This book is a collection of articles on different aspects of university education in China since the late nineteenth century, addressing how far the ideal of modern university education, which has gradually been developed in the West since the age of European Enlightenment, was adopted or transformed by Chinese universities.

This article presents findings from research on young adults in the UK from diverse religious backgrounds. Utilizing questionnaires, interviews and video diaries, it assesses how religious young adults understood and managed the tensions in popular discourse between gender equality as an enshrined value and aspirational narrative, and religion as purportedly instituting gender inequality. The article shows that, despite varied understandings, and the ambivalence and tension in managing ideal and practice, participants of different religious traditions and genders were committed to gender (...) equality. Thus, they viewed gender-unequal practices within their religious cultures as an aberration from the essence of religion. In this way, they firmly rejected the dominant discourse that religion is inherently antithetical to gender equality. (shrink)

Pedagogy of power, oppression and empowerment: a Western theoretical underpinnings -- A Chinese confucian articulation of power, oppression and empowerment -- A Chinese legalistic articulation of power, oppression and empowerment -- A Chinese taoistic articulation of power, oppression and empowerment -- A Chinese maohistic articulation of power, oppression and empowerment -- Conclusion: a dynamic and holistic Chinese cultural articulation of power, oppression and empowerment.

In his fine and thought-provoking book, Visual Culture in Contemporary China: Paradigms and Shifts, Xiaobing Tang presents a short history of visual culture in China from the mid-twentieth century to the present, a period that corresponds to the entire history of the People's Republic of China. Examining an array of artwork in various media and genres, from woodblock prints and oil paintings to films, Tang strives to excavate a vital tradition of socialist visual culture in China of the past sixty (...) years or so—a tradition that has been shaped by two major imperatives: "to create an inspirational visual environment in support of the social revolution" and "to... (shrink)

The corpse of a high-ranking male official was unearthed in the 1975, and important archaeologic discoveries were claimed. The exact year of his funeral was 167 BC. Autopsy revealed that the man had peptic ulcer disease. His naked body exposing genitalia and post-dissection stitches, with the dissected-out intestines and brain lying alongside, is now exhibited in a formalin-impregnated viewing glass tank in a museum .Meanwhile a 2000-year-old clothed female corpse is on display in another museum. In 1971, workers in ….

The dark house.--The cell.--The endocrine glands.--Human types.--The brain and central nervous system.--Medical psychology.--Different paths to truth.--Consciousness.--The Vedânta.--Yoga.--Higher states of consciousness.--Religion.--Buddhism.--Christ and Buddha.--The church.--Mystical Christianity.--'If there had been a candle ... '--Bibliography (p. [251]-255).

Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of agency (...) as such. Without these things, the question of what to do for any individual would be underdetermined. The problem is that adopting such a contingent form of agency amounts to a restriction on what we can do, and so it is a prima facie threat to our autonomy. I will argue that one way, and indeed the only way, of meeting this challenge lies in aesthetic experience. Granting our capacity for aesthetic pleasure the authority to determine the particularities of our agency is compatible with autonomy because doing so means identifying with one’s capacity for pleasure in free and creative activity. Doing this allows us to be both particular sorts of agents and creatures regulated by the universalizing demands of reason. (shrink)

Abu Man ur al-Maturidi (gest. 333/944) gilt neben seinem Zeitgenossen Abu l- asan al-AS ari (gest. 324/936) als eine der prägenden Figuren des sunnitischen Islams und geniesst bis heute eine grosse Autorität. Die Denkschule der Maturidiyya fand breite Anerkennung in der islamischen Welt und ist heute vom Balkan über die Türkei bis nach Zentralasien prominent vertreten. Dennoch ist unser Wissen über sein Denken sehr begrenzt, da seine Schriften lange Zeit als verschollen galten, bis in den 70er Jahren des 20. Jahrhunderts (...) sein massgebliches kalam-Werk, das Kitab at-Taw id, ediert wurde und neue Forschungen anregte.Das Theodizeeproblem ist eine zentrale und hochkomplexe Fragestellung für jede monotheistische Religion. Wie kann im angesichts eines omnipotenten und absolut guten Gottes die Existenz von Bösem erklärt werden? Die islamische Theologie hat seit ihren Anfängen Antworten auf dieses Problem gesucht, wobei auch naturwissenschaftliche Erkenntnisse und weltanschauliche Überlegungen für die Apologie bemüht wurden. Während die meisten Antworten auf eine Leugnung oder Bonisierung des Bösen in der Welt hinausliefen, ist al-Maturidis Ansatz bis heute einzigartig in der Geschichte der islamischen Theologie und wartet noch immer darauf weitergedacht zu werden: Das Böse in der Welt ist ein Hinweis auf die Existenz eben des einen, allweisen und allmächtigen Gottes."-- Back cover. (shrink)

