This book is the result of discoveries made by Nivison beginning in 1979, It uses critically (without superseding) his monographs from 1983 through 2002, combined with his discoveries through 2008. Its main thrust is to show that the methods and results of the PRC “Three Dynasties Project” are invalid, and that recovering chronology before 841 BCE can be solved only by using the supposedly spurious Jinben Zhushu Jinian (“Modern Text” Bamboo Annals), combined with hypothesis that reign lengths of record were normally the years after completion of mourning for the preceding king. Part One presents resulting exact dates form the beginning of Xia, confirmed by discoveries in astronomy by D. W. Pankenier and Kevin Pang. Part Two criticizes the Three-years Dynasties Project and argues for the post-mourning hypothesis and the high antiquity of the three-years mourning institution. In Part Three, applying a discovery by E. L. Shaughnessy, the author reconstructs the first 303 bamboo strips of the original Bamboo Annals text (perhaps five-sevenths of the whole). In so doing he shows that the entire chronology in the Zhushu jinian is the product of Warring States manipulation of the true chronology; therefore any attempt to recover accurate dates must begin by analyzing the “Modern” Zhushu jinian – which the Project ignored completely. Appendices present more data and analysis, notably (Appendix 4) pinpointing the source of the Project’s errors in dating late Shang events.
David S. Nivison(倪德衛)
Born in Maine, U.S.A., in 1923, David Shepherd Nivison was educated at Harvard: AB summa cum laude 1946, PhD 1953. His teachers included J. Robert. Hightower, John K. Fairbank and William Hung (Hong Ye). During the War he served in the Army translating Japanese. From 1948 on, he taught at Stanford University. In the 1950’s he collaborated in publications with Arthur F, Wright. In 1954-55 he was a Fulbright Fellow in Kyoto, Japan. His best known book is The Life and Thought of Chang Hsueh-ch’eng (Zhang Xuecheng), 1966, awarded the Prix Stanislas-Julien in Paris in 1967. His studies of late Shang and early Zhou inscriptions began informally with his friend David N. Keightley (Professor of History, University of California at Berkeley) in 1971. He was a Guggenheim Fellow at Oxford in 1973. In 1980 he was president of the Pacific Division of the American Philosophical Association. Other professional memberships include the Association for Asian Studies, the American Oriental Society (president, Western Branch, 1971-72), the Society for the Study of Early China, and the International Academy of Chinese Culture (Beijing). Nivison retired from Stanford in 1988 as Walter Y. Evans-Wentz Professor of Oriental Philosophies, Religions and Ethics.
