【编者按】 生活中的我们，难免习焉不察。环境、密切接触的人群、社会风气，乃至不同的行业，都可以让人沾染 上习气。有一次我们研究所想招一个人。我们招人的条件比较严格，标准是人品第一、学问第一。有人 问我，两个第一谁在前面？我回答，学问好的人品在前面，人品好的学问在前面。那一次想招的这个 人，成果很多，也很有影响。大家见面多次，实在看不出有什么不好。后来明白，原来他是文学出身， 身上有文学习气。有文学习气，距离学问境界，就差了那么一点点。真正进入学问境界的人，连文学习 气都需要刊落。社会上有各种行业，各种专业，行业和专业本身，时间长了，也会滋生特有的习气。在 一界长了，就有一界的习气。不是俗气，是习气。俗气不必说了，连习气都需要刊落，才能成为所期待 的不一样的人。如何刊落？读书是重要途径。 读书还有助于确立人生的自我认知，就是弄明白自己。通过读书，会意识到自己是立身于从古至今的历 史河流里，在这条河流里反照自己，可明白自己的身份和角色。当然书读得好，具有高华的气质，对找 一份合意的工作，会有帮助，慢慢获得事业上的成就感。我小的时候发蒙，那是在1940年代初，念《三 字经》《百家姓》《千字文》《唐诗三百首》《古文观 ...

中学毕业后，求学无门，我只得回乡务农，面朝黑土背朝天，与广阔天地为伍。繁重的农活，把读书的 时间挤得七零八落。有一天下雨休息，我翻旧书找到小学时读过的《安徒生童话》，那是班级奖励"读 书标兵"的奖品。陈旧的封皮和泛黄的书页，让我想起童年时趴在炕沿上读这本书，为卖火柴的小女孩 流泪的情景。那一刻，积压在心底的疲惫瞬间消散了。每晚睡觉之前，我都会在煤油灯下读上几页。那 跳跃的火苗，在书页上忽明忽暗，点燃了我直面生活的勇气。 □赵富 我家老宅，是松嫩平原上一个土坯垒起的平房，推开那扇被岁月磨得吱嘎响的木门，一张火炕映入眼 帘，这是我童年时睡觉读书的地方。每当我捧起一本书，就能看见门外的缤纷世界，那些深邃的思想， 不经意间就悄悄地滋润了我的心田。 小时候，母亲的那口大柜盖，便是我常用的"书桌"。每当放学，我就把作业本摊在柜面上，做着算术习 题，写着语文生字，一道题一道题地计算着未来，一笔一划地书写着梦想。那时候，家里贫困，没有书 房，而外边的"露天书房"，却成全了我的"书瘾"。春日的早晨，我倚着墙看书，清风拂过书页的哗啦 声，惊起小园里沉睡的蝴蝶；盛夏的阳光，照耀着房后那片小树林，斑驳的树影在《青春之歌》上跳 跃，鸟 ...

林聪舜在书中首先厘清了一个关键问题：司马迁为何选择伯夷、叔齐，这样的隐士作为列传之首？这背 后藏着司马迁为《史记》立传的核心标准，也暗示了传首位置的深意。 林聪舜敏锐地指出，这一标准绝非简单的"尊孔"，而是司马迁的价值取舍。吴太伯、伯夷、叔齐虽属传 说人物，但均被孔子称颂，他们身上"让国"的核心特质，恰好契合了司马迁的精神追求。在书中，林聪 舜将这一选择与《史记》的整体结构相呼应：年表首共和、本纪首黄帝、世家首吴太伯、列传首伯夷， 贯穿其中的正是"表扬让位、反抗君主"的一贯立场。伯夷、叔齐拒绝继承王位，又以死反抗武王"以暴 易暴"，这种对不义权力的决绝姿态，正是司马迁想要在列传开篇确立的价值标杆。 如果说立传标准是外在形式，那么司马迁与伯夷、叔齐的精神共鸣，则是《伯夷列传》成为传首的内在 灵魂。孔子认为伯夷、叔齐"不念旧恶，怨是用希""求仁得仁，又何怨乎"，但司马迁却依据《采薇》佚 诗与别传记载，坚持这两位隐士必有"怨"。在伯夷、叔齐眼中，武王伐纣并非"吊民伐罪"的义举，而是 以暴力取代暴力的暴行。当天下宗周、无人敢质疑武王时，他们以"不食周粟"的方式殉道，用死亡嘲讽 强权，这份坚守与孤独，怎能不藏着怨怼？ ...