In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer (...) possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant-garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theorization of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today. (shrink)

This essay looks at the concept of AKEDAH, the essence of which is the travail of the human condition and the trust in vindication and victory, as a salient and deep metaphor for bioethics. The author first delineates the symbol, then shows its theological and ethical significance, and finally suggests its bioethical applications.The LORD said, “Go get Isaac, your only son, the one you dearly love! Take him to the land of Moriah, and I will show you a mountain where (...) you must sacrifice him to me on the fires of an altar.” So Abraham got up early the next morning and chopped wood for the fire. He put a saddle on his donkey and left with Isaac and two servants for the place where God had told him to go.Genesis 22There is silence all around. The Baptist appears, and cries: “Repent, for the Kingdom of Heaven is at hand.” Soon after that comes Jesus, and in the knowledge that He is the coming Son of Man lays hold of the wheel of the world to set it moving on that last revolution which is to bring all ordinary history to a close. It refuses to turn, and He throws Himself upon it. Then it does turn; and crushes Him. The wheel rolls onward, and the mangled body of the one immeasurably great Man, who was strong enough to think of Himself as the spiritual ruler of mankind and to bend history to His purpose, is hanging upon it still. That is His victory and His reign. (shrink)

This is the original Spanish language version of an essay (10,000 words) appearing in the Revista de Libros (Madrid), considering the history and future of the United Nations and global governance through the lens of Paul Kennedy's recent work, The Parliament of Man. The essay is highly skeptical of what it describes as platonism about the future of the UN as the seat of global governance. It offers an alternative view of how to consider the work of the UN, in (...) three areas: security, economic development, and values. The essay argues that, particularly with the rise of new great power tensions and multipolarity, the fantastic dream of the UN as the seat of a gradually arising global government, as Kennedy imagines things, should be given up in favor of a UN devoted to a modest set of quotidian tasks and the place for the great powers to engage in multilateral discussion, argument, and negotiation. (shrink)

The patient was a 19-year-old man who was the victim of an accidental head injury. The attending neurosurgeon felt that, due to uncontrollable and repeated elevated intracranial pressures, the patient would die within 48 hours. The patient's mother requested that the neurosurgeon contact a urologist to collect the patient's sperm for implantation into the patient's girlfriend. The neurosurgeon felt that the situation raised a number of ethical issues and requested that the hospital's bioethics committee consider the case.

Argues that the explanation of man's social and cultural differences is best defined by history, not human biology, maintaining that humans shape their social lives by their historical activities.

I argue that Husserl’s manuscripts on intersubjectivity discover a decisive role for self-movement in the constitution of the shared world. I explore two complementary constitutive functions. The first enables empathetic apperception by closing the divergence in sense between the original ego, which does not find itself at a location, and the alter ego, which is found over there. By traversing distances with its organically articulated Leibkörper, the original ego establishes an analogy between self-movement and thing-movement that guides the recognition of (...) another ego in space. The second accounts for the exchangeability of perspectives between differently located subjects. The restricted motility of the Leibkörper is discovered against the background of ideal but motivated possibilities of going to any distant perspective. These possibilities are rooted in the purely kinaesthetic potential of the Leib. To inhabit another perspective need not involve changing the world. This evidence underlies the Weltanschauung according to which what appears from the other’s perspective is a possible appearance for me. Taken together, these two constitutive functions show how self-movement discloses a definite but accidental location from which the ego shares the world. (shrink)

