordau and suggest the fecundity of the “Correspondance” programme. His reflection is rooted in the intellectual landscape of the late nineteenth century, including Max Muller and Spencer: “C’est enfin l’allure même du mouvement philosophique actuel: passer du ‘même à l’autre’ (Hegel), relier par une dialectique rationnelle les diversités du monde sensible, s’approcher ainsi du terme dernier de la connaissance qui doit être une Hétérogénéité cohérente (Spencer).” This is the real attraction of the current movement in philosophy: to pass ‘from the same to the other’ (Hegel), to connect the diversities of the physical world through a rational dialectic, and thus to draw nearer to the ultimate end of knowledge, which has to be a coherent heterogeneity (Spencer). (1995, vol. 1: 78).
- 23.
Segalen 1914b. Segalen’s name was translated as Se Jialan 色伽蘭 which later changed into Xie Gelan 謝閣蘭.
- 24.
The photographs of the archaeological missions of Chavannes, Segalen, Maspero, Segalen-Lartigue-Voisins are available on the site of the Guimet Museum: http://www.guimet.fr/fr/collections/archives-photographiques
- 25.
Most of the works are to be found in the Oeuvres completes (Segalen 1995); the Correspondance was published separately in two volumes in 2004.
- 26.
Chavannes had translated the whole “hereditary clans” or “Benji,” the chronological tables or “Nianbiao,” and the eight “Shu” treatises, but only a part of the principal annals or “Shijia”, and none of the biographies (monographs) “Liezhuan”, when he died. Segalen was possibly inspired by this work as he planned his novel Les Annales Kouang-Siu ou Le Fils du Ciel, which he left uncompleted (1995 vol. 2: 329–452).
- 27.
In this rehabilitation of genuine Chinese art, Chavannes was surely a precursor of Segalen. However he remained far more nuanced than Segalen, who tended categorically to deny any aesthetic value to Buddhist influence. He praised ancient Chinese art as independent from any religion, but did not discount the importance of Buddhism for later traditions of Chinese art; see Chavannes and Petrucci 1914 and Postel 2001: 37–39.
- 28.
His interest in Chinese books before the invention of paper, especially texts written on bamboo, obviously leads in the same direction and testifies to his fine sense of research: see among other publications Chavannes 1905.
- 29.
“After reaching this conclusion that sculpture had been developing in China for three or four centuries before the arrival of Buddhism, one is forced to admit that the artists of this early period were singularly uninventive” (Chavannes 1893: xxxii).
- 30.
- 31.
Parallels to this search for another conception of ‘classics’—at the same time more ancient and more modern—can be seen in the defence of Dorian culture by Karl Otfried Müller and in Nietzsche’s Dionysian reappraisal of “classical Greece.” Segalen praised the art of the Former and Later Han, and considered the later periods rather weak: “This is an art unknown in earlier periods, unparalleled in the West (either classical or barbarian); an art which—until evidence to the contrary appears—one may and should call purely Chinese, a pure expression of the genius of ancient China” (1995 vol. 2: 798).
- 32.
If Chavannes introduced a kind of revolution in Sinology with this systematic exploration of the written chronicles, it is not at all obvious, (pace Postel) that Segalen could anticipate this method in his Immémoriaux, a rather different project (for the good reason that Chinese culture was a learned, written one, so its own writings had to be exploited and interpreted, whereas all written materials for the Immémoriaux were of foreign provenance), nor that this method had anything to do with Claude Bernard’s “experimental method” (Postel 2001: 35–36).
- 33.
Segalen 1995, vol. 2: 748–9. It is worth noting that this metaphor of the hunt (exploited more recently in the study of papyrology, as Peter Pormann’s paper in this volume shows, in a play on the name of the well-known scholar Arthur Surridge Hunt) may well be characteristic of the period.
- 34.
Chavannes 1911. The invention of the ‘stèles’ as a poetic form clearly shows how Segalen transformed his knowledge and his artistic expectations into new forms of literary experience. In his report on “Sépultures des dynasties chinoises du sud” (Segalen 1995 vol. 2: 983–1001), he refers to the “stele-bearing tortoises” and illustrates them, noting also the rubbing made by Chavannes during his mission (ibid. 986).
- 35.
In this respect, Segalen’s view could be compared with Pound’s Cantos (begun about 1915). Pound was much impressed by Ernest Fenollosa’s The Chinese Written Character as a Medium for Poetry, which Fenollosa drafted c. 1906 and to which Pound added notes in 1914–1916. Publishing it first in 1918, Pound always recommended it to beginners. See the critical edition of Haun Saussy et al., Fenollosa and Pound 2008, with Saussy 2008.