Core Viewpoint - The book "Twenty Lectures on the History of Chinese Editing and Publishing" by Liu Yunfeng systematically outlines the evolution of editing and publishing in China from ancient times to the present, emphasizing the cultural significance and social role of editing work [8][14]. Group 1: Historical Context and Development - The history of Chinese editing and publishing can be traced back to Confucius, who, despite not authoring books, played a crucial role in organizing and preserving classical texts, establishing the foundation for Chinese literary tradition [7][9]. - Since the 1980s, significant works have emerged in the field of publishing history, laying the groundwork for research, including comprehensive studies like "The General History of Chinese Publishing" [8][9]. - The book is structured into three main sections, focusing on key figures and milestones in editing history, from pre-modern editors like Confucius to modern publications such as "The Complete Works of Lu Xun" [9][10]. Group 2: Key Figures and Their Contributions - Confucius is highlighted as the "father of editing," whose work in compiling the Six Classics reflects an early understanding of the importance of editing for knowledge dissemination [9][10]. - Liu Xiang and Liu Xin's efforts in cataloging court collections laid the groundwork for systematic book classification and cataloging in Chinese history [9][10]. - Sima Qian's "Records of the Grand Historian" introduced innovative editing methods that elevated the role of editors from mere recorders to active shapers of historical narrative [9][12]. Group 3: Thematic Focus and Methodology - The book emphasizes the relationship between editing practices and societal changes, showcasing how significant texts reflect the cultural and ideological shifts of their times [10][12]. - It explores the aesthetic aspects of publishing, including the rise of modern reference books and the intricate printing techniques used in special publications, thus broadening the understanding of editing beyond mere text handling [10][12]. - The author employs a rigorous historical methodology, analyzing the lives and philosophies of notable editors to illustrate the deeper cultural significance of their work [12][14]. Group 4: Modern Implications and Legacy - The book discusses the evolution of modern editions of "The Complete Works of Lu Xun," revealing how each version reflects the historical context and cultural perceptions of Lu Xun's legacy [13][14]. - It serves as a bridge connecting ancient and modern editing practices, highlighting the continuous role of editors in shaping cultural narratives and preserving knowledge [14][15]. - The work aims to inspire contemporary editors by emphasizing the importance of cultural ideals and the responsibilities that come with the editing profession [14][15].

Core Viewpoint - Historian Wang Di, at 69 years old, continues to produce significant works, including the second volume of "A Century of Teahouses" and a nearly 900-page book titled "Chinese Chronicles (1912-1928)" [2][22]. Group 1: Academic Contributions - Wang Di's recent publications include the simplified Chinese version of "A Century of Teahouses" and "Chinese Chronicles," which reflects his deep engagement with historical narratives [2][22]. - His work emphasizes the importance of ordinary people's stories in history, challenging the traditional focus on prominent figures and events [18][21]. Group 2: Historical Perspective - Wang Di argues that history does not follow predictable patterns or rules, viewing it as a series of coincidences rather than a linear progression [5][23]. - He critiques the tendency to seek historical laws, suggesting that this approach overlooks the complexities and nuances of individual experiences [24][27]. Group 3: Methodology and Approach - Wang Di employs a micro-historical approach, focusing on the lives of ordinary individuals and their daily experiences, which he believes are often neglected in traditional historical narratives [30][32]. - His research methodology includes utilizing previously underused materials, such as foreign journalists' reports and personal diaries, to provide a richer understanding of historical events [34][36]. Group 4: Cultural Significance - The significance of teahouses in Chengdu is highlighted as a cultural phenomenon that reflects the social dynamics and public life of the city, which Wang Di aims to preserve through his research [16][18]. - Wang Di's work has sparked increased interest in the histories of ordinary people, indicating a shift in public engagement with historical narratives [21][22].

