Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The (...) first chapter takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age.. (shrink)

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, (...) deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Is "Chinese Philosophy" a Proper Name?A Response to Rein RaudCarine DefoortIn the preface to his Outline of the History of Chinese Philosophy, Hu Shi wrote: "Today, the two main branches of philosophy meet and influence each other. Whether or not in fifty years or one hundred a sort of world philosophy will finally arise cannot yet be ascertained."1 Although uncertain, Hu was still (...) hopeful, since he believed that the two major traditions of modern world philosophy, founded in Europe and China, had finally met. That was in 1919. Now, almost a century later, we can respond to Hu's speculation with relative certainty: a world philosophy has not arisen and is not on the rise. In fact, the situation is much worse: Chinese ancient thought is not even considered "philosophy" by most Western specialists in the field.For Feng Youlan, Hu's contemporary, this lack of recognition had become a major frustration by the end of his life. Feng earnestly felt that "parts of classical Chinese philosophy have a contribution to make to the elevating of man's spiritual sphere and in solving universal problems in human life."2 But on the last page of the last volume of his New Edition of the History of Chinese Philosophy, completed a few weeks before his death in November 1990, Feng concluded that Western philosophers had not even begun to consider ancient Chinese thought to be worthy of their attention: "Chinese traditional philosophy has always been regarded as a part of sinological studies and is considered as having no relation to philosophy."3 Feng's sentiment is still widely shared today; for instance, in the Yearbook of Chinese Philosophy for 2001, Zheng Jiadong remarks that "in the West, especially in Europe, the legitimacy of 'Chinese philosophy' has always been questioned; 'Chinese philosophy' [End Page 625] has to a large extent been considered a strange thing of questionable antecedents."4 Others confirm that "Chinese thinking has been all but excluded from the discipline of philosophy in Western seats of learning."5Indeed, various eminent European philosophers, such as Kant, Hegel, Husserl, Heidegger, and, more recently, Jacques Derrida on his visit to Shanghai in 2001,6 have proclaimed that ancient Chinese thought is not really philosophy. Kant, for example, stated that "Philosophy is not to be found in the whole Orient.... Their teacher Confucius teaches in his writings nothing outside a moral doctrine designed for the princes."7 Even sinology scholars sometimes wonder whether ancient Chinese thought ought to be labeled "philosophy."8 But more powerful than such explicit rejections of the legitimacy of "Chinese philosophy," which are nowadays relatively rare, is the dominant and implicit Western (especially European) view, embedded in the organization of academic conferences, journals, university curricula (as Feng Youlan remarked), and bookstores, that ancient China did not have philosophy. The average European bookstore, for instance, does not display the Laozi or Yijing on the "philosophy" shelf, but rather among various types of wisdom or practical knowledge, between Celtic myths, herbal medicine, and the art of astrology. However unobtrusive, this organizational given reveals more clearly and influentially than any contemporary scholar explicitly states, that the name "Chinese philosophy" for the Chinese masters and some Classics is not proper—or, to put it in ancient Chinese terms: this ming 名 is not zheng 正.9The twenty-first century, however, has seen strong indications of change, not in the sense that "Chinese philosophy" is now being generally accepted as one of the two main branches of world philosophy, as Hu Shi had hoped, but in the sense that the debate has been reopened, both in China and in the West. In China, the appropriateness of the label "Chinese philosophy" for ancient Chinese thought was questioned by some leading scholars in the first part of the twentieth century. But in the last decade the matter has been experienced as a crisis and challenge, and has been discussed much more broadly and vividly by Chinese academia: conferences are being dedicated to the question of the "legitimacy of 'Chinese philosophy"' (Zhongguo zhexue hefaxing 中国哲学的合法性), newspapers report on it, and some journals devote whole forums to it.10 About one hundred articles or chapters related... (shrink)

A philosopher and mother mines classic Daoist texts of Chinese philosophy for wisdom relevant to today's parents. The ancient Chinese philosopher Mencius compared children to tender sprouts, shaped by soil, sunlight, water, and, importantly, the efforts of patient farmers and gardeners. At times children require our protection, other times we need to take a step back and allow them to grow. Like sprouts, a child's character, tendencies, virtues, and vices are at once observable and ever-changing. A practical (...) parenting manual, philosophical reflection on the relationship between parent and child, and necessary response to modern stereotypes of Chinese parenting, Little Sprouts reconsiders cultural definitions of success and explores how we might support and nourish young people. Engaging deeply with foundational Daoist and Confucian thinkers, Georgetown philosopher Erin Cline offers accessible, provocative musings on key parenting issues-from family rituals to learning and vocation to challenges and disabilities-and helps us grow into better parents of joyful, fulfilled children. (shrink)

Offers a compelling intercultural perspective on body, art, self, and society.

