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 article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the (...) attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

This book presents the foundations of classical Chinese aesthetic discourse--roughly from the Bronze Age to the early Middle Ages--with the following animating questions: What is art? Why do we produce it? How do we judge it? The arts that garnered the most theoretical attention during this time period were music, poetry, calligraphy, and painting, and the book considers the reasons why these four were privileged. Whereas modern artists most likely consider themselves musicians or poets or calligraphers or painters or (...) sculptors or architects, the pre-modern authors who produced the literature that established Chinese aesthetics prided themselves on being wenren, "cultured people," conversant with all forms of art and learning. Other comparisons with Western theories and works of art are presented at due junctures. Key Features Addresses Chinese aesthetic discourse on its own terms Provides comparisons of key concepts and theories with examples from Western sources Includes more coverage of primary sources than any other English-language book on the subject Each chapter opens with a helpful summary, highlighting the chapter's key themes. (shrink)

Analysis of Chinese landscape design offered a challenge to test the concepts of environmental aesthetics developed in the West. With comparative approach we improved our understanding of art and environment, and of different strategies in designing forms of Chinese gardens. In order to describe the "hidden" symbohsm of Chinese landscape design we applied various concepts and metaphors: completeness, large and small, mirror and mirroring, garden as entrance and separate reality, disclosure and concealment, and returning to the source.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Since it was first published in Chinese in 1981, The Path of Beauty has been read widely and translated into several languages, becoming a classic in the study of Chinese aesthetics. The author, a noted philosopher and aesthetician, draws on examples of sculpture, painting, calligraphy, and poetry, among other sources, from throughout China's history to build a cogent and engaging argument concerning the nature of Chinese artistic values. While providing an historical overview of Chinese art (...) from antiquity to modern times, he examines as well the evolution of the sociological, psychological, philosophical, and spiritual underpinnings of Chinese culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Praise of Blandness: Proceeding from Chinese Thought and AestheticsJoseph GrangeIn Praise of Blandness: Proceeding from Chinese Thought and Aesthetics. By François Jullien. Translated by Paul M. Varsano. New York: Zone Books, 2004. Pp. 1,969.A book praising "blandness"—which is the translator's English word for the French fadeur, which is the author's translation of the Chinese dan!—and a book that is at once fascinating and "repellent" (...) (to use the translator's description of his tortuous search for an equivalent of fadeur and dan), In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics by François Jullien is a "globalizing" philosophical essay bent on stopping readers in their tracks at every twist and turn of the text. Is it worth the trouble? I shall venture a response in this review.More than once while reading this book, I was reminded of Plato's Sophist, where the difficulty in locating the sophist is described in such intricate detail. First he is here, but then he is over there; on the other hand, he could be hiding near by— but wait, maybe he has disappeared. So it is also with blandness. And perhaps it should be so, because once you have located the bland, it ceases to be bland and turns into something else. To take a fix on blandness Jullien throws it against a number of traits, qualities, experiences, and events: strength, music, sounds, signs, landscapes, painting, tastes, literature, ideology, margins and centers, and, finally, the fact that "transcendence is natural." At the same time, the author weaves these contrasts and comparisons through the history of Chinese culture, especially in the evolution of its painting and poetry. [End Page 484]Foremost among the qualities associated with blandness is inner detachment. What come immediately to mind are Daoism, Chan Buddhism, and aspects of Confucian teaching. Jullien has already given us a splendid treatise in his The Propensities of Things, and in some ways this volume rings many changes on that study of Chinese culture. But there is more to blandness than causal efficacy. It also suggests openness and a mood of friendliness toward the other, the different, and all things strange. Further, blandness is similar to harmony in the sense that it does not insist on its own presence. Rather, it constantly blends together opposites through its own power.It is power and its expression that is at the heart of the author's project. He attempts over and over again to show how the seemingly weak is actually the strong, that the far away is really close to hand, that emptiness is charged with spontaneous creative energy. Thus, what lingers is not yet finished expressing itself. And the translator tells us that a gustatory sense is the primary base of fadeur, dan, and blandness. The body is the region within which the bland can have its most powerful effect. Think of Chinese medicine, where "the web that has no weaver" (the title of Ted Kaptchuk's brilliant book) is the object of the physician's art. Or consider the power of water to yield and then conquer all. Or remember the Mahāyāna Buddhist's invocation of śūnyatā as the source of healing and renewal. Or recall the many times that Confucius advises silence rather than words. All these moments are akin to what Jullien calls "blandness."One way to grasp the insight into Chinese culture that Jullien is struggling with is to express it by way of Neoplatonism and Spinoza. What is often forgotten in expositions of these formidable philosophies is the way in which they use a novel doctrine of causality to bind together different realms of beings. For Plotinus and Spinoza the cause never really leaves the effect but remains there, hidden but effective. It is through this lingering presence that transcendence and immanence, body and soul, and God and the World remain conjoined. The image of the ladder so frequently found in these texts must be understood to run in both directions—up and down. So also, blandness is a dao that opens up experience to further depths and heights.Jullien's major concern is aesthetics... (shrink)

A work of art is an intentional transformation of qi 氣 into a dynamic structure. The philosophy of qi is presented here as a means to develop the aesthetic theories of Richard Wollheim and Eliot Deutsch. Both Wollheim and Deutsch present their arguments, in part, as rejections of George Dickie’s “New Institutional Theory of Art.” I develop a robust qi aesthetic drawn from traditional sources and their contemporary commentaries as a way of joining the debate between Dickie and Wollheim/Deutsch, (...) taking the side of the latter, but attempting to provide a thicker vocabulary and a stronger rationale for challenging Dickie. (shrink)

Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on (...) the trends of diversification of artistic creativity. The focus of artistic expression has shifted from the depiction of direct natural objects towards the spiritual plane, which is a direct result of the creative activity of artists whose aspirations are manifested in the use of traditional Chinese ink painting in combination with new methods of figurative representation and deep understanding of spiritual content. Since ancient times, artists have actively sought to harmonize and balance the subjective and objective, as well as to achieve their organic combination. This article examines traditional Chinese painting as a source and driving force of the transformation of Chinese painting、prints of the era and integration in the content of paintings、attempts to introduce the Western concept of frontal composition, as well as updating the language of painting and artistic concepts. It is argued that the fundamental driving force and the main support for the development of Chinese painting in the context of globalization should be traditions integrated with new creative elements and techniques, thus it is possible to better promote Chinese culture and inherit the essence of traditional Chinese painting. (shrink)