Core Insights - The article discusses the significance of the "Classical Texts and History" as a new foundation for Chinese philosophy, emphasizing the need to excavate the inherent foundations of Chinese civilization rather than seeking external bases [6][12][17] - It highlights the importance of understanding the relationship between "Classics" and "History" in shaping Chinese philosophical thought and its unique characteristics compared to Western philosophy [13][14][15] Summary by Sections Section 1: Philosophical Foundations - The reconstruction of Chinese philosophical research aims to achieve a deeper understanding of the world as perceived by Chinese civilization, rather than through other traditions [6][12] - The article argues for the necessity of inheriting and affirming the established paradigms of Chinese philosophy while recognizing their limitations [6][12] Section 2: Core Issues in Chinese Philosophy - Metaphysics and the theory of mind are identified as core issues in Chinese philosophy, while other areas like ethics and political philosophy are noted as less effectively addressed [7][9] - The article suggests that the understanding of "Classics" and "History" is crucial for grasping the theoretical framework and evolutionary patterns of Chinese civilization [9][12] Section 3: The Role of History - The article posits that historical events that significantly impact humanity become "Classics," with the "Six Classics" representing a summary of historical principles by figures like Confucius [14][15] - It emphasizes that the essence of "Classics" is derived from historical experiences, making it an objective reflection of historical rationality [14][15] Section 4: Methodological Implications - The "Classics and History" tradition is presented as a methodology for understanding the principles of civilization and guiding future historical developments [17][18] - The article distinguishes between two types of current studies in classical texts: those driven by academic motivations and those influenced by cultural-political dynamics [18]

Group 1 - The discovery of the "Gari Tang Qin Inscriptions" in Qinghai's Maduo County has sparked significant academic debate, with the National Cultural Heritage Administration confirming it as a Qin Dynasty artifact [3] - The inscriptions are linked to the concept of "Kunlun," which has inspired various interpretations and discussions among historians, particularly in the context of the Qin Dynasty's worldview [3] - Historian Li Kaiyuan's recent work, "Assassinating Qin: A New Understanding of the Qin Dynasty," offers insights into the cultural implications of the "Gari Tang Qin Inscriptions" [3] Group 2 - The geographical understanding of the Qin people evolved significantly after the unification of China, leading to a perception of the Qin Dynasty as the sole sovereign state in the world [5] - The inscriptions from the Qin era, such as those from Langya, illustrate the Qin's geographical worldview, emphasizing their dominion over all territories within their reach [5][6] - Li Kaiyuan argues that the Qin Dynasty reverted to a limited geographical perspective, akin to the "Small Nine Provinces" concept from "Yugong," rather than adopting the expansive views of the "Great Nine Provinces" [6] Group 3 - The Qin Dynasty's governance structure was characterized by a direct administrative system, contrasting with the Han Dynasty's more complex multi-layered governance [7][8] - The Qin's approach to external territories, such as the military conquest of the Baiyue region and the establishment of commanderies, reflects a rigid governance model that lacked flexibility in dealing with non-directly governed areas [9] - This inflexible governance model ultimately contributed to the Qin Dynasty's rapid decline, as it failed to adapt to the complexities of the external world [9] Group 4 - The historical perspective of the Qin Dynasty, as articulated in their edicts and inscriptions, reflects a belief in a linear, unending rule under the emperor, contrasting with the cyclical historical views of earlier scholars like Zou Yan [10][11] - The establishment of the title "Emperor" marked a significant shift in the perception of sovereignty, positioning the Qin emperor as a transcendent ruler beyond traditional kings [12] - Li Kaiyuan critiques this overconfidence in the Qin's historical narrative, suggesting it contributed to the dynasty's downfall by fostering a disconnect from the realities of governance and external relations [13]

