Founded In    1993
Published   semiannually
Language(s)   Chinese, English

Fields of Interest


Humanities (Literature, Music, Education, Phonetics, etc.)

ISSN   1024-3131
Submission Guidelines and Editorial Policies

Submission Guidelines and/or Editorial Policies:
1. Sun Yat-sen Journal of Humanities is an English-Chinese bilingual journal founded in April 1993 by the College of Liberal Arts at National Sun Yat-sen University, Taiwan. The Journal, with its biannual publication in summer and winter, solicits scholarly papers concerning various topics in the study of human sciences:

A. We welcome essays of interest to those concerned with the study of literature, history, philosophy, linguistics, musicology and other fields of humanities. Submission will be expected to contain original work and should not have been published or presented in abridged or other form elsewhere. (Qualified master thesis or doctoral dissertations will be deemed as presented and will not be accepted by the Editorial Board)

B. We also welcome reviews on books which were published within recent three years and concerned with literature, history, philosophy, linguistics, musicology and other fields of humanities. The review will not normally exceed 6000 words and the book reviewed should be attached to the submission.

2. Only full/part-time teachers in public/private colleges and research members of academic institutions may submit articles to Sun Yat-sen Journal of Humanities.

3. Essays submitted to the Journal should be in typescript and should be sent in duplicate. With each submission please include the Submission Form (see attachment) and the electronic file of the article.

4. Experts or scholars will be invited by the Editorial Board to evaluate anonymously each submission. The author’s name or any possible reference for identifying the author should not appear in the article. Article recommended by the reviewers will be accepted for publication.

5. Authors with essays or book reviews published in the Journal will receive twenty offprints of their articles and two copies of the issue in which their articles appear.

6. Essays must conform to the MLA Style Manual for documentation.


7. Authors are responsible for securing permission to reproduce any illustration in the Journal, and responsible for their own essays, book reviews, or other forms of writing.

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10. Submissions for the Journal should be mailed to the following address:

Editorial Board
Sun Yat-sen Journal of Humanities
College of Liberal Arts
National Sun Yat-sen University
70 Lien-hai Rd. Kaohsiung 804, Taiwan ROC.

11. Contact information:
Tel: 886-7-5253000 Fax: 886-7-5253009


Sun Yat-sen Journal of Humanities

Founded in April 1993 by the College of Liberal Arts at the National Sun Yat-sen University, Kaohsiung, the Sun Yat-sen Journal of Humanities is now published twice a year. The English-Chinese bilingual journal solicits scholarly papers concerning various topics in the study of human sciences.


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Early Modern Music and Literature , Issue 21


This paper examines the still lively labelling debate among scholars of literary, social and intellectual history, which began nearly two decades ago, with regard to the period terms “Renaissance” and “Early Modern” and the differing perspectives and valencies they bring to bear. Without denying the usefulness in many instances of deploying “Early Modern” as a category, it reexamines some of the advantages of the term “Renaissance”; and once again draws our attention to the humanists’ own intentions in promoting the notion of rebirth, with its deep roots in Europe’s religious, philosophical and cultural pasts.


The ways in which Hamlet resists his Mother and seems to delay his act of revenge are often viewed separately. Yet reference to the Senecan tale of Hercules’ choice of Virtue over Pleasure (Hercules at the Crossroads) and an awareness of clear echoes of Aristotle’s Nicomachean Ethics in the play suggest a reading by which Hamlet’s responses to persons and events are all viewed as a deliberate choice of Virtue in the Aristotelian sense, made by the Aristotelian method of inward deliberation.


This essay examines Thomas Duffett’s 1674 burlesque, The Mock-Tempest as a response to the theater of its time, which was exemplified by recent productions of The Enchanted Island. Because both versions of The Enchanted Island depict Prospero as a ruler, Duffett’s burlesque must be contextualized within the political nation’s growing disillusionment with Charles II as well as within the King’s Company’s competition with the more successful Duke’s Company. Therefore, Duffett’s attack on the theatrical aesthetic of the early 1670s had a wider cultural and political importance for its audience, particularly those concerned by Charles II’s policies, his hedonism, and the economic support that he received from France.

