One of the common targets that contemporary feminists are critical of concerning the problem of the body is Rene Descartes' mind and body relation. Feminist scholars can identify at least three lines of investigation of the body in contemporary thought that may be regarded as legacies of the Cartesian view, which treat the body as primarily an object for: 1) the natural sciences, particularly for the life sciences, biology, and medicine; 2) as an instrument or a machine at the disposal (...) of consciousness or allocating an animating, willful subjectivity; and 3) as a vehicle of expression of private thoughts and feelings; that is, as fundamentally passive and transparent. Recently, feminist scholars are seriously thinking of a new conceptual model that can displace Cartesian dualism and that can emancipate notions of the body from Cartesian dominant mechanistic models and metaphors. In this light, this paper turns to a Confucian theory of the body for revelation and the case of Mencius is introduced, in which the mind is regarded as the major component of the body and a coherent model is adopted. Can we then conclude to ask in what ways the reclaiming of the body in the Contemporary Western discussion may learn from the Confucian ideas of the body...? (shrink)

One of the common targets that contemporary feminists are critical of concerning the problem of the body is Rene Descartes' mind and body relation. Feminist scholars can identify at least three lines of investigation of the body in contemporary thought that may be regarded as legacies of the Cartesian view, which treat the body as primarily an object for: 1) the natural sciences, particularly for the life sciences, biology, and medicine; 2) as an instrument or a machine at the disposal (...) of consciousness or allocating an animating, willful subjectivity; and 3) as a vehicle of expression of private thoughts and feelings; that is, as fundamentally passive and transparent. Recently, feminist scholars are seriously thinking of a new conceptual model that can displace Cartesian dualism and that can emancipate notions of the body from Cartesian dominant mechanistic models and metaphors. In this light, this paper turns to a Confucian theory of the body for revelation and the case of Mencius is introduced, in which the mind is regarded as the major component of the body and a coherent model is adopted. Can we then conclude to ask in what ways the reclaiming of the body in the Contemporary Western discussion may learn from the Confucian ideas of the body...? (shrink)

Leading international scholars present analysis and case studies from different cultural settings, East and West, exploring aesthetic interest and experience in our daily lives at home, in workplaces, using everyday things, in our built and natural environments, and in our relationships and communities. A wide range of views and examples of everyday aesthetics are presented from western philosophical paradigms, from Confucian and Daoist aesthetics, and from the Japanese tradition. All indicate universal features of human aesthetic lives together with their cultural (...) variations. Comparative Everyday Aesthetics is a significant contribution to a key trend in international aesthetics for thinking beyond narrow art-centered conceptions of the aesthetic. It generates global discussions about good, aesthetic, everyday living in all its various aspects. It also promotes aesthetic education for personal, social, and environmental development and presents opportunities for global collaborative projects in philosophical aesthetics. (shrink)

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My (...) paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations. (shrink)

In this short autobiographical essay, I reflect upon what comparative philosophy could mean to the social existence of a female Chinese scholar like me. I argue that comparative studies have been beneficial to people like me who live in hybrid, ex-colonial spaces. Comparative philosophy has allowed me to develop, and hone, my own understanding of issues pertaining to feminist theory and aesthetics. It has also aided me in recontextualizing and reappropriating some elements of my Confucian background.

This study analyzes Kierkegaard's theory of authorship from a comparative perspective, by using Liu Xie's 劉勰 Chinese literary criticism in Wenxin Diaolong《文心雕龍》as a comparative model. It examines the meaning of an author of literature writing, the spiritual, the aesthetic dimensions and the creative force of compositional literary writing, and finally the goal of writing, as elaborated by these two authors. In Kierkegaard's sense, the quality of writing is mainly tied up with the religious mind of a person, while to Liu, (...) the quality of writing is related to the moral quality of a person. The following examination demonstrates how Kierkegaard and Liu complement and enrich each other in the understanding of authorship and writing. (shrink)