The ideal Chinese thinker is a scholar‐official who is informed by a profound historical consciousness, well seasoned in the fine arts of poetry, lute and calligraphy, and deeply immersed in the daily routine of government. If philosophy is loosely defined as disciplined reflection on insights, Chinese philosophy is distinguished in its commitment to and observation of the human condition. It is a disciplined engaged reflection with insights derived primarily from practical living. The Chinese thinker, unlike (...) the Greek philosopher, the Hebrew prophet, the Indian guru, the Christian priest, or the Buddhist monk, is engaged in society, involved in politics, and dedicated to the spiritual transformation of the world from within. (shrink)

The current piano curriculum, according to conventional wisdom, is a product of the western music education system, which accords Chinese traditional culture with less importance. Most of the methods and tools used in today's collegiate piano programs are Western-based, often ignoring traditional musical traditions. However, it is widely acknowledged that piano music plays a key role in the culture of music and that it is closely related to traditional culture and art. Examining the impact of Chinese traditional (...) class='Hi'>philosophy on collegiate piano instruction and performance is the main objective of the present research. The study makes use of an empirical method by conducting a survey and gathering information using a questionnaire. 174 students from six Chinese institutions participated in the current research. Students were split into two groups as a result of the training methodology. 87 students in the experimental group studied using a previously developed curriculum to advance Chinese traditional music culture, whereas 87 students in the control group took piano lessons using the standard curriculum. We used the student’s t-test and Chi-square test for statistical analysis. Since it demonstrates how traditional Chinese philosophy is successfully promoted in educational contexts, the present study is significant from both an academic and a practical standpoint. (shrink)

This review examines Paul Goldin’s book The Art of Chinese Philosophy: Eight Classical Texts and How to Read Them. The book gives interpretations of eight texts from the classical period that respond to the same set of central questions and each other’s arguments. In addition, the book presents historical background and describes the complexity of authorship of these texts.

Infra-white : an impossible beginning -- Color and white, the blank canvas : the reverse reconstruction of non-dimension -- Remnant and white, color and blankness, qi and white -- Empty and white, empty-empty-substance-substance, the empty room filled with light -- The white layout of the 'Woodcutter fighting for the path' : the ethics of remnant yielding.

My discussion in previous chapters was limited to the origin of Chinese culture and its fundamental spirit exhibited in the process of historical development. In what follows, I am going to discuss the spirit of Chinese culture in specific areas such as philosophy of nature, theory of human nature, ideals of moral life, the world of daily living, the world of ideal personalities, and the spirit of art and religion. The center of discussion will be a comparison (...) between Chinese and Western philosophy and culture. Therefore, before discussing Chinese cosmologies, I am going to present the cosmologies in the West as a preparation for comparison. Nevertheless, the main task of this chapter is not a special treatise on the natural sciences and philosophies of China and the West. Instead, my focus is on the differences between ideas of nature, their values and fundamental spirit. I hope my readers understand this point first. (shrink)