Hefty and serious—that is how this book feels when you pick it up. That was my subjective aesthetic experience anyway. Aesthetic judgment is, after all, one key to assessing our thoughts and perceptions. More on that soon, as you might expect.Hefty and serious also describes the questions with which the volume grapples: Is there, or can there be, a clear American Aesthetics, not merely aesthetics practiced by Americans? What would that look like? How would such a process affect the minds (...) and actions of Americans?The answers? It's complicated.The twenty essays in this volume trace the possibility of an American Aesthetics from foundational ideas of the past to the contemporary landscape. The goal is not only articulating an aesthetics that is distinctively American—aesthetics as a method for examining the arts and the artful—but also the possibility of aesthetics as a dynamic tool for pursuing a flourishing life within our hyper-capitalist, consumerist culture.Constant amongst the scholars gathered here is the assertion that aesthetics is not an abstract academic pursuit interesting only to the privileged and interested few but rather that aesthetics is the key element in the human pursuit of meaning and purpose in our lives. Aristotle would approve!Speaking of ancestors, the scholars here trace the work of grandparents such as Ralph Waldo Emerson, Charles Pierce, and William James, and parents such as the pragmatist John Dewey and the process philosopher Alfred North Whitehead. (Whitehead is from the UK but “American” in that he died in the US after a long career at Harvard and wrote his magnum opus, Process and Reality, in the US.) From these ancestors, the scholars gathered in this volume see a path forward: Art as conscious experience, as Dewey posited, and/or art as committed immersion in the process, as Whitehead claimed.Whitehead's process approach—process aesthetics—reminds us that each moment of our experience in this at once mundane and amazing world is an occasion of beauty and a telos—each moment is in the larger process of reality quite literally our last.William James attempted to map how we might free ourselves from the everyday and from everyday-ness: “We are stuffed with abstract conceptions, and glib verbalities and verbosities and in the culture of these higher functions the peculiar sources of joy connected with our simpler functions often dry up” (109). Yet, according to James, there is hope due to the fact that we human beings seek art and do art first and foremost because we enjoy it.Enjoyment was not the angle from which John Dewey approached the subject. According to Dewey our aesthetic reactions and interactions create the experience of art (and life) that re-accesses “an underlying harmony... that we vaguely remember” (112). For pragmatists, noticing a “thing” is entering a relationship with that thing, what David Strong terms in his essay, “correlational coexistence” (371).From these building blocks the scholars assembled propose ways to change US culture from one prone to ask, “What does it do?” into one in which it is increasingly possible to ask, “What does it mean?” This would be a fundamental shift in the dominant paradigms in US culture.How to get there? Randall E. Auxier offers a concise definition of “bad”—bad is something that is “lifeless and too much indebted to the actual.” My attempts at singing fall into that category, as do many American experiences conceived in the mode of what they do, not what they mean.That works of art escape or repel descriptions of their constitutive elements has proven to be a persistent philosophical conundrum through the centuries, as has the question of whether human feelings create an object or an object creates feelings, or both/and—Dewey's interaction of “organism and environment.” From whichever philosophical direction we approach this crux, aesthetic thinking can lead us to recognize and experience the inwardness of what we view as things—objects—and this examination can realign our personal axiology—our personal valuation of reality—the “ten thousand things” of ancient Chinese philosophy.Several authors cite Suzanne Langer's theory of symbol, broadening the scope of “art” well beyond Art with a capital A into the aesthetic and the ritualistic.The scholars gathered here are optimistic that aesthetic examination can create more of those rare moments (moments art can reliably create) in which our very being adjusts to the reality of existence, and we feel exhilarated and a part of the whole process of existence. We call this “nirvana” or “enlightenment.”That is another thing that feels hefty about this volume: the persistent optimism among the scholars that psychic wholeness and human flourishing are possible for more Americans. Robert S. Corrington terms this the “selving process,” roughly what Carl Jung termed “individuation.” This collection adds up to much more than the sum of its parts, as one idea inflected in a particular way by one author sparks off the same idea approached from a different perspective in another. This collection contains scholars on the cutting edge of process theology, pragmatism, aesthetics, and religion, many of whom are adept at crossing the traditional fences between academic fields. The US needs an American Aesthetics. As American poet William Carlos Williams wrote,It is difficultto get the news from poems yet men die miserably every day for lackof what is found there. (shrink)

