Since its original publication in Chinese in the 1930s, this work has been accepted by Chinese scholars as the most important contribution to the study of their country's philosophy. In 1952 the book was published by Princeton University Press in an English translation by the distinguished scholar of Chinese history, Derk Bodde, "the dedicated translator of Fung Yu-lan's huge history of Chinese philosophy" (New York Times Book Review). Available for the first time in paperback, it remains the most complete (...) work on the subject in any language. Volume I covers the period of the philosophers, from the beginnings to around 100 B.C., a philosophical period as remarkable as that of ancient Greece. Volume II discusses a period lesser known in the West--the period of classical learning, from the second century B.C. to the twentieth century. (shrink)

This is an intellectual biography of Feng Youlan [Fung Yu-lan]. It explores Feng’s work and the trajectory of changes in Feng’s philosophical outlook against the social and political contexts of Feng’s life from the 1920s to 1990.

Feng Youlan , auteur d’une célèbre Histoire de la philosophie chinoise , a voulu refonder le néoconfucianisme de Zhu Xi en l’accordant à la philosophie analytique. Son Traité de l’Homme est une phénoménologie de la conscience individuelle, décrite dans chacune des quatre étapes de son ascension vers la sainteté : la conscience naturelle, forme originelle de l’être-au-monde, immédiatement présent au réel sans conscience de soi ; la conscience intéressée, qui se distancie du réel par un calcul de conduite en (...) vue d’un bonheur égoïste ; la conscience morale, naissant d’une prise de conscience de soi comme être-avec-autrui, qui cultive l’altruisme ; la conscience cosmique, celle du Saint qui a compris les raisons de toute chose et communie à la Voie du Ciel . L’un des penseurs chinois les plus subtils du siècle dernier, Feng Youlan a été décrédibilisé par sa tonitruante conversion au maoïsme en 1949.Feng Youlan is the author of a famous History of Chinese Philosophy translated by Derk Bodde in 1937 and 1953 . He attempted to breathe new life into the Neo-Confucianism of Zhu Xi by bringing it into harmony with analytic philosophy. His Essay on Man is a phenomenology of individual consciousness as it rises to saintliness through four stages : natural consciousness, the primary form of existence in which the mind is immediately aware of the objective world, but without self-consciousness ; selfish consciousness, rising above the objective world by calculation, following the quest of self-happiness ; moral consciousness, born from the consciousness of oneself as a social being and developing altruism ; cosmic consciousness, reaching saintliness through the understanding of the truth of everything and uniting oneself with the Way of Heaven . Feng Youlan was one of the most outstanding Chinese philosophers of the last century who, however, lost credibility after his well-publicized conversion to Maoism in 1949. (shrink)

Close analysis of the work of fifty major thinkers in the field of Eastern philosophy make this an excellent introduction to a fascinating area of study. The authors have drawn together thinkers from all the major Eastern philosophical traditions from the earliest times to the present day. The philosophers covered range from founder figures such as Zoroaster and Confucius to modern thinkers such as Fung Youlan and the present Dalai Lama. Introductions to major traditions and a glossary of (...) key philosophical terms make this a comprehensive and accessible reference resource. (shrink)

Close analysis of the work of fifty major thinkers in the field of Eastern philosophy make this an excellent introduction to a fascinating area of study. The authors have drawn together thinkers from all the major Eastern philosophical traditions from the earliest times to the present day. The philosophers covered range from founder figures such as Zoroaster and Confucius to modern thinkers such as Fung Youlan and the present Dalai Lama. Introductions to major traditions and a glossary of (...) key philosophical terms make this a comprehensive and accessible reference resource. (shrink)

The collection contains published and unpublished essays, lecture transcripts, notes, poems, etc., often with handwritten edits and comments. Topics vary, with a focus on Chinese philosophy, comparison of Chinese and Western thought, contemporary intellectual and social reform movements, biographical reflections and self-criticism. The collection may reflect how 20th century political developments, especially the Cultural Revolution, impacted Feng Youlan's thought.

Di 1 juan. San song tang zi xu -- di 2-3 juan. Zhongguo zhe xue shi -- di 4-5 juan. Zhen yuan liu shu -- di 6 juan. Zhongguo zhe xue jian shi [translation of Short history of Chinese philosophy] -- di 7-9 juan. Zhongguo zhe xue shi xin bian -- di 10 juan. Zhe xue lun wen ji.