- 36.
Similarly, many Etruscan tumuli are intentionally left under the earth to preserve them from weather and human injury.
- 37.
“I reproduce here, upside down, the Lion of Siao Hong, which I found thus placed (Fig. 33) in a ravine, 50 m. north of the stelae and columns of this prince’s tomb. A stream, enlarging a drainage channel, had undermined its base and overturned it, burying the head. It seemed still to have all the marks of its species: curvature, tongue, wing. One might have regretted that it had tumbled down from its original position. Yet, on a closer look, the head appeared too massive, the neck too long, the wing—though fairly well modelled—very heavy, the tongue uninteresting, the legs absurdly short, the shoulders graceless… in short, the Siao Hong lion, least elegant of them all, had chosen wisely to present itself upside down and should indeed be published in that position—even if by now the reader will automatically have righted it.
The Lion of Siao King, with which I will end this disquisition, was also the first I saw. I will never forget the imperious, decisive, formidable wholeness in which it appeared in my path—after an hour’s walk, in rain, at dusk, as I emerged from the great twenty-league bank of earth that surrounds Nanking. The wet marble was black; the earth brown-red, about to sprout. He had been making his way through the waters there—rearing, rebellious, furious—for 1,500 years, struggling not to drown; with a proud expression of insubmission, a heroic ‘Leang stance,’ so pronounced that ever since I have recognized it even at a distance, before getting any clear view.
This stance was enough in itself: I had no desire to excavate him. A break visible between shoulders and wing, and a backward slope of the stone, indicated that the figure was doubtless intact under the soil. We can see the ornamental spirals falling onto the breast, and the deep central cleft that enlarges and projects the two forequarters. This above all is what generates the balance between the hollowed back and the solid, rounded-out body. The straight-lined image in profile brings out an equally felicitous touch.
Viewed face on, especially when the huge head is seen close up (Fig. 35) the mask and its physiognomy appear in full sculptural realization. Note first the tongue, pleasing to my touch in its full, fleshy, voluptuous curve. It is muscular, divided by a furrow into two masses, like the back and the chest.
Inside the mouth one can see a pleasingly carved hollow in which the grain of the marble is still after 1,500 years visible. The tongue, unlike those of other lions, does not loll out of the mouth but is subtly projected, swollen and solid, muscular like the beast’s whole stance. The mouth opening (less square than that of the Siao Sieou lion) is framed by a curiously stylized mask: two flat volutes round the nostrils, protuberant eyes. Finely placed touches—the circle of gums round the powerful, broken canine teeth—show how finished the whole monumental group was in its sculptural detail.
This lion mask remains one of the most powerful animal countenances I know.” (1995 vol. 2: 811).
- 38.
- 39.
“Imaginer, sur la foi des textes” (To imagine, trusting in texts). Equipée, Chap. 23; 1995 vol. 2: 310–311.
Bibliography
Berne, Mauricette, ed. 1999. Victor Segalen voyageur et visionnaire. Paris: Bibliothèque Nationale.
Bouillier, Henry. 1961. Victor Segalen. Paris: Mercure de France. Reprinted in 1986, 1996.
Changchunshi zhengxie wenshi he xuexi weiyuanhui 長春市政協文史和學習委員會, ed. 2000. Luo Zhenyu Wang Guowei wanglai shuxin 羅振玉與王國維往來書信. Beijing: Dongfang chubanshe.
Chavannes, Edouard. 1893. La sculpture sur pierre en Chine au temps des deux dynasties Han. Paris: E. Leroux.
———. 1905. “Les livres chinois avant l’invention du papier.” Journal asiatique 5: 5–77.
———. 1911. “La divination par l’écaille de tortue dans la haute antiquité chinoise.” Journal asiatique 17: 127–137.
Chavannes, Edouard, and Raphaël Petrucci. 1914. La peinture chinoise au Musée Cernuschi. Brussels/Paris: Van Oest & Cie.
Chen Xingcan 陳星燦. 1997. Zhongguo shiqian kaoguxue shi yanjiu, 1895–1949 中國史前考古學史研究 (Study of the history of prehistoric Archaeology in China 1895–1949). Beijing: Shehuikexue chubanshe.
Cordier, Henry. 1918. “Edouard Chavannes.” Recherches asiatiques 1918: 197–248.