In Mao’s era, China’s policy makers and intellectuals viewed aesthetic experience and thought as handmaidens in the service of the political order. As China opened up and engaged more intensely with modern traditions of the West, aesthetic thinkers such as Li Zehou critiqued the subordinated role of aesthetics and reasserted notions of aesthetic autonomy and liberal humanism, calling for the separation of arts and literature from political, social, and moral concerns. This truncated aesthetic view stems from a modernist version of (...) Western aesthetics that favors sense and sensibility as the sole sources of aesthetic value—a view that considerably diminishes the horizon of concerns inherent in traditional and modern Chinese aesthetic thoughts. This article seeks to recapture a repoliticized aesthetics by considering the ways early twentieth-century Chinese thinkers linked aesthetic thoughts to moral and political considerations in the reconstruction of China as a modern nation-state. Instead of transcendent, pure aesthetics over and above political processes and social experience, prominent aesthetic thinkers like Wang Guowei, Cai Yuanpei, and Lu Xun invoked traditional Chinese aesthetic legacies and reconsidered intimate and necessary ties between aesthetic categories and broader concerns about cultural crises, moral reform, and nation building. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 64-76 [Access article in PDF] The Sign System in Chinese Landscape Paintings Cliff G. Mcmahon Paintings emerge from a culture field and must be interpreted in relation to the net of culture. A given culture will be implicated by the sign system used by the painter. Everyone agrees that in Chinese landscape paintings, the most important cultural bond is to (...) ancient Chinese Taoism, and to a lesser degree, to Confucianism. Obviously, then, the key for these landscapes is an alert understanding of Taoism, and the primary source is the book the Tao Tê Ching.Some of the most crucial elements in Taoist beliefs are often ignored in the analysis of the Taoist landscapes, and this deserves more attention. The core of Taoism lies in a philosophic and religious guess, and the guess is made as an effort to reach a high-order explanatory theory of the origin of the universe, the structure of the universe, and the best path for human life. The guess of the ancient Chinese sages goes something like this: The universe is created by an Ultimate One whose nature remains mysterious, beyond the power of words, an Absolute pervaded by the spirit of motherhood, and thus moved to the acts of creation, using two agents of creation. These two agents are invisible but real forces that operate by the tension of polarity, the dynamic interplay of negative and positive energies, much like male and female forces. The female power is called Yin, the male power Yang. The female power is seen wherever there is fluidity, softness, openness, receiving, emptiness, or darkness. The male power is at work in hardness, assertiveness, force, and light. Everything that is made is a blending of the Yin and Yang polarities, and the dynamism and flux of reality is based on the tendency of Yin and Yang to advance and retreat, the tendency of one to become the other, just as summer changes into winter, and day changes into night. In order for a man to be complete, he must learn to put on the way of woman, to be receptive. This is a very intelligent principle. [End Page 64] When we take in all our impressions of nature, and take in all the books we have read, we are in the receptive mode. The Yin female principle of emptiness has a priority over Yang in that there must be an empty space before any concrete thing comes to occupy the space. The Yin female force is seen in the low and quiet valley, and in the fluid receptivity of water. Yang is in the bold assertive mountains and in the hardness of stone. Yin appears in the graceful and flexible bending of bamboo, while Yang is in the hardness and strength of bamboo. Since Yin is associated with water, all forms of cloud and mist are symbols of Yin. Yang is action, Yin is wisdom.One of the most important aspects of Taoism is the principle that the mysterious Absolute One has permeated all of reality and serves the good of all creatures in every passing minute, asking nothing in return and offering no favoritism to any age or any group. This is obviously a sophisticated and intelligent principle for a theology. On this point, Taoism is superior to Buddhism, Christianity, and Islam. Christianity might have taken a similar stand in that the gospel of John declares that the eternal logos dwells in all created things in a timeless manner, and was fully embedded in the world before the coming of the historical Jesus, but so far, Christians have almost totally ignored the opening lines of John.This philosophic core of Taoist belief compares to the great Western idea that Godhead creates by the use of cosmic agents. In the gospel of John, the logos is the agent. In chapter eight of Proverbs, Wisdom is the agent. In Plotinus, Nous is the agent. In Heraclitus, the polarities of love and hate are this agent. Sometimes the idea of cosmic agent is used to protect... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 64-76 [Access article in PDF] The Sign System in Chinese Landscape Paintings Cliff G. Mcmahon Paintings emerge from a culture field and must be interpreted in relation to the net of culture. A given culture will be implicated by the sign system used by the painter. Everyone agrees that in Chinese landscape paintings, the most important cultural bond is to (...) ancient Chinese Taoism, and to a lesser degree, to Confucianism. Obviously, then, the key for these landscapes is an alert understanding of Taoism, and the primary source is the book the Tao Tê Ching.Some of the most crucial elements in Taoist beliefs are often ignored in the analysis of the Taoist landscapes, and this deserves more attention. The core of Taoism lies in a philosophic and religious guess, and the guess is made as an effort to reach a high-order explanatory theory of the origin of the universe, the structure of the universe, and the best path for human life. The guess of the ancient Chinese sages goes something like this: The universe is created by an Ultimate One whose nature remains mysterious, beyond the power of words, an Absolute pervaded by the spirit of motherhood, and thus moved to the acts of creation, using two agents of creation. These two agents are invisible but real forces that operate by the tension of polarity, the dynamic interplay of negative and positive energies, much like male and female forces. The female power is called Yin, the male power Yang. The female power is seen wherever there is fluidity, softness, openness, receiving, emptiness, or darkness. The male power is at work in hardness, assertiveness, force, and light. Everything that is made is a blending of the Yin and Yang polarities, and the dynamism and flux of reality is based on the tendency of Yin and Yang to advance and retreat, the tendency of one to become the other, just as summer changes into winter, and day changes into night. In order for a man to be complete, he must learn to put on the way of woman, to be receptive. This is a very intelligent principle. [End Page 64] When we take in all our impressions of nature, and take in all the books we have read, we are in the receptive mode. The Yin female principle of emptiness has a priority over Yang in that there must be an empty space before any concrete thing comes to occupy the space. The Yin female force is seen in the low and quiet valley, and in the fluid receptivity of water. Yang is in the bold assertive mountains and in the hardness of stone. Yin appears in the graceful and flexible bending of bamboo, while Yang is in the hardness and strength of bamboo. Since Yin is associated with water, all forms of cloud and mist are symbols of Yin. Yang is action, Yin is wisdom.One of the most important aspects of Taoism is the principle that the mysterious Absolute One has permeated all of reality and serves the good of all creatures in every passing minute, asking nothing in return and offering no favoritism to any age or any group. This is obviously a sophisticated and intelligent principle for a theology. On this point, Taoism is superior to Buddhism, Christianity, and Islam. Christianity might have taken a similar stand in that the gospel of John declares that the eternal logos dwells in all created things in a timeless manner, and was fully embedded in the world before the coming of the historical Jesus, but so far, Christians have almost totally ignored the opening lines of John.This philosophic core of Taoist belief compares to the great Western idea that Godhead creates by the use of cosmic agents. In the gospel of John, the logos is the agent. In chapter eight of Proverbs, Wisdom is the agent. In Plotinus, Nous is the agent. In Heraclitus, the polarities of love and hate are this agent. Sometimes the idea of cosmic agent is used to protect... (shrink)