Group 1 - The article discusses the historical significance and cultural value of the Western Jin mural tombs located in Dunhuang, highlighting their artistic and archaeological importance [1][2][3] - The discovery of the mural tombs in the 1940s and subsequent preservation efforts are emphasized, showcasing the challenges faced during excavation and the importance of safeguarding these artifacts [1][2][4] - The article invites readers to explore the rich history of the Silk Road through the lens of these ancient sites, encouraging a deeper understanding of the cultural exchanges that occurred in this region [1][2][3] Group 2 - The Western Jin mural tombs are recognized as a significant cultural heritage site, with six tombs identified as particularly valuable for their artistic merit and historical context [2][3] - The article describes the architectural features of the tombs, including the intricate designs and symbolic representations found within, such as the lotus motifs that reflect Buddhist influences [19][20] - The narrative connects the tombs to broader themes of life, death, and the afterlife in ancient Chinese culture, illustrating how these sites serve as a window into the beliefs and practices of the time [19][20][21] Group 3 - The Dunhuang Museum is highlighted as a key institution for preserving and showcasing the artifacts from the region, including items from the Han and Tang dynasties that reflect the area's historical significance [20][21][22] - The article notes the diverse range of artifacts found in the museum, from military supplies to everyday items, which collectively illustrate the lifestyle and culture of ancient Dunhuang residents [21][22][23] - The importance of trade and cultural exchange along the Silk Road is underscored, with references to the various influences that shaped the region's development over centuries [28][29][30]

Core Points - The 11th Nishan World Civilization Forum will be held in Qufu, Shandong from July 9 to 10, 2025, focusing on the theme "Each Beauty is Beautiful, and Beautiful Together - The Relationship Between Civilizations and Global Modernization" [2][3] - The forum aims to address pressing global issues through dialogue among different civilizations, emphasizing the importance of cultural exchange and mutual understanding [2][3] - Various subtopics will be discussed, including the origins and future development of civilizations, the global significance of Confucian culture, and the role of artificial intelligence in human civilization [2][3] Group 1: Forum Overview - The Nishan Forum has become a significant platform for global experts to contribute wisdom for the future development of human civilization since its establishment in 2010 [2] - The forum's theme reflects the need for dialogue among civilizations amidst increasing political conflicts and economic barriers globally [2][3] Group 2: Cultural Significance - Qilu culture, rooted in Confucian thought, is highlighted as a representation of traditional Chinese culture and its relevance in modern times [5][6] - The forum emphasizes the importance of understanding and utilizing the wisdom of Confucianism to address contemporary global challenges [5][6][9] Group 3: Museum's Role - Museums are seen as crucial in preserving and innovating cultural heritage, serving as a bridge for civilization exchange [3][5] - The Shandong Museum, as a cultural space, plays a vital role in promoting Confucian culture and enhancing public understanding of historical values [5][9] Group 4: Digital Innovation - The Shandong Museum is focusing on digitalization to enhance visitor experience, including the use of 3D technology and online exhibitions [12][13] - Future plans include the establishment of a digital exhibition hall and a polar exploration center, aiming to attract more visitors and engage the public [13][14]

Core Viewpoint - The difficulty of reading ancient texts stems from complex language, the vast number of available texts, and the significant cultural and philosophical distance from contemporary understanding [2][3]. Group 1: Challenges in Reading Ancient Texts - The first challenge is the complexity of the language, where readers often recognize individual characters but struggle to grasp the overall meaning [2]. - The second challenge is the sheer volume of ancient texts, with over 200,000 existing works, including more than 3,400 titles in the "Siku Quanshu," totaling approximately 800 million characters [2]. - The third challenge is the cultural and philosophical differences, as ancient ethical norms and worldviews can be vastly different from modern perspectives [2]. Group 2: Importance of Reading Ancient Texts - Ancient texts serve as a material carrier of traditional culture, preserving the wisdom of past generations, such as Confucius's reflections in "Lunyu" and Sima Qian's historical insights in "Shiji" [3]. - These texts contain high-level skills in language expression and thought, exemplified by concise yet profound works like "Zuo Zhuan" and "Zhuangzi" [3]. Group 3: Approaches to Reading Ancient Texts - To effectively read ancient texts, one must cultivate interest and discipline, as these texts offer rich humanistic wisdom and life insights [4]. - Modern readers have access to useful tools such as the "Dictionary of Common Ancient Chinese Characters" and various bibliographic works, which facilitate understanding and selection of texts [3].