Dollé, Marie, ed. 1999. Lectures de Segalen. Stèles et Equipée. Rennes: Presses Universitaires de Rennes.
Du Zhengsheng 杜正勝 (Tu Cheng-Sheng). 1998. “Wuzhongshengyou de zhi ye—Fu Sinian de shixue geming yu shiyusuo de chuangli 無中生有的志業—傅斯年的史學革命與史語所的創立.” Xin xueshu zhi lu 新學術之路, vol. 1: 1–41.
Elisseeff, Vadime. 1948. “Segalen et l’archéologie chinoise.” Les Cahiers du Sud 288: 232–254. Updated in Segalen 1995, vol. 2: 736–743.
Fenollosa, Ernest, and Ezra Pound. (1918) 2008. The Chinese Written Character as a Medium for Poetry, edited by Haun Saussy, Jonathan Stalling, and Lucas Klein. New York: Fordham University Press.
Formentelli, Eliane, ed. 1979. Regards Espaces Signes. Victor Segalen. Paris: Musée Guimet, L’Asiathèque.
Forsdick, Charles. 2000. Victor Segalen and the Aesthetics of Diversity. Journeys Between Cultures. Oxford: Oxford University Press.
Fu Sinian 傅斯年 (Fu Ssu-Nien). 1928. “Lishi yuyan yanjiusuo gongzuo zhi zhiqu 歷史語言研究所工作之旨趣.” Bulletin of the National Research Institute of History and Philology 中央研究院歷史語言研究所集刊 vol. 1(1): 29–44.
Ghesquière, Jérôme, ed. 2004. Missions archéologiques françaises en Chine. Photographies et itinéraires, 1907–1923. Paris: Les Indes savantes, Musée national des Arts asiatiques-Guimet.
Gosden, Chris. 2004. Archaeology and Colonialism. Cultural Contact from 5000 BC to the Present. Cambridge: Cambridge University Press.
Liu Yi 劉毅. 1998. “Cong jinshixue dao kaoguxue 從金石學到考古學.” Huaxia kaogu 華夏考古: 4: 87–96.
Loewe, Michael, ed. 1993. Early Chinese Texts: A Bibliographical Guide. Early China Special Monograph Series 2. Berkeley: The Society for the Study of Early China and the Institute of East Asian Studies, University of California, Berkeley.
Luo Jizu 羅繼祖. 1987. Tingwen yilüe—huiyi zufu Luo Zhenyu de yisheng 庭聞憶略—回憶祖父羅振玉的一生. Changchun: Jilin wen shi chubanshe.
Luo Zhenyu 羅振玉. 1968a. Luo Xuetang xiansheng quanji chubian 羅雪堂先生全集初编, Taipei: Wenhua chuban gongsi.
———. 1968b. Preface to the Mingshashishi yishu 鸣沙石室佚书. In Luo Zhenyu 1968a, vol. 1: 104–107.
———. 2005a. “Jiliaobian 集蓼編.” In Luo Xuetang heji 羅雪堂合集, Case 6. Hangzhou: Xilingyinshe chubanshe/Huabaozhai 西泠印社出版社/華寶齋.
———. 2005b. “Yongfengxiangren xingnianlu 永豐鄉人行年錄.”. In Luo Xuetang heji, edited by Luo Jizu 羅繼祖. Case 37.
———. 2005c. “Yunchuang mangao.雲窗漫稿.”. In Luo Xuetang heji, Case 2.
Pai Shih-Ming 白適銘. Forthcoming. “Luo Zhenyu’s Knowledge of Antiquity and His Theory of ‘Returning to the Classics, Trusting the Ancient’.” In Yang and Whitfield, forthcoming.
Paludan, Ann. 1991. The Chinese Spirit Road, The Classical Tradition of Stone Tomb Statuary. New Haven: Yale University Press.
Postel, Philippe. 2001. Segalen et la statuaire de Chine: archéologie et poétique. Paris: Champion.
Sang Bing 桑兵. 2001. “Jindai xueshu zhuancheng: cong guoxue dao dongfangxue —Fu Sinian ‘Lishi yuyan yanjiusuo gongzuo zhi zhiqu’ jiexi 傅斯年 歷史語言研究所 工作之旨趣解析.” Lishi yanjiu 歷史研究 2001(3): 29–44.
Saussy, Haun. 2008. “Fenollosa Compounded: A Discrimination.” In Fenollosa and Pound 2008, 1–41.
Schnapp, Alain. 1993. La Conquête du passé. Paris: Carr.