The purpose of this article is to present the results of a contrastive study of the ideas of male beauty among Russians and Chinese. These ideas are studied culturologically, through the restoration of the relevant fragments of national pictures of the world. For this purpose, both linguistic and comparative-historical methods are used. Russian concepts of beauty are analyzed in the corresponding concepts in the Russian language, etymology and modern meanings, Russian epics, the reign of Peter the Great, the XVIII (...) - XIX centuries, the period of the Great October Socialist Revolution, the Stalinist period and the period of late socialism, modern ideas. To analyze the Chinese view of the subject under study, the corresponding hieroglyphs, lexical combinations, idioms, philosophical and aesthetic sources, and modern realities are analyzed. Such a multidimensional consideration of beauty in the Russian and Chinese pictures of the world caused the novelty of the study. Comparisons of Russian and Chinese are the main conclusion of the work: ideas about beauty are not just different, they are opposite. It is important to note that the image of the hero in Russian culture is a symbol of male beauty, and in Chinese, on the contrary, it is a symbol of a rude and unaesthetic person. The main oppositions are male/female, West/The East, rational/emotional — are characteristic of the Russian picture of the world, but they are not completely manifested in the Chinese ideas about beauty. The Chinese do not oppose, but combine what looks like an opposition in our culture. (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:Reviewed by:Research on the Transformation of Contemporary Chinese Science Fiction by Zhan LingShaoming DuanZhan Ling. Research on the Transformation of Contemporary Chinese Science Fiction. Beijing: China Social Sciences Press, 2022, 324 pages, softcover, ¥ 118.00 ISBN: 978-7-5203-9465-9.Research on the Transformation of Contemporary Chinese Science Fiction is a laudable scholarly endeavor that provides reader with a unique interpretation of the representative works in contemporary China science fiction. (...) Taking "transformation" as the key word, this book outlines the development process and transformation features of science fiction since the founding of the People's Republic of China (i.e., new China). Starting with the investigation of the reasons for each transformation, this book combs the changes in the creative values, scientific views, and aesthetics of science fiction in more than seventy years. The book also aims to show the literary achievements of contemporary Chinese science fiction, affirm the academic values of "transformation" from the perspective of literary development history, and points out the existing shortcomings. This book will interest global scholars in literary studies, especially those in the field of Chinese science fiction studies. The detailed studies of contemporary Chinese science fiction by Zhan Ling connect her primary sources with wider temporal and spatial contexts. Zhan Ling approaches contemporary Chinese science fiction that was mostly unknown to the scholars of the twenty-first century, some of which were underestimated and even ignored for a long time.The book has an introduction, seven chapters, and a conclusion. The introduction briefly introduces the origin of Chinese science fiction. There was no category of "science fiction" in ancient Chinese literary tradition; it actually appeared in the late Qing dynasty. At that time, the Qing government was defeated miserably by Western powers in the two [End Page 521] "Opium Wars" and was forced to sign a series of unequal treaties with Western powers, which greatly damaged China's sovereignty and territorial integrity.In order to achieve the goals of "enriching the country and strengthening the army" and "learning foreign technology to counter foreigners," the Qing government decided to carry out the "Westernization Movement" (1861–95), calling on Qing officials to learn and use Western advanced science and technology and set up modern military, industry, and civilian enterprises. Science fiction, as a kind of literature directly linked with Western science and technology, had been introduced into China. In 1872 the Chinese version of Washington Irving's Rip Van Winkle was published in Shanghai Shen Daily, which opened the exploration of science fiction in Chinese literature. In 1904 Huang Jiangdiaosou (pen name) wrote the first Chinese science fiction, The Moon Colony. The intellectuals in the late Qing dynasty regarded science fiction as the literary practice of "saving the country through science" (6). Science fiction had contributed to the establishment of modern scientific consciousness for the pedantic people in the late Qing dynasty. The decline of the Qing dynasty was marked by the invasion and encroachment of the Western powers, which marked the formation of Chinese semicolonial and semifeudal society; This, in turn, contributed to the development of science fiction in China.The main body consists of seven chapters. Zhan Ling discusses the changes and transformations in the development of science fiction in contemporary China. The founding of new China marked the full rule of the Communist Party of China. In order to distinguish from the Kuomintang rule, the Communist Party called it "contemporary" after 1949. According to this "division," "contemporary science fiction" of the title refers to the science fiction published in mainland China after 1949. Compared with the past, science fiction in contemporary China has made great progress in quality and quantity (12).Zhan Ling divides the development of science fiction in contemporary China into four stages. The first phase was from 1949 to 1966. The second phase is from 1978 to 1984. The third phase is from 1985 to 1999. The fourth phase is the twenty-first century. The book tries to integrate the development history of contemporary Chinese science fiction into the development history of Chinese science fiction for research, and even puts contemporary Chinese science fiction into the development history of world science fiction [End Page 522... (shrink)

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic (...) literary materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 89-104 [Access article in PDF] The Ethical Power of Music:Ancient Greek and Chinese Thoughts Yuhwen Wang Both the ancient Chinese and Greeks from around the fifth century B.C. to around third century A.D. recognized the immense impact that music has on the development of one's personality, and both regarded it as crucial in cultivation for the proper disposition in youth. (...) Music's power over one's ethos 1 — that is, human disposition — was emphasized by Plato and by Chinese authors of various documents. 2 As will become clear, music in both cultures was considered an important means for a proper education and a powerful tool for cultivating and controlling the people of a nation-state. In both cases, the power of music was further connected to the way the universe works. Yet despite their similar views about music, the reasoning strategies used in the two cultures differ enormously. Observing how the two remote cultures conceived the relationship between music and the ethos may give us some insight to music's role in aesthetic education among us modern listeners.In this essay, I investigate how the power of music was understood and explained in these two ancient cultures, and the similarities and differences in their explanations and reasoning strategies. What mechanisms were thought to be at work behind this musical power? How close are ancient Greeks and Chinese in their conceptions of musical power upon the ethos? In particular, the Yue Ji (Record of Music, from the Li Ji) and the Yue Shu (Book of Music, from the Shi Ji) from ancient China, and Plato's writings from ancient Greece will be taken as the foci of the comparison.The Yue Ji and Yue Shu are two of the most important documents in ancient Chinese musical philosophy, respectively included as individual sections in the Li Ji (Record of Rituals) and Shi Ji (Records of the Grand Historian). Both are believed to be later versions of the same source document, which has never been found. In the Chinese textual tradition, the Yue Ji is the earliest fully developed treatise on music that has come down to us. Its authorship has been debated for centuries, but scholars generally agree that [End Page 89] it was completed prior to the middle of the Western Han dynasty (second and first centuries B.C.) The entire contents of the Yue Ji are included in the Yue Shu. The latter contains additional material, is organized in a more logical way, and is also thought to have been compiled during the Western Han dynasty. 3In the first part of this essay, I will use the Yue Ji, the Yue Shu, and Plato's writings to show how the concept of music's power over the ethos evolved in the two ancient cultures. This is closely related to their views on music's effect in regulating human behavior, its educational value, its benefits for governing a state, and its close association with Nature and the universe. Then in the second part, I will focus on the ways that Plato and the authors of the Yue Ji and Yue Shu explained this power, and the reasoning strategies that they used. Essential Belief in Music's Power The close relationship between music and the ethos is explicitly announced in the Yue Ji and the Yue Shu. Both documents state approvingly that "music represented (made clear) virtue" for the ancient rulers (SSJ, 5, 678). 4 Various kinds of music are then pointed out as having different effects upon human ethos and emotion: Men have powers of the body and powers of the mind but they cannot remain stable with regard to grief, pleasure, joy, and anger. They are moved by external causes. Thus originates the appearance of the various affections. Therefore, if feeble, trivial, and rushed music prevails, people will be sad. If harmonious, peaceful, varied but simple music prevails, people will be gratified and happy. If vigorous, violent, and forceful music prevails, which arouses people to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 89-104 [Access article in PDF] The Ethical Power of Music:Ancient Greek and Chinese Thoughts Yuhwen Wang Both the ancient Chinese and Greeks from around the fifth century B.C. to around third century A.D. recognized the immense impact that music has on the development of one's personality, and both regarded it as crucial in cultivation for the proper disposition in youth. (...) Music's power over one's ethos 1 — that is, human disposition — was emphasized by Plato and by Chinese authors of various documents. 2 As will become clear, music in both cultures was considered an important means for a proper education and a powerful tool for cultivating and controlling the people of a nation-state. In both cases, the power of music was further connected to the way the universe works. Yet despite their similar views about music, the reasoning strategies used in the two cultures differ enormously. Observing how the two remote cultures conceived the relationship between music and the ethos may give us some insight to music's role in aesthetic education among us modern listeners.In this essay, I investigate how the power of music was understood and explained in these two ancient cultures, and the similarities and differences in their explanations and reasoning strategies. What mechanisms were thought to be at work behind this musical power? How close are ancient Greeks and Chinese in their conceptions of musical power upon the ethos? In particular, the Yue Ji (Record of Music, from the Li Ji) and the Yue Shu (Book of Music, from the Shi Ji) from ancient China, and Plato's writings from ancient Greece will be taken as the foci of the comparison.The Yue Ji and Yue Shu are two of the most important documents in ancient Chinese musical philosophy, respectively included as individual sections in the Li Ji (Record of Rituals) and Shi Ji (Records of the Grand Historian). Both are believed to be later versions of the same source document, which has never been found. In the Chinese textual tradition, the Yue Ji is the earliest fully developed treatise on music that has come down to us. Its authorship has been debated for centuries, but scholars generally agree that [End Page 89] it was completed prior to the middle of the Western Han dynasty (second and first centuries B.C.) The entire contents of the Yue Ji are included in the Yue Shu. The latter contains additional material, is organized in a more logical way, and is also thought to have been compiled during the Western Han dynasty. 3In the first part of this essay, I will use the Yue Ji, the Yue Shu, and Plato's writings to show how the concept of music's power over the ethos evolved in the two ancient cultures. This is closely related to their views on music's effect in regulating human behavior, its educational value, its benefits for governing a state, and its close association with Nature and the universe. Then in the second part, I will focus on the ways that Plato and the authors of the Yue Ji and Yue Shu explained this power, and the reasoning strategies that they used. Essential Belief in Music's Power The close relationship between music and the ethos is explicitly announced in the Yue Ji and the Yue Shu. Both documents state approvingly that "music represented (made clear) virtue" for the ancient rulers (SSJ, 5, 678). 4 Various kinds of music are then pointed out as having different effects upon human ethos and emotion: Men have powers of the body and powers of the mind but they cannot remain stable with regard to grief, pleasure, joy, and anger. They are moved by external causes. Thus originates the appearance of the various affections. Therefore, if feeble, trivial, and rushed music prevails, people will be sad. If harmonious, peaceful, varied but simple music prevails, people will be gratified and happy. If vigorous, violent, and forceful music prevails, which arouses people to... (shrink)