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the (...) end of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 14.1 (2004) 47-54 [Access article in PDF] Ethical Guidelines for Human Embryonic Stem Cell Research*(A Recommended Manuscript) Adopted on 16 October 2001Revised on 20 August 2002 Ethics Committee of the Chinese National Human Genome Center at Shanghai, Shanghai 201203 Human embryonic stem cell (ES) research is a great project in the frontier of biomedical science for the twenty-first century. Be- cause the research (...) involves the use of human embryos, it triggers serious debate on ethical issues. Opponents consider the embryo to be an early form of human life that should be respected and not destroyed. However, the majority of scientists support embryonic stem cell research, believing that it offers good prospects for the treatment of diseases that have remained incurable until now and so will benefit humankind. The Ethics Committee of the Department of Ethical, Legal, and Social Implications of the Chinese National Human Genome Center at Shanghai seriously discussed the ethical debate initiated by embryonic stem cell research. We concluded that we should support the scientists of our country in actively carrying out human embryonic stem cell research for the noble cause of "medicine being a beneficent art." For the healthy and orderly development of human embryonic stem cell research in our country, we put forward the following recommended Ethical Guidelines for Human Embryonic Stem Cell Research as a reference for leaders, administrative departments, and related scientists. Preface Article 1. Human embryonic stem cells are the primitive cells that play the main role in the growth and development of a human body. These [End Page 47] primitive cells have the potential for infinite proliferation, self-renewal, and multi-directional differentiation. If scientists can discover the mechanism of differentiation of human embryonic stem cells, it will be possible to induce differentiation of human embryonic stem cells to form various types of human cells for clinical cell therapy. If human embryonic stem cell research can be integrated with modern biomedical engineering techniques, it also will be possible to make repair and replacement of human tissues and organs a reality. Article 2. There are two ways to classify human embryonic stem cells. One way is to classify them according to their potential for differentiation. There could be three kinds of stem cells: totipotent stem cells, pluripotent stem cells, and unipotent stem cells.A totipotent stem cell has the potential to develop into a whole individual. It can differentiate into the more than 200 cell types in the whole body, construct any tissue or organ of the body, and finally develop into a whole individual. The fertilized egg and the cleavage cells at the very early stage of embryonic development are totipotent stem cells.A pluripotent stem cell has the potential to differentiate into many cell types derived from the three embryonic layers. However, it has lost the capacity to develop into a complete organism.A unipotent stem cell is derived from the further differentiation of the pluripotent stem cell. It can differentiate only into one cell type such as a hematopoietic stem cell, neural stem cell, and others.The other way is to classify human stem cells according to their source. There could be two kinds of human stem cells: embryonic stem cells and tissue stem cells (also called adult stem cells). The former involves experimentation with embryos, which has serious ethical implications. Ethical issues associated with the latter are mainly expressed in the various opinions regarding the allocation of health resources. Article 3. Human embryonic stem cells are the group of cells called the blastocyst inner cell mass during the early stage of embryonic development. They are the main source of totipotent stem cells, and hence the focal and hot point in stem cell research. Studies on the clinical application of embryonic stem cells probably will involve use of the somatic cell nucleus transfer (SCNT) technique, which destroys the early human embryo. At present, the ethical and moral debate is very serious in human embryonic stem cell research regarding whether the research will develop... (shrink)

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art and literature the (...) leading principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence and that of art as sedimentation. (shrink)

Art and philosophy are the two major elements of the human world. The existence of art and philosophy can expand the spiritual world of human beings to a greater extent and enrich their spiritual life, thus supporting the construction of the material world. And music, as an aural art, has also been given a philosophical meaning in the evolution of history because of its birth and development. Therefore, when studying music, one should first study the history of music. (...) The philosophy of music history education is not only profound and contains world culture and philosophy, but also carries history and economy. Music history education is also a vivid art form of philosophy, where teachers create an artistic beauty to attract students and achieve the purpose of imparting knowledge by optimizing their educational philosophy. To develop the philosophy of education to its fullest extent, teachers must adhere to the concepts associated with the philosophy of art. To explain this process in greater depth, this paper provides a brief review of the aesthetic philosophy and historical evolution of Chinese. (shrink)

The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual (...) nature of the existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of ​​the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments. (shrink)

The now-global phenomenon of Asian martial arts traces back to something that began in China. The idea the Chinese communicated was the dual cultivation of the spiritual and the martial, each perfected in the other, with the proof of perfection being an effortless mastery of violence. I look at one phase of the interaction between Asian martial arts and Chinese thought, with a reading of the Zhuangzi 莊子 and the Daodejing 道德經 from a martial arts perspective. I do (...) not claim that the authors knew about martial arts. It was not Daoist masters who took up martial arts, but martial arts masters who, at a specific time, turned to Daoism to explain the significance of their art. Today, though, Daoist concepts are ubiquitous in martial arts literature, and a reading of these classics from a martial arts perspective shows how they lend themselves to philosophical thinking about this practice. (shrink)

The present volume is dedicated to the Wei Jin and Southern and Northern Dynasties (220â "589 AD), which is generally regarded as one of the most fascinating phases in Chinese history. The collection opens new theoretical and methodological pathways in sinological studies, bringing to the forefront a new idea of intercultural encounters based upon a culture of recognition. It highlights the significance of transition in the making of Chinese culture and history, revises prevailing historical approaches in the study (...) and research of China and develops and enhances existing theories or methodologies in this specific area of research. The wide diversity of contributions to the present volume reflects the multifaceted potential for creativity and renewal of this period. The focus is upon the interaction of ideas, researches and perspectives concerning a broad scope of relevant and significant issues in contemporary sinology. In order to understand this diversity, a wide range of cultural, theoretical and historical aspects are considered. The book reveals a new image of the period, thereby undermining the absolute authority and putative objectivity of common historical sources and interpretations. It shows that this was a period rich with political, economic, cultural and theoretical achievements that would prove decisive for the future development of Chinese culture and society. (shrink)

