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Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China = = 記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China =/
Reminder of title:	記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷.
Author:	Kim, Tae Hyun.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	377 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Asian literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22617422
ISBN:	9781392610985

Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China = = 記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷.
Kim, Tae Hyun.

Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China =記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 377 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2019.

This item must not be sold to any third party vendors.

Humans perceive and conceptualize who we are by making a consistent and coherent story of the past. Without making this story, existence is fragmented and dissolved into a series of physical, chemical, or biological states that we can only passively accept. Instead, we recall past moments, selecting and linking them to other ones in a logical manner, composing a reasonable story that explains our existence consistently and coherently. Only by choosing, connecting, and sequencing our experiences and signifying them with concepts, and thereby producing an understandable story, can we identify who we are and what we do.Constructing a story of the past is similar to composing a narrative fiction whereby we make sense of our identity with pre-existing signifiers, drawing upon values in the culture in order to establish meaning. The moments of existence that are not remembered or not selected in the story-making remain external to the being as if they had never existed. In this regard, we are creatures of our own story. The story provides us with an explanation of our identity through time and legitimizes how we will exist in the future.Likewise, to identify and explain who the people of a society are and how they should behave, society needs its own story. That is, a society must compose its own story about what it has experienced through time. This group remembrance is referred to as collective memory or social memory-the constructed ideas of particular past event(s) that individuals have communally experienced. The social memory goes through editing processes such as selecting, excluding, elaborating, emphasizing, deleting, and re-sequencing procedures in the pre-existing linguistic, conceptual, ethical, aesthetic orders of the culture. In this sense, society's story is essentially "fictional" in nature.Unlike individual/personal memory, however, those who experienced the same past event are plural in the society. Due to this plurality, there is tension resulting from different story-making of the same event in the past. The attempt to compose a different story about the past is not entirely resolved, but remains as a possibility for alternative story.Diversity in collective memory necessarily causes, in the society, a competition among the plural memories for broader, deeper, and stronger acceptance and recognition of a particular memory by fellow society members. In the contest that is conditioned and affected in political and cultural power-relations, one specific memory and story wins out and becomes prevalent and dominant. It is then imposed and embodied in social regulations such as law and justice, and in cultural practices such as education and mass media. The social story is thus a doing, a performance to be done over and over.In this regard, what the modern mind has termed as "history" is a society's own self-constructed story that is narrated, written and re-written by its members out of numerous coexisting and competing memories of the past in a repetitive, reconstructive manner. Concerned more with signifying the identity of the society than with concrete facts, history is a dominant story of the memory that the community has come to approve as the narrativistic legitimation of its own identity through time.Within this theoretical framework, this thesis studies how "history" emerged in so-called Early China, the period roughly from Warring States (ca. fifth to third century BCE) to Western Han (206 BCE-9 CE). It explores the cultural practice of sharing and transmitting various earlier collective memories of the past by representing them in the form of short narrative to establish an "authentic" and "official" memory, i.e., a "history," by manipulating, editing, revising, or developing the earlier social memories and adopting a developed version of the memory and discourse into the works that had been canonized as the "true" representation of the past in the cultural tradition.For this, the current study first pays attention to a genre of writing, which I term "Episode Text." Often termed as "anecdotes" that assumes to have trivial and inferior nature in cultural significance, the Episode Text represents an earlier social memory of a past event and its narrative representation in the culture. Consisting of a short story in various lengths, about a past event of political or cultural figures and their speech, it is free-standing and self-contained as one independent textual unit in nature.What makes the Episode Texts significant is that many stories in the Texts are comparable to those of transmitted classics of the past. Assuming that the Episode Text reveals earlier collective memory of the past and its literary representation, we can trace how the social memory of the certain past event has changed and developed. By comparing the parallels between the Episode Texts and received classics of "history," we can see how earlier memories and stories have evolved or were modified when they were recognized and adopted as a part of the canonical texts in the later culture.The Episode Text remained relatively unknown and paid less attention to until it was re-discovered and re-signified in modern archaeological excavation projects in the late twentieth and early twenty-first century. However, the Episode Text seems already popular in the socio-cultural reality around fourth century BCE, in which a robust cultural need arose for individual political entities to identify their connection to the past, particularly to their great earlier ancestors. The stories offered to explain and legitimize their current status by creating their own stories of the past after the breakdown of the former hegemonic Central State, Western Zhou, which had provided the conceptual, ethical, aesthetic orders to its subordinates with political and cultural power and imposed the Zhou's story to the subordinate individual entities. In this sense, Episode Texts were made and shared as a social effort for individuated small states to be released from Zhou's cultural hegemony after its breakdown, to cope with their new socio-political circumstances, to explain their origin, and to justify their existence. This was possible within the changing cultural environment where the one absolute cultural and political power no longer existed, and each entity pursued its own story of the past.This study focuses on the stories in two canonical classics of "history" in Chinese tradition, Zuozhuan and Shangshu, and compares them to the newly found narratives in the Episode Texts that reflect earlier memories of the same events. This study shows that the creation and establishment of these two seminal texts was a long-term process in which earlier social memories were edited and re-written in various ways, including detailing, refocusing, merging, splitting, re-messaging, re-didacticization, deleting, and excluding.Notably, the case of textual comparison between the received "Wuyu" in the Guoyu and a bamboo slip manuscript found at Cili, Hubei convincingly suggests that long passages that comprise thousands of written characters in the received "historical" texts such as Guoyu, Zuozhuan, Shangshu may have been formed by merging several separate Episode Texts into a single text coherently. Generally, how later people cognized, conceived of, and understood what had occurred in the early past has been shaped and framed with these key references.Nonetheless, despite the strong and steady efforts to establish specific memories as a socio-cultural norm in the imperial setting of the Han, there remained intellectual attempts to diverge from the growingly dominant memories and reconstruct "history" from different threads of social memory from earlier days in the culture. These disparate threads of memory were also represented in the form of short narrative and widely shared in the society.

ISBN: 9781392610985Subjects--Topical Terms:

2122707
Asian literature.

Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China = = 記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷.
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245 1 0 $a Memory, Story, History: The Formation and Change of Collective Memory and Narrative of the Past in Early China = $b 記憶、故事、歷史：早期中國的集體記憶與過去敘事的形成及其變遷.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 377 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
500 $a Advisor: Csikszentmihalyi, Mark.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a Humans perceive and conceptualize who we are by making a consistent and coherent story of the past. Without making this story, existence is fragmented and dissolved into a series of physical, chemical, or biological states that we can only passively accept. Instead, we recall past moments, selecting and linking them to other ones in a logical manner, composing a reasonable story that explains our existence consistently and coherently. Only by choosing, connecting, and sequencing our experiences and signifying them with concepts, and thereby producing an understandable story, can we identify who we are and what we do.Constructing a story of the past is similar to composing a narrative fiction whereby we make sense of our identity with pre-existing signifiers, drawing upon values in the culture in order to establish meaning. The moments of existence that are not remembered or not selected in the story-making remain external to the being as if they had never existed. In this regard, we are creatures of our own story. The story provides us with an explanation of our identity through time and legitimizes how we will exist in the future.Likewise, to identify and explain who the people of a society are and how they should behave, society needs its own story. That is, a society must compose its own story about what it has experienced through time. This group remembrance is referred to as collective memory or social memory-the constructed ideas of particular past event(s) that individuals have communally experienced. The social memory goes through editing processes such as selecting, excluding, elaborating, emphasizing, deleting, and re-sequencing procedures in the pre-existing linguistic, conceptual, ethical, aesthetic orders of the culture. In this sense, society's story is essentially "fictional" in nature.Unlike individual/personal memory, however, those who experienced the same past event are plural in the society. Due to this plurality, there is tension resulting from different story-making of the same event in the past. The attempt to compose a different story about the past is not entirely resolved, but