Interaction of Lyrics and Music in Cinquecento-Madrigal

In the middle stage of 16th Century, the Franco-Flemish composer Samuel Quickelberg named an emerging composing style at that time “musica reservata” for its specific attribute of lyrics interpreting. But still, for which (reasons) the music is “reserved” is not “confirmed” in the arena of musicology. In general, people believe that this art of composing style orienting in philological lyrics-interpretation and hence fully embedded with symbolic meaning could actually only be understood by some “professionals”. In this sense Cinquecento-Madrigal should definitely be a kind of “musica reservata”. It possesses not only specific music style characterized with abundant music-literary value but even lyrics mostly out of the master-hands at that time. This highly associated joint of literary and music essence of Cinquecento-Madrigal is thereupon the issue here in concern. In the paper the author is trying to explore the interactions of Lyrics and music in cases of Cinquecento-Madrigal on a micro and macro level respectively. Out of the angle of macro perspective, we are searching through the context of historic development to map the correspondence of literature and madrigal. On the other hand, the associated compatibility of music and lyrics should emerge from a context of micro units after that we analyze the structure, stress/accent and meaning of the lyrics. In conclusion of the paper, the author get a tentative idea through interactions of literature and music to infer a question of music reposition: that is, under the huge impact of literature and lyrics, whether music is able to keep or develop its own autonomy or not? The author is herein in the opinion that although the music is often “destined” to be subordinated to the impact of words, but because of its abstractness and openness by interpretation, it will overpass the philological obstacles and show its own specific performance in the final analysis.


Stephen Gosson was one of the trailblazers who launched an all out Puritan attack on the Elizabethan literary circle. As a result, many of the literary celebrities of the time formed two opposing camps. One stood by Gosson to continue challenging the legitimacy of arts and literature on moral grounds while the other camp banded up to fight against the ideological assertion. Elizabethan poetry and drama have by that time grown to a huge and popular industry that can easily dwarf other genres of writings. But for Gosson and others, the trend toward a modern concept of criticism is sparked and generated that continues to intrigue generations of critics. The range, variety and depth of critical investigations, or poetics so to speak, had no previous English precedents. Yet, such writings can lay claim to form a genre of their own—to reflect the literary temper of its age. Through Gosson, many poets and critics of his time on the one hand were forced to become answerable to their writings and on the other hand the context gave rise to a Protestant poetics that is compatible to the Elizabethan cultural critique.

The Analysis of Liebermann’s ‘The First Piano Sonata’

The disconnection with audiences has been a dilemma of modern music since the end of 20th century. Lowell Liebermann, an American composer, pianist, and conductor, advocates combining the past and the modern techniques to solve the puzzle caused by over emphasis upon originality. This paper focuses on the formal structure, the thematic development, the rhythmic style, and the harmonic texture of Liebermann’s first piano sonata. Liebermann’s approach in exploring the timber variety and lyric quality of music is unique. His talent in expressing the sensibility of piano sonority and techniques will also be discussed. Accompanied by a personal interview with Liebermann, this paper aims to provide performers and related researchers the original thoughts of the music, and a reference of his compositional style in the early period.


Marcos McPeek Villatoro shares in both English and Spanish his bicultural perspective on the world, gathered in the unique borderland between his Central American and Southern US heritages. There he continually renegotiates his own identity and affords his readers the opportunity to reassess their monocultural worldviews. In his prose, his greater attention to language derives from greater awareness due to frequent comparisons and from freedom to choose one cultural code over another. Inclusion of Hispanic products, practices, and perceptions provide the terrain that allow readers to get inside the head of his tough-minded Latina detective, Romilia Chacón, to know her small extended family, and to see how she uses her own bilingualism to hone in on killers. The juxtapositions of cultural perspectives featured in his prose are also found in his poems. Written in either or both languages, these lyrically require readers to be more attentive and summon them to live in the present moment so that they can open their eyes to larger contexts that often challenge monocultural assumptions. Juxtapositions of heartfelt symbols, images and metaphors, mapped out among mostly unrhymed, uneven graphically arranged free verse, which is driven by the ambiguity of life suspended between two borderlands, trace this bilingual writer's author's growing commitment to his Hispanic roots. The contribution of bilingualism to the prose and poetry of Marcos McPeek Villatoro seen through the perspective of Intercultural Communications.


Despite its immense popularity attested by countless collections, the quotation as a literary form has gone largely unstudied. Quotations as they appear in anthologies often differ from the original extract because of a process of transformation into a literary form. Some quotations seek an author, others lose them. In general, it is fruitful to study quotations by dividing them into genres, each characterized by a world view that in turn leads to specific forms, tones, and contexts. Witticisms, maxims, dicta, proverbs, and aphorisms each inhabit a different world. Witticisms display the power of mind over circumstance, dicta purport to offer a timeless absolute truth recently discovered, and aphorisms gesture to mysteries that, the more we explore them, grow still more mysterious. Each short form may be related to or inhabit longer forms with a roughly similar world view. Some longer works seem designed to be taken apart into specific quotations.


Other Issues

January 2016, Volume 40
July 2015, Volume 39
, Volume 38
Genetic Criticism, Volume 37
Sinophone Studies, 35
Chinese and Western Literature and Arts in the Eighteenth Century, 34
DISCIPLINE in Literature and Literary Studies , Issue 20