———. 1996. Discovery of the Past. The Origins of Archaeology. Translated by Gillian Varndell and Ian Kinnes. London: British Museum.
Segalen, Victor. 1907. Les immémoriaux. Paris: Mercure de France. Reprint 1921. Paris: G. Crès. Reprint in Œuvres Complètes vol. 1: 107–286.
———. 1908. Gustave Moreau, maı^tre imagier de l’orphisme. Fontfroide: Fata Morgana [1984]. Reprint in Œuvres Complètes vol. 1:703–722.
———. 1909. Briques et tuiles. Montpellier: Fata Morgana [1967]. Reprint in Œuvres Complètes vol. 1: 839–959.
———. 1909–1910. Lettres de Chine. See Segalen 1967, 2004.
———. 1912 [1922]. René Leys. Paris: G. Crès. Reprint 1971. Also in Œuvres Complètes vol. 2:453–590.
———. 1914a. Stèles. Pékin: Presses du Pei-t’ang pour G. Crès. Reprint in Œuvres Complètes vol. 2: 21–144.
———. 1914b. “Rapport de M. Victor Segalen sur les résultats archéologiques de la mission Voisins, Lartigue et Segalen.” Comptes rendus de l’Académie des Inscriptions (18 September) 1914: 553–560. Reprint in Œuvres Complètes vol. 2: 909–913. Chinese translation by Feng Chengjun 馮承均. 1920. Shanghai: Commercial Press.
———. 1914c. Feuilles de route, ed. Henry Bouillier. Reprint in Œuvres Complètes vol. 1: 961–1249.
———. (1915) 1980. Voyage au pays du réel. Paris: Le Nouveau Commerce.
———. 1915–1916. “Premier exposé des résultats archéologiques obtenus dans la Chine par la mission Gilbert de Voisins, Jean Lartigue et Victor Segalen.” Journal asiatique 5: 467–486; 6: 283–306; 7: 369–424. Reprint in Œuvres Complètes vol. 2: 915–981.
———. 1916. Peintures. Paris: G. Crès. Reprint in Œuvres Complètes vol. 2: 145–259.
———. 1917a. “Communication: Sépultures des Dynasties chinoises du sud (Époque des Nan-pei-tch’ao, Ve, et VIe s. ap. J.-C.).” Comptes rendus de l’Académie des Inscriptions (27 July) 1917: 241–259. Reprint in Œuvres Complètes vol. 2: 983–988.
———. 1917b. “Recent Discoveries in Ancient Chinese Sculpture.” Journal of the North-China Branch of the Royal Asiatic Society 48: 145–162.
———. 1917c. Les annales Kouang-Sieu ou Le fils du ciel (part only), edited by Henry Bouillier. Paris: Flammarion, 1985. Reprint in Œuvres Complètes vol. 2: 321–452.
———. (1920) 2011. “Zhongguo xibu kaogu ji” 中国西部考古記. Chinese translation of Segalen 1914b. Translated by Feng Chengjun 馮承鈞. In Goulubai, Gelusai, Segalan 郭魯柏, 格魯賽. 色伽蘭. Xiyu kao gu ji ju yao. Zhongguo xi bu kao gu ji. 西域考古记舉要. 中国西部考古記. Translated by Feng Chengjun 馮承鈞. Beijing: Guojia tushuguan chubanshe.
———. 1922. “Le Tombeau du fils du roi de Wou.” Bulletin de l’École Française d’Extrème-Orient (Hanoi) 22: 41–54. Reprint in Œuvres Complètes vol. 2: 989–1001.
———. 1929. Équipée. Paris: Plon. Reprint in Œuvres Complètes vol. 2: 261–320.
———. 1955. Stèles, Peintures, Équipée. Paris: Club du meilleur livre.
———. 1967. Lettres de Chine. Paris: Plon.
———. 1972. Chine. La Grande Statuaire, edited by Annie-Joly-Segalen. Paris: Flammarion.
———. 1978. The Grand Statuary of China. Translated by Eleanor Levieux. Chicago: Chicago University Press.
———. 1995. Œuvres Complètes, 2 vols. edited by Henry Bouillier. Paris: Robert Laffont.
———. 1998. “Orchestique des tombeaux chinois,” edited by Philippe Postel. In Victor Segalen, edited by Marie Dollé, 41–50. Paris: Cahiers de L’Herne.
———. 2004. Correspondance. 2 vols. Paris: Fayard.
