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.
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这本书,说实话,第一次翻开的时候,我心里是有点打鼓的。封面设计那种略带古朴的风格,加上那个有点神秘的标题,让人不禁联想到那些晦涩难懂的学术著作。我当时正盼着找一本能让人放松下来,沉浸在一个引人入胜的故事里的书,所以那种“高深莫测”的调调,差点让我把它放回书架。然而,一旦我咬牙翻过了前几页,那种担忧立刻烟消云散了。作者的叙事技巧简直是一绝,他仿佛是一位技艺高超的导游,带着你轻车熟路地走进了故事的核心。他没有急于抛出所有的线索,而是像耐心的织布匠,将每一段历史的碎片、每一个角色的细微情感,都精心编织进一个宏大的背景之中。读这本书的过程,与其说是阅读,不如说是一场沉浸式的体验,你仿佛能闻到空气中泥土和古老木材的味道,听到遥远时代的回响。尤其是他对环境氛围的刻画,细腻到令人发指,即便是最平淡的场景,也因为他独特的笔触而充满了张力。这种行文的流畅度和文字的质感,绝对不是那种批量生产的流水线作品所能比拟的,看得出作者在文字打磨上下了极大的功夫,让人忍不住想一页接一页地读下去,生怕错过任何一个微妙的暗示或转折。
评分我对历史类题材的书籍一向抱有十二万分的警惕,因为太多作品为了追求戏剧性,往往将历史人物塑造成扁平的符号,或者为了迎合某种现代思潮而生硬地“重新解释”古老事件,读起来让人感觉非常出戏。这本书的厉害之处,恰恰在于它成功地避开了这些陷阱。它没有刻意去拔高或贬低任何一个历史节点,而是以一种近乎冷静的、考古学家般审慎的态度,去挖掘那些被时间尘封的细节。我特别欣赏作者处理叙事视角的方式,他似乎总能找到一个恰到好处的距离感,既让你充分代入当事人的困境,又让你保持清醒的旁观者身份,去思辨事件背后的复杂性。有那么几处情节,我甚至停下来,放下书,冥思苦想了好一会儿,试图去理解当时人们在信息极度匮乏的情况下,是如何做出那些足以影响后世的决定的。这本书的阅读体验是深刻且富有挑战性的,它不会直接把答案塞到你嘴里,而是鼓励你去思考,去质疑,去构建自己的理解框架。这种尊重读者的做法,是真正优秀作品的标志,它让阅读变成了一种主动的智力探险,而不是被动的接收信息。
评分坦白讲,这本书的结构设计,初看之下让人觉得有点“松散”,仿佛章节之间跳跃性很大,我一度担心它会因为缺乏明确的中心主线而最终沦为一堆零散的随笔集。但是,当我读到快三分之二的时候,我才恍然大悟,这种看似松散的结构,其实是作者精心设计的“迷宫”。每一个看似无关紧要的侧面描写、每一个不经意的对话片段,都在后期以一种令人拍案叫绝的方式汇聚起来,形成一个巨大的、无可辩驳的逻辑闭环。这种叙事上的大巧若拙,体现了作者非凡的掌控力。它不像许多流行的悬疑小说那样,在最后一章草草收尾,而是让所有的线索都在一个浑然天成的氛围中自然而然地收束,让人在合上书页的那一刻,感受到的是一种宿命般的必然感,而不是作者强行安排的“惊喜”。这种高超的布局能力,绝对是顶尖作家的标志,我愿意为此称赞不已。
评分这本书对于人物心理的描摹,简直达到了令人心悸的程度。我读过很多探讨古代社会背景的作品,但很多角色都显得僵硬、符号化,他们的动机往往停留在“忠诚”或“贪婪”这样的大词上。然而,在这部作品里,即便是地位最卑微的配角,也拥有着丰富而矛盾的内心世界。你会看到一个人物,他在维护家族荣誉和追求个人情感之间进行着痛苦的拉扯;你也会看到另一个角色,他明明知晓某件事的真相,却因为时代的桎梏而不得不选择沉默。作者的笔触细腻到,能捕捉到那种微小的犹豫、转瞬即逝的悔恨,甚至是潜意识里对既定命运的无声反抗。这种对“人”本身的深刻洞察,使得整本书充满了人性的厚重感和真实感。阅读过程中,我常常会停下来,想象如果我处在那个位置,我会做出何种选择。这种代入感极强的情感共鸣,是任何华丽的辞藻堆砌都无法达到的艺术高度。
评分从装帧和校对的角度来看,这本书的制作水准也绝对是值得一提的。现在的出版物,尤其是这种篇幅较长的严肃题材,常常在细节上暴露出仓促赶工的痕迹——错别字、排版的不一致,或者索引的混乱。但这本书给我的感觉是,它经过了极其严苛的审校过程。墨水的颜色、纸张的触感,都透露着一种对阅读体验的尊重。更重要的是,书中引用的那些看似随意的典故或地理名词,都做了详尽而准确的标注(或者至少在上下文的暗示中,你感觉它们是经过考证的),这极大地增强了文本的可信度和阅读的沉浸感。对于像我这样,喜欢在阅读过程中随时核对背景资料的读者来说,这种对细节的严谨处理,是衡量一部作品是否“用心”的重要标准。总而言之,这是一部在内容、结构和工艺上都力求精益求精的典范之作,完全值得被认真对待和反复品味。
评分纯粹为了培养语感,内容价值不多。
评分纯粹为了培养语感,内容价值不多。
评分纯粹为了培养语感,内容价值不多。
评分纯粹为了培养语感,内容价值不多。
评分纯粹为了培养语感,内容价值不多。
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