Several of his publications have been republished in Chinese: two translations of his book on Zhang Xuecheng (2003), a book of essays on Chinese philosophy (The Ways of Confucianism (1996), in 2006), and a major monograph on chronology (1999, translation by Shao Dongfang, 2002). His students include major scholars in the United States and in the Far East. Nivison has published more than sixty professional papers.
從裝幀和校對的角度來看,這本書的製作水準也絕對是值得一提的。現在的齣版物,尤其是這種篇幅較長的嚴肅題材,常常在細節上暴露齣倉促趕工的痕跡——錯彆字、排版的不一緻,或者索引的混亂。但這本書給我的感覺是,它經過瞭極其嚴苛的審校過程。墨水的顔色、紙張的觸感,都透露著一種對閱讀體驗的尊重。更重要的是,書中引用的那些看似隨意的典故或地理名詞,都做瞭詳盡而準確的標注(或者至少在上下文的暗示中,你感覺它們是經過考證的),這極大地增強瞭文本的可信度和閱讀的沉浸感。對於像我這樣,喜歡在閱讀過程中隨時核對背景資料的讀者來說,這種對細節的嚴謹處理,是衡量一部作品是否“用心”的重要標準。總而言之,這是一部在內容、結構和工藝上都力求精益求精的典範之作,完全值得被認真對待和反復品味。
评分這本書,說實話,第一次翻開的時候,我心裏是有點打鼓的。封麵設計那種略帶古樸的風格,加上那個有點神秘的標題,讓人不禁聯想到那些晦澀難懂的學術著作。我當時正盼著找一本能讓人放鬆下來,沉浸在一個引人入勝的故事裏的書,所以那種“高深莫測”的調調,差點讓我把它放迴書架。然而,一旦我咬牙翻過瞭前幾頁,那種擔憂立刻煙消雲散瞭。作者的敘事技巧簡直是一絕,他仿佛是一位技藝高超的導遊,帶著你輕車熟路地走進瞭故事的核心。他沒有急於拋齣所有的綫索,而是像耐心的織布匠,將每一段曆史的碎片、每一個角色的細微情感,都精心編織進一個宏大的背景之中。讀這本書的過程,與其說是閱讀,不如說是一場沉浸式的體驗,你仿佛能聞到空氣中泥土和古老木材的味道,聽到遙遠時代的迴響。尤其是他對環境氛圍的刻畫,細膩到令人發指,即便是最平淡的場景,也因為他獨特的筆觸而充滿瞭張力。這種行文的流暢度和文字的質感,絕對不是那種批量生産的流水綫作品所能比擬的,看得齣作者在文字打磨上下瞭極大的功夫,讓人忍不住想一頁接一頁地讀下去,生怕錯過任何一個微妙的暗示或轉摺。
评分這本書對於人物心理的描摹,簡直達到瞭令人心悸的程度。我讀過很多探討古代社會背景的作品,但很多角色都顯得僵硬、符號化,他們的動機往往停留在“忠誠”或“貪婪”這樣的大詞上。然而,在這部作品裏,即便是地位最卑微的配角,也擁有著豐富而矛盾的內心世界。你會看到一個人物,他在維護傢族榮譽和追求個人情感之間進行著痛苦的拉扯;你也會看到另一個角色,他明明知曉某件事的真相,卻因為時代的桎梏而不得不選擇沉默。作者的筆觸細膩到,能捕捉到那種微小的猶豫、轉瞬即逝的悔恨,甚至是潛意識裏對既定命運的無聲反抗。這種對“人”本身的深刻洞察,使得整本書充滿瞭人性的厚重感和真實感。閱讀過程中,我常常會停下來,想象如果我處在那個位置,我會做齣何種選擇。這種代入感極強的情感共鳴,是任何華麗的辭藻堆砌都無法達到的藝術高度。
评分坦白講,這本書的結構設計,初看之下讓人覺得有點“鬆散”,仿佛章節之間跳躍性很大,我一度擔心它會因為缺乏明確的中心主綫而最終淪為一堆零散的隨筆集。但是,當我讀到快三分之二的時候,我纔恍然大悟,這種看似鬆散的結構,其實是作者精心設計的“迷宮”。每一個看似無關緊要的側麵描寫、每一個不經意的對話片段,都在後期以一種令人拍案叫絕的方式匯聚起來,形成一個巨大的、無可辯駁的邏輯閉環。這種敘事上的大巧若拙,體現瞭作者非凡的掌控力。它不像許多流行的懸疑小說那樣,在最後一章草草收尾,而是讓所有的綫索都在一個渾然天成的氛圍中自然而然地收束,讓人在閤上書頁的那一刻,感受到的是一種宿命般的必然感,而不是作者強行安排的“驚喜”。這種高超的布局能力,絕對是頂尖作傢的標誌,我願意為此稱贊不已。
评分我對曆史類題材的書籍一嚮抱有十二萬分的警惕,因為太多作品為瞭追求戲劇性,往往將曆史人物塑造成扁平的符號,或者為瞭迎閤某種現代思潮而生硬地“重新解釋”古老事件,讀起來讓人感覺非常齣戲。這本書的厲害之處,恰恰在於它成功地避開瞭這些陷阱。它沒有刻意去拔高或貶低任何一個曆史節點,而是以一種近乎冷靜的、考古學傢般審慎的態度,去挖掘那些被時間塵封的細節。我特彆欣賞作者處理敘事視角的方式,他似乎總能找到一個恰到好處的距離感,既讓你充分代入當事人的睏境,又讓你保持清醒的旁觀者身份,去思辨事件背後的復雜性。有那麼幾處情節,我甚至停下來,放下書,冥思苦想瞭好一會兒,試圖去理解當時人們在信息極度匱乏的情況下,是如何做齣那些足以影響後世的決定的。這本書的閱讀體驗是深刻且富有挑戰性的,它不會直接把答案塞到你嘴裏,而是鼓勵你去思考,去質疑,去構建自己的理解框架。這種尊重讀者的做法,是真正優秀作品的標誌,它讓閱讀變成瞭一種主動的智力探險,而不是被動的接收信息。
评分純粹為瞭培養語感,內容價值不多。
评分純粹為瞭培養語感,內容價值不多。
评分純粹為瞭培養語感,內容價值不多。
评分純粹為瞭培養語感,內容價值不多。
评分純粹為瞭培養語感,內容價值不多。
本站所有內容均為互聯網搜索引擎提供的公開搜索信息,本站不存儲任何數據與內容,任何內容與數據均與本站無關,如有需要請聯繫相關搜索引擎包括但不限於百度,google,bing,sogou 等
© 2026 qciss.net All Rights Reserved. 小哈圖書下載中心 版权所有