SUMMARY1 The rational soul becomes the constant and dimensionless Euclidean point in all experience - defining the situations in which it finds itself, but itself undefined and undefinable in any situation. It is in nature but not of nature. Just as the dimensionless Euclidean point can occupy infinite positions on a line and yet remain unaltered, so the immortal, active intellect remains unaffected by the world in which it finds itself. It is not influenced by age, sense data, sickness or (...) death. It is the knower whose nature is pure knowing or reason. This is in great part the basic assumption that runs through the history of Aristotelean and modern symbolic logics24.The rational soul grasps identity, reasons consistently, and knows objectively for though it is in the world it is not of the world. Thus it is unnecessary and impossible to relate its truth to time or place or condition. As the source of understanding it need not be understood. It understands in that it knows. It is this which places the objective knower and observer outside of all systems of knowledge that it creates in philosophy, science and theology, and frees it from subjective interpretation. It is the absolute observer beyond self-observation.252 Language, values, and meanings reflect the absolute viewpoint of the dimensionless observer beyond the necessity of observation. The task of this observer is to know trie world just as the task of the animal and plant soul is motion and reproduction. The rational soul performs its task beyond nature as surely as animals and plants perform their tasks in nature. This is why it is possible to discuss the necessary evolution of living organisms in nature, but unnecessary to discuss the necessary or unnecessary nature of the evolution of this discussion. This is one of the reasons why determinism or predestination which seem so clearly applicable to nature, need not be applied to theories of determinism and predestination. These are principles grasped in reality beyond nature and totally inapplicable to the non-natural spirit that comprehends their essences. Thus self-reflexive questions about the questioner are as irrelevant as would be questions historically of “in what sense might the definition of dimensionless point itself be dimensioned or dimension-less?”26 Questions, on the other hand, that relate to the observed world are important for they can be truly answered (where questions as to the nature of the questioner cannot). In this view reality is not nature, but rather it is from reality that the objective observer, philosopher, scientist, and theologian understands and controls nature.3 Logic, the science of reason, is the science of all sciences. It reflects the pure and innate rational nature of the knowing intellect or soul. It is pure form beyond nature. Its realm is that of first principles or axioms. These too are in the world but not of it, as with Plato's eidos and Aristotle's universals. They are clear, true and self-evident. This explains the on going use of axiomatized revelations in studies in the natural and social sciences, the arts and the humanities. In symbolic logics, natural languages are in and of the world, but meta-languages are the constructs of pure intellectual activity and thus not natural. The abstract tends to become the more real, the less it can be found in nature. Rational souls, however, share a common reality that is as universal for Frege as it was for Aristotle.274 The occidental object tradition in general breaks out of the nature continuum by withdrawing into reality where the intellect knows and manipulates the world in philosophy, science, and theology from its position in and understanding of reality. Nature is a sub-set of reality and not vice versa. Axioms are the laws and determinants of nature and logic, but they are not nature.28 This means that at the basis of the occidental continuum of nature there is a qualitative and irreducible dichotomy of reality vs. nature. This has been most useful in the history of occidental science, but it produces a world view in which nature may lose the race with reality. SUMMARY IIIn the first portion of my paper, I discussed the implications of the Euclidean egg for philosophy and science as nature is understood and manipulated from reality. I shall now turn to what I see as the implications of the three-legged chicken view that the human intellect is in and of nature and that reality is a perspective in nature and is not simply the other of an irreducible qualitative dichotomy. Although there are an endless number of such implications that I could explore, the following, it seems to me are the most important:1 In the natural continuum there is no “dimensionless real” which can serve either as the locus of an external observer or a fixed position in nature. There is no perspective which is not an aspect of that upon which it is a perspective. The Chinese sage, for example, is one who sees himself/herself as one with or within natural process. This is expressed in a number of ways. Fung Yu-lan speaks of the difference between having no knowledge and having no-knowledge.34 Within such a continuum there can be no abstracting out of the absolute and unchanging. The nameless is the source of the named. First principles are the process itself and these principles are the alternation of opposites:“The Nameless is the origin of Heaven and Earth;The Named is the mother of all things.Therefore let there always be non-being so we may see their subtlety, And let there always be being so we may see their outcome. The two are the same.“352 An empty mind is not a blank mind. Where Aristotle viewed the mind as a blank tablet at birth to be filled by sense experience, Hsun Tzu speaks of its emptiness. It is the emptiness of the Tao itself:“The mind is constantly storing up things, and yet it is said to be empty. The mind is constantly marked by diversity, and yet it is said to be unified. The mind is constantly moving, and yet it is said to be still. Inevitably it will see things for itself. And although the objects it perceives may be many and diverse, if its acuity is of the highest level, it cannot become divided within itself.”36The nature in which and of which the mind is both perspective and aspect remains a totality. Being a totality, it is empty of itself just as any part of a whole, while a part of the whole, is empty of the whole. My ideas of myself are both of myself and empty of myself. This point can be illustrated with the simple example of knowing and speaking about two hands – one of which is mine, and the second of which belongs to someone else. 1 can objectify the second hand and fill my blank mind with information and observations about it, but I continue to remain outside of it –the arbiter in my statements of its nature and reality. However, in knowing my own hand, the hand known is also the knower and what I know represents a perspective upon an aspective of a totality of which “I–my–hand” are aspects. Being an aspect of the whole is being empty of the whole. If mind is in and of nature, any perspective on nature is an aspect of the whole. A blank mind is an unnatural mind outside of nature, filling up with impressions of nature. An empty mind is nature viewing nature as aspect and perspective. The occidental would be ashamed to reach old age and still have a blank mind. The Chinese sage would be ashamed to reach old age and still not recognize that the mind is empty.3 If mind is in nature and like nature, then language too reflects natural flow and change and process. It is one thing for me to talk about myself and another for me to talk about someone else. In the case of the latter, I may insist that objectively this other subject fits into this or that category and even administer tests to determine that it does do indeed so. But when I talk about myself, the speaker and the object of speech are one and the same. The terms I select do represent a dichotomy of sorts, but it is one of aspect and perspective and not subject and object. When I say “this is my hand” for example, the words create distinctions which are aspects of awareness but do not create an / that is or is not my hand. Language does not model or even represent reality as opposed to nature. It makes reality possible as something that nature says or thinks. Reality through language is an aspect of nature and thus a perspective upon itself as aspect. This is an important distinction that translators often miss.4 Logic in this natural continuum is concerned with distinctions in a very different sense. As a consequence of the unity of nature and mind, three kinds of distinction in experience are manifested: (a) Those distinctions which come into being as aspects of the changing world.The 10,000 things are in this sense aspects and not separate “identities” as some philosophers and scientists presuppose.37 (b) Those distinctions which come into being as aspects of the human mind. These are impressions of and thoughts about the infinite distinctions of which the restless mind is capable, (c) Those distinctions which come into being by way of the mind's use of symbols. These are the distinctions which permit us to stabilize and store our experiences, preserve the answers to our questions, and name the world into compartments and relationships.Implicit in these three assumptions which connect the distinguishing mind to the unity of a nature of'10,000‘ aspects, is an inferential process of aspect to perspective to knowledge to understanding to attitude to action/response. The reasoning mind synthesizes some aspect of experience in nature with a perspective upon this aspect. This synthesis, in turn, is an aspect of mind and the reasoning process proceeds from it to a perspective upon it which is knowledge and understanding. Knowledge and understanding in turn are aspects of thinking and the reasoning process proceeds from them to a perspective upon them which is an attitude. Attitude in turn is an aspect of thinking and the reasoning process proceeds from it to a perspective upon it which is reflected in the reasoning individual's actions and responses. This inferential process is a continuum which proceeds from aspects of experience to perspectives in thought to action and response. In this sequence an aspect is always connected by a perspective which becomes an aspect, until action/non-action, response occurs. This is as applicable to the details of life as it is to mastering life as a whole. When this inference process is incomplete many problems may result, ranging from action without understanding to the confusion of aspect and perspective with one another or to “obsession with distinctions.”38In practice this is a logic of paradox. The human being is aware that he or she is a living-dying aspect of nature, but an aspect which is also a perspective upon nature's aspects of living and dying. This paradox is the process around which a profound logic of aspect/perspective is developed by the sage. This view of logic within a continuum does not mean that there is no principle of identity, contradiction or excluded middle present – as some Chinese and European philosophers assume.These principles are also implicit in the knowing of my hand versus the knowing of the hand of another. However, the content, meaning, and application of these principles may vary just as when I say propriety, I mean propriety, and when the Chinese says li he means li but the context, meaning and application of the term may differ in each case.5 Aspect logic as it relates mind to nature in a cosmological totality is a series of syntheses in a cyclic continuum organizing thinking in phases. Each phase is an aspect/perspective synthesis which becomes an aspect of a further aspect/perspective synthesis. This progression might be described thusly: The synthesis of nature/human which is Tao (non-being) translates into the aspects of being (the 10,000 things), and as such is a synthesis of aspect and perspective. This synthesis of aspect and perspective translates into an aspect of ideas and as such is a synthesis of perception and conception. This synthesis of perception and conception translates into an aspect of knowledge, and as such is a synthesis of knowledge and understanding (understanding is a perspective upon knowledge) i.e., no-knowledge. This synthesis of knowledge and understanding translates into an aspect of purpose, and as such is a synthesis of purpose and action. The perspective here on action is aesthetic and/or moral. This synthesis of purpose and actions translates again into an aspect of nature and as such is a synthesis beyond individual aspects and perspective, i.e. Tao. Thus there is a cyclic dynamic in the system which remains open to further development.Tai Chen in his Inquiry Into Goodness connects this cycle of syntheses with wisdom and benevolence:Because there are mind and intelligence, the superior man knows that the perfection of the Way of Man depends completely upon nature. When he looks at the signs of the natural (Cheng), he knows the beginning of things; when he cherishes the virtue of supreme illumination, (Shen-ming), he knows the end of things. Proceeding from mind and intelligence to the attainment of the virtue of supreme intelligence, [the superior man] in his treatment of things in the world will cause the world to return to [the principles of] benevolence; and in his treatment of the capability inherent in things, he will cause the world to follow wisdom (Chih).39. (shrink)