Os sentidos da paixão foram originalmente um curso livre que o Núcleo de Estudos e Pesquisas da Fundação Nacional de Arte (Funarte) promoveu no Rio de Janeiro, São Paulo, Brasília e Curitiba e que atraiu cerca de setecentas a mil pessoas em cada cidade. Prova da fertilidade do curso é este livro apaixonado. Nele, alguns dos mais brilhantes intelectuais brasileiros discutem desde o amor em Platão até a paixão em Pasolini, passando por Freud, Walter Benjamin e Clarice Lispector, o que (...) só comprova a riqueza de um tema que até então não havia sido objeto de um debate como este.ÍndiceApresentaçãoPor que tanta paixão? Adauto NovaesOS SENTIDOS DA PAIXÃOO conceito de paixão - Gérard LebrunSobre o medo - Marilena ChauiPlatão: as várias faces do amor - José Américo Motta PessanhaO CANTO DAS PAIXÕESA glória - Renato Janine RibeiroA inveja - Renato MezanA melancolia de Ulisses - Olgária MatosPaixão da igualdade, paixão da liberdade: a amizade em Montaigne - Sérgio CardosoA paixão dionisíaca em Tristão e Isolda - José Miguel WisnikO lenço e o caos - Jorge ColiPasolini: paixão e ideologia - Michel LahudA paixão de Clarice Lispector - Benedito NunesPoesia: a paixão da linguagem - Paulo LeminskiÉdipo e a paixão - Hélio PellegrinoO Dom de Édipo - Luiz Renato MartinsLou Andreas-Salomé: a paixão viva - Luzilá Gonçalves FerreiraA PAIXÃO REVOLUCIONÁRIAA alegoria da liberdade - Jorge ColiA paixão revolucionária e a paixão amorosa em Stendhal - Renato Janine RibeiroA PAIXÃO SILENCIOSARazão e paixão - Sérgio Paulo RouanetA psicanálise e o domínio das paixões - Maria Rita KehlBenjamin: política e paixão - Katia Muricy. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that (...) set our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that (...) set our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Xu Bing ranks among the most recognized contemporary Chinese artists in the world today. His lifelong interest in word and image paired with his experiences as part of the Chinese diaspora have made him the subject of numerous publications dedicated to exploring culture and communication. With Xu Bing and Contemporary Chinese Art, editors Hsingyuan Tsao and Roger T. Ames bring a welcome addition to this corpus. Compiling seven essays from scholars of art history and philosophy, this (...) volume in the SUNY series in Chinese Philosophy and Culture offers a remarkable range of approaches for thinking about not only Xu Bing's work but also contemporary art and culture at large.In their introduction, the editors foreground .. (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese (...) art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

Philosophy is, generally speaking, divorced from real life, and therefore, monotonous and rigid. But the author maintains that philosophy must be poetic. He advocates philosophy with beautiful features. Western postmodern art is closely related to real life, so art becomes life-oriented and vitalized. Philosophy may be inspired by Western postmodern art as follows: It should philosophize about life; philosophers may use reason to argue for an art-oriented realm of life and achieve a philosophy featuring beauty. (...) Traditional Western philosophy is typical of pursuit of abstract concepts and ideals and an estrangement from the sensible world and life. To make philosophy achieve artistic beauty, we must bring to an end traditional Western philosophy. With the end of old philosophy, a new philosophy came into being with the name of “post-philosophy”. One of the features of “post-philosophy” is the union of philosophy and poetry, which is no other than making philosophy achieve artistic beauty. The union of philosophy and poetry is also an important feature of most of traditional Chinese philosophy. Traditional Chinese philosophy ,especially, that of Daoism is similar to Western post-modern art. Both of them stress the realm of life and uphold the beauty of life, mind and spirit. Since the middle of the last century, under the influence of traditional Western philosophy, Chinese philosophy lost its traditional beauty. To keep this beauty, we need to go further and understand philosophy as a discipline to upgrade the realm of life. The beauty of life realm comes before the beauty of philosophy. Therefore, Chinese philosophy needs to become life-oriented like postmodern art. Inheriting and developing Daoism philosophy while absorbing the philosophy of life shown through postmodern art, seems to be a good way for us to enhance the realm of life and pursue the beauty of philosophy. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent (...) formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. -/- From his use of words in images (...) to his reference to the classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West. (shrink)

Drawing on ancient texts and modern interpretations, this work explores the foundations for war in China’s strategic culture-- Shih , Li , and Tao . Shih theory bases strategy on enemy intent, in contrast to Euro-American Li strategies based on forces. The work uses Shih theory to explain the anomalies that continue to perplex Euro-American observers in modern China’s uses of force.