———. 2007. Steles. Translated by Timothy Billings and Christopher Bush, foreword by Haun Saussy. Middletown: Wesleyan University Press.
———. 2011. Œuvres complètes (new edition) I, Œuvres critiques, vol. 3: Chine: la grande statuaire, edited by Philippe Postel. Paris: Champion.
Segalen, Victor, Jean Lartigue, and Gilbert de Voisins. 1923–1924. Mission archéologique en Chine (1914–1917). Atlas. Vol. 1: La Sculpture des monuments funéraires (régions du Chan-si et du Sseu-tch’ouan) Vol. 2: Monuments funéraires (région de Nankin) et Monuments bouddhiques (région du Sseu-tch’ouan) Planches. Paris: Paul Geuthner.
———. 1935. Mission archéologique en Chine (1914) (texte). Vol. 1: L’Art funéraire à l’époque des Han, edited by Jean Lartigue. Paris: Paul Geuthner. From notes of Segalen 1917–1918.
Shang Chengzuo 商承祚. 1923. Yinxu wenzi leibian 殷墟文字類編. Shanghai: Private publication.
Shen Songjin 沈頌金. 2000. “Chuantong jinshixue xiang jindai kaoguxue de zhuanbian—yi Ma Heng wei zhongxin de kaocha 傳統金石學向近代 考古學的轉變—以馬衡為中心的考察.” Xuexi yu tansuo 學習與探索 2000(4): 120–124.
Shen Weiwei 沈衛威. 2003. “Wang Guowei yu Beijing daxue guanxi kaosuo 王國維與北京大學關係考索.” Xuzhou shifandaxuexuebao (zhexue shehuikexueban) 徐州師範大學學報(哲學社會科學版.) vol. 29(1): 80–84.
Tian Tong 田彤and Hu Zhangmiao 胡張苗. 2006. “Chuangjian dianfan: Lishi yuyan yanjiusuolunxi 創建典範:歷史語言研究所論析.” Guangdong shehui kexue 廣東社會科學 2006(4): 128–135.
Wagner, Rudolf. 2001. “Importing a ‘New History’ for the New Nation: China 1899.” In Historicization - Historisierung, edited by Glenn W. Most, 275–292. Göttingen: Vandenhoeck & Ruprecht.
Wang Cheng-hua 王振華. Forthcoming “Luo Zhenyu, His Collection, and the Categorical Formation of Qiwu in the 1910s.” In Yang and Whitfield, forthcoming.
Wang Fan-Shen 王汎森. 1993. “Fu Ssu-Nien. An Intellectual Biography.” PhD diss., Princeton University.
Wang Guowei 王國維. (1918) 1968. Preface to Xuetang jiaokan qunshu xulu 雪堂校刊群書敘 錄, n.p. In Luo Zhenyu 1968a, vol. 8. 87–88.
———. (1923) 1976 “Preface to Luo Zhenyu 羅振玉, Shang Chengzuo 商承祚, Yinxu wenzi leibian 殷虛文字類編.” In Luo Xuetang xiansheng quanji liubian 羅雪堂先生全集六编, vol. 11. Taipei: Datong shuju.
———. (1930–1935) 2003. Kushulou ji 庫書樓記, n.p. In Wang Guowei 王國維. Guantang ji lin. Wai er zhong 觀堂集林外二種, edited by Peng Lin 彭林. Shijiazhuang: Hebei jiaoyu chubanshe, juan 22.
Wang Qingxiang 王慶祥. 2002. “Luo Zhenyu de zhengzhi shengya he xueshu chengjiu 羅振玉的政治生涯和學術成就.” Shehui kexue zhanxian 社會科學戰線 5: 152–161.
Yang, Chia-ling, and Roderick Whitfield, eds. Forthcoming. Lost Generation: Luo Zhenyu, Qing-Loyalist and the Formation of Modern Chinese Culture. London: Saffron.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2013 Springer-Verlag Berlin Heidelberg
About this chapter
Cite this chapter
Thouard, D., Wang, T. (2013). Making New Classics: The Archaeology of Luo Zhenyu and Victor Segalen. In: Humphreys, S., Wagner, R. (eds) Modernity's Classics. Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-33071-1_11
Download citation
DOI: https://doi.org/10.1007/978-3-642-33071-1_11
Published:
Publisher Name: Springer, Berlin, Heidelberg
Print ISBN: 978-3-642-33070-4
Online ISBN: 978-3-642-33071-1
eBook Packages: Humanities, Social Sciences and LawSocial Sciences (R0)