The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of music (...) that past thinkers wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition and Practice: Li Zehou's Philosophical Aesthetics by Rafal BankaJana S. Rošker (bio)Cognition and Practice: Li Zehou's Philosophical Aesthetics. By Rafal Banka. Albany, New York: SUNY, 2022. Pp. vii+ 230. Hardcover $95,00, isbn 978-1-4384-8923-4. In his book Cognition and Practice: Li Zehou's Philosophical Aesthetics, Rafal Banka delves into the cognitive philosophy of Li Zehou, one of the most significant and influential Chinese philosophers of our time. Banka (...) not only provides a deeper understanding of Li's work, but he also places his studies on beauty and aesthetic experience in close proximity to current international research in philosophical aesthetics that places great importance on the embodiment and embeddedness of the subject. By delving into Banka's analysis of the cognitive dimensions of Li Zehou's aesthetics, readers can gain a deeper understanding of how this philosopher approaches the intersection of aesthetics and cognition. Through Banka's interpretation, Li's specific view on the intricate relationship between sensory perception and mental processes is highlighted, offering readers the potential for a more nuanced conception of his philosophical perspective. Banka's contribution to our understanding of Li's theories of cognition is deeply intertwined with the methodological framework and theoretical approach used in his work. The former is based upon an analytical perspective that enables him to identify key themes and concepts in Li's cognition theory, as well as to critically evaluate the strengths and weaknesses of his approach. By employing this framework, Banka provides a comprehensive and nuanced analysis of Li's cognitive dimensions that is grounded in rigorous examination. In addition to the methodological framework, the comprehensive theoretical approach that Banka applies in his study is also integral to understanding Li Zehou's contribution to the theory of perception on an international level. The book is divided into three distinct parts, each of which explores a different aspect of Li's philosophy. In the first part, Banka examines Li's main sources of inspiration, specifically the philosophers and philosophies that have significantly influenced and contributed to his own work. This section primarily focuses on classical Confucianism, Marxist historical materialism, and Li's unique reinterpretations of Immanuel Kant's philosophies, particularly those presented in his second and third critiques. [End Page 1]In the first three chapters that constitute this first part, Banka offers a clear and comprehensive analysis of how Li Zehou has viewed Kant's apriorism through the lens of Confucianism and integrated it with Marxist materialist foundations, revealing the coherence with his theory of anthropological ontology. By highlighting the interconnectedness of these diverse influences, Banka illuminates the unique synthesis of ideas that form the foundation of Li's philosophy. Through his detailed analysis, Banka shows how Li Zehou managed to create a synthesis between the dynamic elements of historical materialism on the one hand, and Kant's transcendentalism on the other. In Li's system, the concepts of the empirical and the transcendental are interacting in a dynamic, correlative and mutually complementary way. They are both parts of a processual philosophy in which movement is always followed by a standstill. In such a worldview, they always appear as essentially interrelated and interdependent realms of life. Banka provides a comprehensive explanation of the theoretical foundations that underpin the interactive and complementary nature of these two systems. This has culminated in the development of Li's groundbreaking new theory on the transformation of the empirical into the transcendental. In the second part of the book, the author delves into Li's own philosophical system, specifically focusing on his concepts of "subjectality" and beauty. These concepts are not axiologically theorized but instead arise from subjective interactions between human beings and the external world. Through a detailed and logically consistent analysis, the author demonstrates how Li's aesthetics is compatible with contemporary experience-oriented theories that are redefining the discipline on an international level. In chapters 4 and 5, the much-discussed concept of subjectality is viewed from a highly productive perspective, starting from the very center of the notion itself, where a subject actively interacts with the external reality, which in turn shapes its inwardness. The author convincingly demonstrates... (shrink)