remains as a possibility for alternative story.Diversity in collective memory necessarily causes, in the society, a competition among the plural memories for broader, deeper, and stronger acceptance and recognition of a particular memory by fellow society members. In the contest that is conditioned and affected in political and cultural power-relations, one specific memory and story wins out and becomes prevalent and dominant. It is then imposed and embodied in social regulations such as law and justice, and in cultural practices such as education and mass media. The social story is thus a doing, a performance to be done over and over.In this regard, what the modern mind has termed as "history" is a society's own self-constructed story that is narrated, written and re-written by its members out of numerous coexisting and competing memories of the past in a repetitive, reconstructive manner. Concerned more with signifying the identity of the society than with concrete facts, history is a dominant story of the memory that the community has come to approve as the narrativistic legitimation of its own identity through time.Within this theoretical framework, this thesis studies how "history" emerged in so-called Early China, the period roughly from Warring States (ca. fifth to third century BCE) to Western Han (206 BCE-9 CE). It explores the cultural practice of sharing and transmitting various earlier collective memories of the past by representing them in the form of short narrative to establish an "authentic" and "official" memory, i.e., a "history," by manipulating, editing, revising, or developing the earlier social memories and adopting a developed version of the memory and discourse into the works that had been canonized as the "true" representation of the past in the cultural tradition.For this, the current study first pays attention to a genre of writing, which I term "Episode Text." Often termed as "anecdotes" that assumes to have trivial and inferior nature in cultural significance, the Episode Text represents an earlier social memory of a past event and its narrative representation in the culture. Consisting of a short story in various lengths, about a past event of political or cultural figures and their speech, it is free-standing and self-contained as one independent textual unit in nature.What makes the Episode Texts significant is that many stories in the Texts are comparable to those of transmitted classics of the past. Assuming that the Episode Text reveals earlier collective memory of the past and its literary representation, we can trace how the social memory of the certain past event has changed and developed. By comparing the parallels between the Episode Texts and received classics of "history," we can see how earlier memories and stories have evolved or were modified when they were recognized and adopted as a part of the canonical texts in the later culture.The Episode Text remained relatively unknown and paid less attention to until it was re-discovered and re-signified in modern archaeological excavation projects in the late twentieth and early twenty-first century. However, the Episode Text seems already popular in the socio-cultural reality around fourth century BCE, in which a robust cultural need arose for individual political entities to identify their connection to the past, particularly to their great earlier ancestors. The stories offered to explain and legitimize their current status by creating their own stories of the past after the breakdown of the former hegemonic Central State, Western Zhou, which had provided the conceptual, ethical, aesthetic orders to its subordinates with political and cultural power and imposed the Zhou's story to the subordinate individual entities. In this sense, Episode Texts were made and shared as a social effort for individuated small states to be released from Zhou's cultural hegemony after its breakdown, to cope with their new socio-political circumstances, to explain their origin, and to justify their existence. This was possible within the changing cultural environment where the one absolute cultural and political power no longer existed, and each entity pursued its own story of the past.This study focuses on the stories in two canonical classics of "history" in Chinese tradition, Zuozhuan and Shangshu, and compares them to the newly found narratives in the Episode Texts that reflect earlier memories of the same events. This study shows that the creation and establishment of these two seminal texts was a long-term process in which earlier social memories were edited and re-written in various ways, including detailing, refocusing, merging, splitting, re-messaging, re-didacticization, deleting, and excluding.Notably, the case of textual comparison between the received "Wuyu" in the Guoyu and a bamboo slip manuscript found at Cili, Hubei convincingly suggests that long passages that comprise thousands of written characters in the received "historical" texts such as Guoyu, Zuozhuan, Shangshu may have been formed by merging several separate Episode Texts into a single text coherently. Generally, how later people cognized, conceived of, and understood what had occurred in the early past has been shaped and framed with these key references.Nonetheless, despite the strong and steady efforts to establish specific memories as a socio-cultural norm in the imperial setting of the Han, there remained intellectual attempts to diverge from the growingly dominant memories and reconstruct "history" from different threads of social memory from earlier days in the culture. These disparate threads of memory were also represented in the form of short narrative and widely shared in the society.