The origination of General Systems Theory is credited to Ludwig von Bertalanffy who, two years after receiving his doctorate from the University of Vienna, published a work in 1932 entitled Theorie der Formbildung. Despite, by his own account, an exposure to and familiarity with the positivism of the Vienna circle, von Bertalanffy was dissatisfied with the reductionist and atomistic forms of explanation which this group asserted is characteristic of scientific explanation. He was particularly unhappy with attempts to pattern explanations of (...) biological phenomena after the model of classical Newtonian physics. In this early work, Models Theories of Development, von Bertalanffy maintained both that the main problem for biology is to discover patterns (laws) which are typical of biological systems and that the discovery of such patterns would produce a major change in the way the world is viewed in general. Von Bertalanffy worked out his proposed model for biological explanation in such subsequent books as Theoretische Biologie and Problems of Life and then in his later years in such works as Robots, Man and Minds and Organismic Psychology and Systems Theory, went on to apply his concepts in a cross-disciplinary way to psychology. Again, by his own account, at a somewhat later period, others, for example the economist Kenneth Boulding and the bio-mathematician A. Rapport, had arrived at, for parallel reasons, certain similar ideas relative to their own disciplines. These individuals together with others formed a joint enterprise which was to result in the interdisciplinary systems movement. Von Bertalanffy stressed the multi-dimension possibilities for fruitful research in a large number of conceptual areas, including the humanities, in his final major work, General Systems Theory Foundation, Development and Applications. (shrink)

Fackenheim was one of the most philosophically serious, knowledgeable, and provocative contemporary Jewish thinkers. His original focus as a philosophical theologian was mainly on revelation, but in his later work he concerned himself primarily with the wide-ranging implications of the Holocaust. In this book, Kenneth Hart Green examines Fackenheim's intellectual trajectory and traces how and why he focused so intently on the Holocaust. He explores the deeper thought that Fackenheim developed about the Holocaust, which he construed as a cataclysmic (...) event that ruptured history and one that also brought about a change in the very structure of being. As Green demonstrates, the Holocaust, according to Fackenheim's interpretation, changes how we view all things, from God to man to history. It also radically affects Judaism, Christianity, and philosophy, the major traditions that have shaped the Western world. (shrink)

Interpretation of theAgamemnonin general and of its first choral sequence in particular has tended to proceed on two assumptions: first, that Aeschylus could have given an answer to the question, ‘Was Agamemnon free to choose whether or not to sacrifice his daughter?’; and secondly, that he composed the play in such a way that if we try hard enough we can discover his answer. I submit in this paper an interpretation which replaces both these assumptions with an alternative trio of (...) hypotheses for which, I think, a case can be made: first, that Aeschylus was well aware that in real life we cannot know the extent to which an agent was able to choose whether or not to commit a particular act; secondly, that inAg.104–257 he has portrayed realistically the manner in which people respond to the commission of an extraordinary and disagreeable act by a respected agent; and thirdly, that the aspect of Agamemnon's predicament which made the most powerful impression on Aeschylus and his audience is an aspect to which modern interpreters of the play have seldom alluded even by implication. I would not be so rash as to assert that Aeschylus never concerned himself with the question of responsibility, nor that his concepts of justice and retribution are of small interest, but I am not satisfied that ‘with all the powers of his mind’, as Professor Lesky puts it, ‘he wrestled with the problem arising from the conflict between human existence and divine rule’, nor do I take the view that a dramatist passionately involved in metaphysics and theology is a wiser and greater man than one who devotes the powers of his mind to concrete problems of poetic and theatrical technique. The scale of values adopted by interpreters of early Greek tragedy has certainly been affected, and has perhaps been somewhat distorted, by the dominant position of philosophy in European culture and education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 87-92 [Access article in PDF] Christian Prayer Seen from the Eye of a Buddhist Kenneth K. Tanaka Musashino Women's University, Tokyo When I think about Christian prayer, the image I get is that of a young girl of about eight years old with long brown hair. Wearing a nightgown, she is kneeling next to her bed with her hands clasped and her head bowed. (...) I have often queried myself about the source of this image. This is an interesting question in itself. I personally don't know of anyone who fits that description or who has actually witnessed someone like her in prayer. Nevertheless, it is interesting how a Buddhist raised in a predominately Christian society comes to form his image of Christian prayer.Working further with this image, I see this little girl—let's call her Megan—doing two things in her evening prayer. One is that she is giving thanks to God for the benefits she has received. She thanks him for her food, clothing, friends, and family. Then, she also makes a request. In this petitionary element of her prayer, she is asking God to make her sick father get well soon. As she does so, her expression turns more serious, and she clasps her hands more firmly and brings them closer to her chest. She then looks up toward the ceiling, expressing her heartfelt wish for her father's early recovery. What is noteworthy is that Megan's prayers are spoken aloud as in a human conversation.I realize that this image does not do justice to a topic as enormous as "Christian prayer," but I believe that it provides a glimpse into how one Buddhist imagines the topic. I have a number of questions about Megan's prayer, particularly as I try to understand what may be going on inside of her. I wonder first and foremost, what God looks like to her. Is God a male or a female, or neither? I would think that even for her (in this gender-sensitive age), God is still a male. If so, does she see him as an elderly man with a long white beard, holding a cane and sitting in a throne? Next, where does God reside? If he is in heaven, what is heaven like to her? I wonder if heaven is located somewhere amidst the lofty, puffy clouds. In regards to her father's illness, how does she think God can make her father get well? What is the mechanism by which a personified God can heal? Perhaps I am being too analytical and overly rigorous with my questions about a spiritual act, and that of an eight-year-old at that.Perhaps I should, instead, turn the questions toward me, asking how I would [End Page 87] answer the same questions about a Buddhist girl "praying" before the Buddha or a bodhisattva for the same kind of wish? The image that immediately crops up in my mind is of a girl of about twelve and her mother whom I saw at a pagoda in Rangoon, Burma, a number of years ago. The girl is wearing a large, red fresh flower in her hair and has on traditional apparel. She sits with her mother on a marble floor of a spacious area in front of Buddha images that are several meters in height. She holds a bouquet of flowers held upright between the palms of hands in a gesture of reverence. She sits with her legs folded but thrown out to her side, a style common in her country as well as in Thailand. Her eyes appear closed, and her head is slightly bowed down toward the Buddha images. She stays in that posture for what seems like several minutes; her mother does the same. I don't know, of course, what is going on inside, but she is certainly not meditating.I believe this is an important point to make here, for Buddhists are stereotypically seen to only meditate. However, the vast majority of lay Buddhists... (shrink)