Thinkers from the Chinese and Greco-Roman traditions posit that disparate objects throughout the cosmos have mutual affinities. In the Stoic tradition, such affinities are explained through “sympathy.” In the Chinese tradition, the explanatory principle is often called ganying 感應 (resonance). In addition, both traditions use similar philosophical strategies when discussing these concepts. Thinkers cite natural correspondences, placing them in parallel lists as evidence for philosophical truths. On the surface, the analogous concepts and strategies hint that these thinkers share (...) similar philosophical goals. However, analysis of the role natural correspondences play in argumentation discovers fundamental differences between the two traditions. The focus on particular arguments instead of broader cosmological trends offers a different perspective for comparative research, and the conclusions raise questions concerning how scholarship should analyze philosophical trends in early China. (shrink)

In this book Prof. Cheng deals with its principle doctrines, its philosophy and its influence on.

This Source Book is devoted to the purpose of providing such a basis for genuine understanding of Chinese thought (and thereby of Chinese life and culture, ...

This paper explores both differences and points of contact between selected contemporary theories of public ethics in the West and China. China is in a greater state of flux in this connection, with new, eclectic approaches to ethical justification for moral agency gaining prominence. There are thematic parallels between East and West in their distinct strains of institutionalism . However, there are recent Chinese theoretical proposals – many incorporating Western sources – that address this quandary, namely the institutional (...) overdetermination of moral agency. These proposals are joined to contributions from feminist and liberation ethics in a critical reconsideration of overridingness in formal ethics. Contemporary Chinese ethics connect moral claims to kin, community, and reciprocity networks, particularly as traditional philosophy is recovered in new theoretical syntheses. The grounding of Confucian ethics i.. (shrink)

This essay is a case study of the inherent gentry bias of traditional Chinese sources, which tends to condition modern readers to view ancient East Asia through a “literati prism.” Using medieval onomastic data, the essay demonstrates the distorting effects caused by this prism, as well as the enigmas it engenders. In addition, the essay highlights a long-ignored legacy of early medieval nomadic conquests of northern China—the vulgarization of Chinese high culture.