520 $a They were often explicitly critical about the figures or concepts in the increasingly dominant stories. They pursued alternative values, thoughts, and ideas by employing different personalities and a more fictive and imaginative tone and style. The disparate threads of memory explain the plurality of collective memory and the tension for appropriating the past in the society. The received Zhuangzi text exemplifies the intellectual conflict and struggle for domination in remembering the past in Early China.The cultural process of constructing, establishing, challenging, and reconstructing the normative discourse of the past through canonizing such works is understood as a part of the never-ending, repetitive process of a society's own locating, identifying, and legitimating of itself through time. Thus, this thesis concludes that the process was the journey of the early communities to construct and reconstruct themselves as the ideal, the Center State of the cosmos, the state that now is rendered as China. In this course of consolidating discreet memories and producing the dominant ways of remembering and representing the past through canonical texts, the early societies were dreaming of themselves becoming that Center State-namely, China.
520 $a 人類常常通過製造關於過去的連續性和一貫性的故事而形成對於我們自己是誰的認知與概念。如果沒有這樣的敘事，人類自身的存在形式就會消解而且碎片化，無論是在物理層面、化學層面還是生物層面的存在狀態上，以至於我們只能被動接受這樣的狀態。為了避免這樣的情形出現，我們不斷地回憶過去的片段，篩選並且把它們以一種合乎邏輯的方式彼此連接，從而製造出能夠解釋我們自身存在的一種連續的並且條例清晰的故事。只有通過篩選、拼接和連綴我們的經歷並且用一系列觀念來表徵它們，從而製造出一種合乎情理的故事，我們才能定義自己的身分以及明白我們做什麼。構建有關過去的故事和創作敘事小說類似，二者都是通過已經存在的意符來理解我們的身分，運用文化中的價值來建立意義體系。那些沒有被記住的，或者是在製造故事的過程中沒有被選中的有關過去的片段，只能游離在這一意義體系之外，彷彿它們從未存在過一樣。就這一點而言，我們只是我們自己故事的產物。正是這些故事為我們提供了自身身分的解釋，也為我們在未來的持續存在提供正當性。同樣地，社會也需要它自己的故事來定義這一社會中存在的人們是誰以及他們應該如何存在。也就是說，一個社會必須構建它自身在過去的時間中所經歷的故事。這種群體性的記憶被稱作集體記憶或社會記憶--每個個體所共享的有關過去特定事件的被建構的概念和認識。社會記憶會經過編輯的過程，比如篩選、排除、複雜化、強調、刪除以及重新排序等流程，這些流程的順序常常取決於某一文化中先已存在的語言、觀念、倫理和美學的特徵。從這個意義上，社會的故事本質上必然是"虛構"的。與個體記憶不同，在集體記憶中，即使是關於同一事件的經歷，社會中的每個個體經驗也是不一樣的。