Ths historical legacy inherited by thinkers of the Ch'un-ch'iu period comprised, briefly speaking: a religious world outlook characterized by ancestor worship; the ethical concept of filial piety and brotherliness, which was linked to ancestor worship, or derived therefrom; the concept of a ritual system; the conditions of aristocratic politics and scholar bureaucracy. These were things shaped on the basis of the blood ties in a patriarchal and racial society, and they were passive, from the standpoint of progress, being the obstacle (...) that hindered people from making big strides forward. Next, there were the tendency toward simple materialism and dialectics, which was born from the bowels of religious world outlook; the materialist philosophy of complaint against and hatred and cursing of Heaven; the belief in things and in laws; and Shih Po's doctrine of "Things are produced when matter combines." These were positive things, especially the last three, which emerged at a time when the slave system had begun to collapse, and which formed the premise of their ideological advance. Who among the thinkers of the Ch'un-ch'iu period would inherit and develop these things, what questions would be raised, probed, discussed, or argued on the common basis of their traditional thought, and what specific forms would be used to answer these questions had to be determined by their class stand and by the characteristics of the period in which they lived. (shrink)

The philosophical thought of the Ch'un-ch'iu period was derived and developed from the thought of the Yin dynasty and the Western Chou , there being an inseparable relationship of succession and transformation between them. Thus, in studying the philosophical thought of the Ch'un-ch'iu period, it is necessary to refer back to Yin-Chou thought. The courage and resolve evidenced by an attitude of so-called "cutting off the miscellaneous streams" in order to start with Lao Tzu or Confucius is really a very (...) awkward way of dissecting history. (shrink)

Comrade Huang Yüeh-mien's article, "A Discussion of the Aesthetics of the Wealthy" [Lun shih-li che ti mei-hsüeh], which criticized my point of view in aesthetics, was published later than my self-criticism. Before he published it, he had presented it at a discussion meeting at Peking Teachers College. He let me read it only after he had submitted it to Literature [Wen-i pao] for publication. I wrote to the editor of Literature, Comrade K'ang Cho, saying that basically I accepted his (...) criticisms but that I wished to raise a number of points. I pointed out that the author's method of dealing with the problems of "empathy emotion," "forgetting self," and "inspiration" was not very different from the method that I had used before. I pointed out that "association of ideas" occupied an important position in his aesthetics — he seems to substitute "association of ideas of form" for "intuition of form." Furthermore, I stated that I did not think he had answered clearly the questions of whether "beauty exists in the mind or in the thing," of the relationship between beauty and sense of beauty, and of the difference between formal thought and abstract thought; and I said that I hoped he would give me more assistance with these questions. However, Comrade Huang Yüeh-mien for the most part ignored the points that I had raised and the questions to which I had sought answers, and he published in Literature the paper that he had presented at Peking Teachers College almost unaltered. Consequently, the questions that I raised concerning Comrade Huang Yüeh-mien's point of view in aesthetics remain unanswered. At that time I still felt that his point of view in aesthetics basically was materialistic, although there were some tendencies in it that raised doubts in my mind. This explains the fact that my judgments on idealist aesthetics remain to be improved. (shrink)

Analogy among characters is not the only structural device which blurs the boundaries of the self. The very repetition of the act of narration, involving a chain of quotations, makes the story a perfect example of what Jakobson calls "speech within speech"1 and divorces the various characters from their own discourse. In addition to the real author's speech to the real reader, crystallized in that of the implied author to the implied reader, the whole story is the speech of an (...) extradiegetic-heterodiegetic narrator who, in the footnote, calls himself "editor" and who sums up Liddell Hart's account and juxtaposes it with Yu Tsun's dictated statement. Just as the editor quotes Tsun, so Tsun, an extradiegetic-homodiegetic narrator, quotes Albert who in turn quotes Ts'ui Pên, sometimes verbatim, as in the case of the crucial letter, sometimes by conjecture, as in the instance of Pên's supposed declarations about the book and the maze. Quotation, then, is a dominant narrative mode in this story, and quotation is the appropriation by one person of the speech of another. Since a person is to a large extent constituted by one person of his discourse, such an appropriation implies, at least partly, an interpenetration of personalities. Thus both repetition through analogy and repetition through quotation threaten the absolute autonomy of the self. · 1. Roman Jakobson, "Linguistics and Poetics," in Essays on the Language of Literature, ed. Seymour Chatman and Samuel R. Levin , pp. 296-322. Shlomith Rimmon-Kenan is a senior lecturer in the department of English at the Hebrew University of Jerusalem. The author of The Concept of Ambiguity: The Example of James, she is currently writing on the poetics of repetition and, in collaboration with Moshe Ron, on contemporary narrative theory. (shrink)

The essays on aesthetics in recent publications, beginning with the criticisms of Chu Kuang-ch'ien's point of view in aesthetics and continuing down to his article "How Can Aesthetics be Materialistic and Dialectic?" [Mei-hsüeh tsen-yang ts'ai neng shih wei-wu ti yu shih pien-cheng ti?"], have focused on the problem of the relationship between the subjective and the objective in beauty and in sense of beauty. This is a fundamental problem in aesthetics, and only when we have solved this problem (...) can we answer the questions of what beauty is and wherein beauty lies. Some people have presented their own tentative answers to these questions, and these have been discussed by our comrades. (shrink)

Yüan shu shih wei Mei-kuo ta hsüeh sheng chʻu hsüeh fa lü erh tso, ku chʻi nei jung tsʻe chung Ying Mei fa lü ti yen chiu.