For centuries, westerners have referred to China's numerous traditions of spiritual expression as "religious"--a word born of western thought that cannot completely characterize the passionate writing that fills the pages of this pathbreaking anthology. The first of its kind in well over thirty years, this text offers the student of Chinese ritual and cosmology the broadest range of primary sources from antiquity to the modern era. Readings are arranged chronologically and cover such concepts as Taoism, Confucianism, Buddhism, and (...) even communism. A large number of the selections concern the role of the female in Chinese religion, and are either by or about women. Through invocations, poetry, drama, philosophical texts, religious treatises, and modern fiction, students hear the voices of numerous Chinese masters expounding on the movements and traditions that inspired them: the mysterious Tao-te ching of Lao Tzu, cloaked in the mists of deepest antiquity; the Analects of stately, reverent Confucius; "Nailing a Stick into Empty Space," from The Recorded Conversations of Ch'an Master I-hsuan, and many others, including the work of Mencius, Pan Chao, Han Shan, Chang Tsai, Wang Yang-ming, Lu Hsun, and Mao Tse-tung. Fully one third of the translations are new, and each reading is preceded by an introduction that explains its importance and salient features. Complete with a helpful chronology of dynasties and list of possible video sources, this remarkable volume collects under one cover the most significant and influential works of China's dynamic spiritual tradition, making a fundamental contribution to courses in Chinese religion, literature, and history. (shrink)

For four decades _Sources of Chinese Tradition_ has served to introduce Western readers to Chinese civilization as it has been seen through basic writings and historical documents of the Chinese themselves. Now in its second edition, revised and extended through Deng Xiaoping and Jiang Zemin-era China, this classic volume remains unrivaled for its wide selection of source readings on history, society, and thought in the world's largest nation. Award-winning China scholar Wm. Theodore de Bary--who edited the first (...) edition in 1960--and his coeditor Richard Lufrano have revised and updated the second volume of Sources to reflect the interactions of ideas, institutions, and historical events from the seventeenth century up to the present day. Beginning with Qing civilization and continuing to contemporary times, volume II brings together key source texts from more than three centuries of Chinese history, with opening essays by noted China authorities providing context for readers not familiar with the period in question. Here are just a few of the topics covered in this second volume of _Sources of Chinese Tradition:_ • Early Sino-Western contacts in the seventeenth century; • Four centuries of Chinese reflections on differences between Eastern and Western civilizations; • Nineteenth- and twentieth-century reform movements, with treatises on women's rights, modern science, and literary reform; • Controversies over the place of Confucianism in modern Chinese society; • The nationalist revolution--including readings from Sun Yat-sen and Chiang Kai-shek; • The communist revolution--with central writings by Mao Zedong; • Works from contemporary China--featuring political essays from Deng Xiaoping and dissidents including Wei Jingsheng. With more than two hundred selections in lucid, readable translation by today's most renowned experts on Chinese language and civilization, _Sources of Chinese Tradition_ will continue to be recognized as the standard for source readings on Chinese civilization, an indispensable learning tool for scholars and students of Asian civilizations. (shrink)

China is currently afflicted by enormous environmental problems. This book, drawing on ancient and modern Chinese environmental thinking, considers what it is that makes an environment a desirable place for living. The book emphasises ideas of beauty, and discusses how these ideas can be applied in natural, agricultural and urban environments in order to produce desirable environments. The book argues that environment is both a product of nature and of human beings, and as such is potentially alterable by culture. (...) The book explores the three aspects of environmental beauty whereby such alteration might be beneficially made: integrated and holistic; ecological and man-made; and authentic and everyday. (shrink)

For four decades _Sources of Chinese Tradition_ has served to introduce Western readers to Chinese civilization as it has been seen through basic writings and historical documents of the Chinese themselves. Now in its second edition, revised and extended through Deng Xiaoping and Jiang Zemin--era China, this classic volume remains unrivaled for its wide selection of source readings on history, society, and thought in the world's largest nation. Award-winning China scholar Wm. Theodore de Bary -- who edited (...) the first edition in 1960 -- and his coeditor Richard Lufrano have revised and updated the second volume of Sources to reflect the interactions of ideas, institutions, and historical events from the seventeenth century up to the present day. Beginning with Qing civilization and continuing to contemporary times, volume II brings together key source texts from more than three centuries of Chinese history, with opening essays by noted China authorities providing context for readers not familiar with the period in question. Here are just a few of the topics covered in this second volume of _Sources of Chinese Tradition:_ • Early Sino-Western contacts in the seventeenth century; • Four centuries of Chinese reflections on differences between Eastern and Western civilizations; • Nineteenth- and twentieth-century reform movements, with treatises on women's rights, modern science, and literary reform; • Controversies over the place of Confucianism in modern Chinese society; • The nationalist revolution -- including readings from Sun Yat-sen and Chiang Kai-shek; • The communist revolution -- with central writings by Mao Zedong; • Works from contemporary China -- featuring political essays from Deng Xiaoping and dissidents including Wei Jingsheng. With more than two hundred selections in lucid, readable translation by today's most renowned experts on Chinese language and civilization, _Sources of Chinese Tradition_ will continue to be recognized as the standard for source readings on Chinese civilization, an indispensable learning tool for scholars and students of Asian civilizations. (shrink)

For four decades _Sources of Chinese Tradition_ has served to introduce Western readers to Chinese civilization as it has been seen through basic writings and historical documents of the Chinese themselves. Now in its second edition, revised and extended through Deng Xiaoping and Jiang Zemin--era China, this classic volume remains unrivaled for its wide selection of source readings on history, society, and thought in the world's largest nation. Award-winning China scholar Wm. Theodore de Bary -- who edited (...) the first edition in 1960 -- and his coeditor Richard Lufrano have revised and updated the second volume of Sources to reflect the interactions of ideas, institutions, and historical events from the seventeenth century up to the present day. Beginning with Qing civilization and continuing to contemporary times, volume II brings together key source texts from more than three centuries of Chinese history, with opening essays by noted China authorities providing context for readers not familiar with the period in question. Here are just a few of the topics covered in this second volume of _Sources of Chinese Tradition:_ • Early Sino-Western contacts in the seventeenth century; • Four centuries of Chinese reflections on differences between Eastern and Western civilizations; • Nineteenth- and twentieth-century reform movements, with treatises on women's rights, modern science, and literary reform; • Controversies over the place of Confucianism in modern Chinese society; • The nationalist revolution -- including readings from Sun Yat-sen and Chiang Kai-shek; • The communist revolution -- with central writings by Mao Zedong; • Works from contemporary China -- featuring political essays from Deng Xiaoping and dissidents including Wei Jingsheng. With more than two hundred selections in lucid, readable translation by today's most renowned experts on Chinese language and civilization, _Sources of Chinese Tradition_ will continue to be recognized as the standard for source readings on Chinese civilization, an indispensable learning tool for scholars and students of Asian civilizations. (shrink)

This essay argues for the primacy of aesthetic resources, which use appeals to the senses and emotions more than interpersonal negotiation or empirical reasoning, in contemporary Chinese political communication. Chinese officials and citizens create politically acceptable utterances by assembling existing aesthetic resources in particular orders. This strategy has partly been forced on the party state by its internally contradictory history and has partly resulted from the use of advertising and marketing techniques. Excessive reliance on aesthetic resources, and the (...) miscellaneous and inconsistent nature of the resources chosen, may prove to be a political weakness for the party state. (shrink)

This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...