In this paper, I offer both a brief study of Collingwood's conception of historical explanation and epistemological historicity, and an examination of the influence of Collingwood's work on the historical methodology of Quentin Skinner and on Gadamer's hermeneutic philosophy. Collingwood's work on the philosophy of history manifests a tension between the realist implications of the doctrine of reenactment and the logic of question and answer on the one hand, and, on the other, the constructionist tendency of the rest of his (...) work on the logic of historical inquiry and on the hermeneutic character of his more general conception of human historicity. This tension is displayed in the divergent interpretations of Collingwood by Quentin Skinner and Hans-Georg Gadamer, and in the inherent difficulties of each man's philosophy of history. I argue that the weaknesses of Skinner's methodological historicism are present already in his reading of Collingwood and reflect the difficulties inherent in understanding Collingwood as offering primarily a methodology of history. I also claim that Gadamer's hermeneutic philosophy, while presenting a more plausible reading of Collingwood, suffers from tensions similar to those within Collingwood's work between the logic of explanation and the logic of practical recommendation, and between the character of historical explanation and the character of philosophical understanding. (shrink)

Fredric Jameson's exacting essay, "The Symbolic Interference; or, Kenneth Burke and Ideological Analysis" Critical Inquiry 4 [Spring 1978]: 507-23) moves me to comment. I shall apply one of my charges of my title to him, he applies the other to me. The matter is further complicated by the fact that there is a distance at which they are hard to tell apart. For any expression of something implies a repression of something else, and any statement that goes only so (...) far is analyzable as serving to forestall a statement that goes farther. And I can't go as far as I think if I share with Jameson what I take to be his over-investment in the term "ideology." . . . the line between the implicit and the explicit being so wavering, there are many cases where the distinctions between conscious and unconscious become correspondingly blurred. But the kind of methodological repression that is implicit in Jameson's hermeneutic model can be wasteful beyond necessity. For it encourages him to be so precociously prompt in his "rereading" of a text that he doesn't allow his readers to read a single sentence of it. He doesn't tell them what Sinn, in its own terms, my text has on the subject of "ideology," "mystification," and the "unconscious." Instead, he cuts corners and settles for a report of the Bedeutung that it has for him. In this case the procedure is particularly wasteful because Jameson is highly intelligent, and if it weren't for the bad leads of his models he's the last man in the world who would have to be so bluntly inaccurate as he is on this occasion. I believe that he could put me through quite a trying ordeal if he could have but kept on the subject and pursued me accordingly. Kenneth Burke's previous contributions to Critical Inquiry are "Dancing with Tears in My Eyes" , "Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" , and a hermeneutic fantasy, "A Critical Load . . ." . He would like us to mention that William Willeford, the interlocutor of a section in " Motion/ Action," is a professor of English at the University of Washington. (shrink)

This chapter contains sections titled: Ancient Portraits Socratic Narratives and Other Ancient Images Summary Postantique Images Socrates as Wise Man Moralizing Tales The Death of Socrates Socrates and the Erotic Conclusion.