由於這種多元性，有關過去經歷的不同的故事之間存在緊張關係。對過去的歷史作出不同的故事編造的常識不會被消解，而是以另一種可能性的故事存在。集體記憶的多樣性必然導致社會中存在不同記憶之間的競爭，彼此互相爭取成為一個社會中多數成員接受的，更深、更廣和更高接受度的故事版本。這種競爭受到政治和文化權力關係的影響，最終某一特定的記憶和故事勝出並在這個社會中佔據普遍性和主導性。然後它會體現在並且被強加入法律等社會規則，以及教育和媒體等文化實踐中。這樣，這種社會故事就會成為一種不斷上演的劇目。從這一意義上而言，被現代人稱之為"歷史"的不過是一個社會自我建構和敘述的故事，不斷被它的社會成員重新書寫而從無數與它同類的競爭性的故事中脫穎而出。歷史是一個群體最終所認可為自身主體合法性的敘事，這一敘事是群體記憶中最終成為主導性的故事，它關心的是這個社會的身分而不是具體的歷史事實。在這一理論框架下，本論文研究"歷史"是如何做早期中國出現，時代跨度大約是戰國（公元前4-3世紀）至西漢（公元前206年－公元9年）。本文通過呈現以短敘事為形式的建構"真實的"和"官方的"記憶的過程，探索共享與傳播多樣化的關於過去的集體記憶的文化實踐。這些方式包括操縱、編輯、修改和發展早前的社會記憶，以及接受一個已經發展出來的記憶和敘述的方式並把它整合進"經典化"的文本中，從而成為一個文化傳統中"真實"的過去的反映。因此，本文的研究首先關注一種寫作的體裁，我稱之為"記事文本"。通常又被稱為"軼事"，一般認為這類文本在文化意義上是瑣碎且不甚重要的。但記事文本其實代表了早期事件的文化記憶以及對它的敘述的反映。這些文本通常由長度不同的短故事構成，內容通常是關於過去的政治人物和他們的言說的，本質上是獨立的、自成體系的文本單位。記事文本之所以重要是因為這些文本中的故事通常可以和傳世經典中的記述可以比較。既然記事文本反映了對過去的集體記憶及其文學記述，我們就能由此追蹤關於過去的集體記憶是如何變化和發展的。通過比較記事文本與傳世經典中的"平行文本"，我們可以看到早期記憶和故事在被確認為經典文本的一部份的過程中說如何變遷與修正的。本文所研究的記事文本在二十世紀後半期考古發掘項目興起之前長期受到忽視。但實際上，記事文本在公元前的社會文化環境中已經很流行了，因為在那一時期，無論個人還是政治體都有強烈的八自己與過去、尤其是與祖先聯繫起來的需求。這些故事通過創造西周和春秋霸主衰落之後的故事，為當時的政治體和個人與這些早期政權的聯繫和從屬關係提供了概念的、倫理的和美學的秩序。從這個意義而言，記事文本的創造和分享可以被視為各個小的諸侯國在周代的強勢文化崩解之後從周文化中釋放出來的社會努力，這一努力的目標是應對新的社會政治環境，解釋自己的起源，為各自的存在尋找正當性。當然這些都是在單一的文化與政治強權（周）不再存在之後的環境下才得以成為可能。本文的研究集中在兩部中國文化的早期經典《尚書》和《左傳》，比較它們和新發現的記事文本中關於同一事件的不同記述。這兩個經典文本的創造和成立經歷了一個長期的過程，在這一過程中，早期的社會記憶以不同的方式被編輯和重寫，主要方式包括添加細節、調整側重點、文本的合併與分離、重新表述、刪除以及排除等。值得注意的是，《國語吳語》與湖南出土的慈利簡的文本對比令人信服地表明，像是《左傳》、《國語》、《尚書》中的長達數萬字的篇章長段落，通常是合併了多個早期的記事文本而形成一個自成體系的單一文本。概言之，人們普遍相信、認可和理解的早期的歷史大多經過了類似的形塑和重新編組的過程。儘管在秦漢帝國時期，存在持續而強力的把特定歷史記憶建立成社會文化規範的努力，但仍然有學者嘗試從早期歷史中遺留下來的不同的文化遺產中建構出與日益成為主流的"歷史"相異的歷史記憶與敘述。這些不同的文化記憶也以不同形式的短敘述而廣泛流傳於這一時期的社會上。它們也常常清楚地表達日漸成為主流的歷史故事中的人物與觀念的批評。他們通過不同的人物，以更虛擬和想像性的口吻與形式來表達對不同的價值、思想與觀念的追求。通過把某些作品經典化而創造、建構、挑戰及重新建構標準的歷史敘述的文化過程，是一個社會重複性地、永無止境地尋找自身定位和身分並將之正當化的文化實踐。而本論文認為，就早期中國而言，這一過程就是中國早期的族群把他們自己建構與重新建構成理想的、居於宇宙秩序中心-也就是今天所謂的"中國"，的歷程。正是在藉由經典文本逐漸強化自身記憶與生成紀念和呈現歷史的主流方式的過程中，早期社會把他們自己想象成為宇宙中心之國，也就是中國。.
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