Of the three powers—Wei, Shu, and Wu—that divided China for the better part of the third century, Wei has received the most attention in the standard literary historical accounts. In a typical book of Chinese literary history in any language, little, if anything, is said about Wu and Shu. This article argues that the consideration of the literary production of Shu and Wu is crucial to a fuller picture of the cultural dynamics of the Three Kingdoms period. The three states (...) competed with one another for the claim to political legitimacy and cultural supremacy, and Wu in particular was in a position to contend with Wei in its cultural undertakings, notably in the areas of history writing and ritual music. This article begins with an overview of Shu and Wu literary production, and moves on to a more detailed discussion of Wu’s cultural projects, both of which were intended to assert Wu’s legitimacy and cultural power vis-à-vis Wei and Shu’s claims to cultural and political orthodoxy. Ultimately, this article implicitly asks the question of how to write literary history when there is scant material from the period under question, and suggests that we perform textual excavations and make use of what we have to try and reconstruct, as best as we can, what once was. A good literary history of the Chinese medieval period, the age of manuscript culture and that of heavy textual losses and transfigurations, should be written with the awareness of the incomplete and imperfect nature of the data we do have, and incorporate the phenomenon of textual losses and transfigurations as well as some reflections on the underlying reasons into its narrative and critical inquiry. (shrink)

Reviewing a recent book about early medieval Chinese geographical writings, this essay asks what sort of historical contextualization is needed for historical study, and suggests looking at multiple factors, including the material conditions of textual production, that may be responsible for the proliferation of texts. It cautions against embracing a single story to account for a long historical period, especially if that story fits our modern concerns too neatly; even more importantly, we have to allow the primary sources to take (...) the lead, rather than looking for and presenting only evidence that serves a particular agenda. (shrink)

A cross-generic examination of the discursive representations of a changing rela- tionship to a specific subcategory of things that are observable in writings from early to medieval China, this essay suggests that these representations denote the appearance of a culture of sentimentality about old, worn-out things at the turn of the ninth century. This culture of sentimentality indicates a deep-seated anxiety about the blurred boundary, on a conceptual and ideological level, between humans and things, and bespeaks the complex dynamics in (...) the relationship of self and other at a time of profound cultural and intellectual changes, in which the textual representations of dilapidated ordinary things of daily life participated. It anticipates and yet remains profoundly different from Northern Song antiquarianism, thus showing gaps and fissures in the neat, familiar teleological narrative of the “Tang-Song transition.”. (shrink)

It is the continuity between epistemology and empirical science that the naturalism in contemporary philosophy of science emphasizes. After its individual and social dimensions, the philosophy of scientific practice takes a stand on naturalism in order to observe complex scientific activities through practice. However, regarding the naturalism’s problem of normativity, the philosophy of scientific practice today has deconstructed more than it has constructed.