In lieu of an abstract, here is a brief excerpt of the content:Kandinsky, Kant, and a Modern MandalaKenneth BerryWhat gods are there, what gods have there ever been, that were not from man's imagination?—Joseph Campbell, "The Way of the Myth"Michele Roberts has written of the "joy of the human imagination, without which we would be unable to understand one another, and would thus wither and perish."1 This is the baseline for my discursive analysis of imagination and beauty in art as (...) it relates to the work of Kant and Kandinsky. While both accepted the forward movement of cognition in art and aesthetics, my concern is that some cognitively minded individuals neglect the part played by imaginative intuition in the creative process. Much recent art is lacking in both imagination and beauty. Although it may be rich in concept, according to Kant creative intuition is also necessary. Postmodernists' focused emphasis on the oblique, fleeting, transient, and ephemeral—short-lived, fugitive fashions or superficial trends in art and aesthetics—confuses the fleeting and moving present, rushing us forward into the future when we might do better to look back historically and constructively at the more enduring influence of Kant and Kandinsky. Of course, it might in one sense be in the "apparently unremarkable and evanescent that our lives sometimes find their greatest meaning,"2 but this does not imply that we cannot also learn from the past.Imaginative Representation in Kant and KandinskyIn his painting of 1926, Several Circles, Kandinsky depicts a group of overlapping, partially transparent discs that appear to drift freely against a black background. Will Grohmann has described this abstract scenario as a "cosmic metaphor" that points symbolically to a "limited infinite."3 Clearly, Kandinsky is concerned here with some transcendent meaning. Jung has remarked on the poetic association of the avian contour at the lower left of the painting—perhaps this is a metaphor for flight or spiritual freedom.4 The picture, he says, seems to represent a state of universalized equilibrium and harmony. This picture constitutes, to my mind, the expression, in a Kantian sense, of aesthetic ideas,5 mediating as it does between concepts and intuitions [End Page 105] and concerned as it is with the expression of artistic ideas in an imaginative, aesthetically harmonious form. On this topic Kandinsky has said: "If your imagination is not powerful enough to develop visions which are truly your own, and which, reduced to the state of ideas, can be translated into images, then go back to the study of nature"6Nature, we are told, Kant elevated above fine art in the sense that the beauty of nature's handiwork is the sole basis of the immediate interest that is taken in it7—it is untainted by desire or any concept of perfection or use (the merely agreeable), it is pleasurably imbued with "purposiveness without purpose" in the teleological implication of the "kingdom of ends." The dynamical and morally sublime, however, implied genius. Had Kant been living in our modern age, though he still might not have been a great art lover as such, he would surely not have dismissed Kandinsky's abstract compositions—as El Lissitzky did—as being mere wallpaper patterning, decorative arabesques, and the like; Kant would surely have recognized the symbolic power of these images as art!The Gestalt TheoryAccording to Immanuel Kant (1724-1804), aesthetic ideas are representations of the imagination. Following Rudolf Arnheim, a "representation" may be understood as either a man-made image or external figuration or, in another sense, as a "mental image."8 These ideas suggest that representation, through art, involves both the internal and the external. Representation in science is the means by which we generate images of the object "out there"—the basis of an objectivist epistemology. A scientific "representation" of the Giant's Causeway, supposedly built by Finn MacCool, might involve a computer simulation of columnar polygonal fractures in topographical detail. Kant, however, was concerned with representations of ideas, specifically aesthetic ideas as distinct from rational ideas. These were based on the animating principle of the soul, or Geist. In at least one language, Icelandic, which is an aesthetically pleasing language and very visual in language terms—abstract words... (shrink)

In the face of the new and radically different type of public order that seems to be emerging on the contemporary scene, Catholics have sought to secure the legal and social space necessary for themselves and their institutions to live in accordance with their beliefs by appealing to America’s historic commitment to religious freedom. The difficulty we confront is that the vision of man and society animating this order, a vision that emerges from Enlightenment Liberalism issues in an impoverished understanding (...) of religious freedom that fails to secure this legal and social space. (shrink)

John Paul II neither rejects modernity nor exalts the freedom it has engendered. Rather, he affirms the modem aspiration to achieve "the completeliberation of man," but does so in terms of "the complete truth about the human being" and "the truth and love revealed to men by Jesus Christ.".