This book is a companion to logical thought and logical thinking in China with a comparative and interdisciplinary perspective. It introduces the basic ideas and theories of Chinese thought in a comprehensive and analytical way. It covers thoughts in ancient, pre-modern and modern China from a historical point of view. It deals with topics in logical (including logico-philosophical) concepts and theories rooted in China, Indian and Western Logic transplanted to China, and the development of logical studies in contemporary China and (...) other Chinese communities. The term “philosophy of logic” or “logico-philosophical thought” is used in this book to represent “logical thought” in a broad sense which includes thinking on logical concepts, modes of reasoning, and linguistic ideas related to logic and philosophical logic. Unique in its approach, the book uses Western logical theories and philosophy of language, Chinese philology, and history of ideas to deal with the basic ideas and major problems in logical thought and logical thinking in China. In doing so, it advances the understanding of the lost tradition in Chinese philosophical studies. (shrink)

本书选取冯友兰作品中关于哲思的经典篇目,讲述作者对人生诸多领域的思考,对诸多人生问题的剖析,处处洋溢着丰富的智慧与哲人的洞见.

Feng Youlan's (1895-1990) "History of Chinese Philosophy" is at present still the most well-known introduction to Chinese philosophy in any Western language. During the 1980s Feng Youlan published a seven-volume new version of his "History" in which he further developed his view on history so that the work itself can be considered part of the history of Chinese philosophy in this century. This paper presents a preliminary analysis and comparison of the different versions of the "History.".

v. 1-2. San song tang zhe xue wen ji (shang, zhong) -- v. [3]. San song tang zhe xue wen ji (xia). San song tang zhe xue wen ji (shang) bu yi. San song tang jiao yu wen ji. San song tang za zhu.

Feng Youlan's "History of Chinese Philosophy" is at present still the most well-known introduction to Chinese philosophy in any Western language. During the 1980s Feng Youlan published a seven-volume new version of his "History" in which he further developed his view on history so that the work itself can be considered part of the history of Chinese philosophy in this century. This paper presents a preliminary analysis and comparison of the different versions of the "History.".

Deliberative democracy is a revolutionary political ideal that requires fundamental changes in political institutions, bases of collective decision making, and the distribution of resources. Perhaps because of its revolutionary character accounts of deliberation in political theory thus far have offered little guidance for actors in actually-existing democratic circumstances. This article develops an ethical account of deliberative democratic action under imperfectly just conditions characterized by material and political inequality and failures of reciprocity. Under such conditions, appropriate principles of action can resolve (...) the tension between deliberation and confrontational political activism. The logic of this account parallels the justification for civil disobedience: the extent of permissible deviationfrom deliberative norms increases according to the adversity of political circumstances. This ethical account is composed of principles of deliberative activism, applications of those principles to four kinds of increasing unfavorable circumstances, and a menu of institutional and political strategies that increase deliberative inclusion and equality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In Infotopia, citizens enjoy a wide range of information about the organizations upon which they rely for the satisfaction of their vital interests. The provision of that information is governed by principles of democratic transparency. Democratic transparency both extends and critiques current enthusiasms about transparency. It urges us to conceptualize information politically, as a resource to turn the behavior of large organizations in socially beneficial ways. Transparency efforts have targets, and we should think of those targets as large organizations: public (...) and civic, but especially private and corporate. Democratic transparency consists of four principles. First, information about the operations and actions of large organizations that affect citizens’ interests should be rich, deep, and readily available to the public. Second, the amount of available information should be proportionate to the extent to which those organizations jeopardize citizens’ interests. Third, information should be organized and provided in ways that are accessible to individuals and groups that use that information. Finally, the social, political, and economic structures of society should be organized in ways that allow individuals and groups to take action based on Infotopia’s public disclosures. (shrink)

Not much attention has been paid to Malebranche’s philosophy of time. Scholars who have written on it have typically written about it only in passing, and by and large discuss it only in relation to his philosophy of religion. This is appropriate insofar as Malebranche doesn’t discuss his views of time in isolation from his religious metaphysics. I argue that Malebranche’s conception of how created beings have their properties commits him to saying that God is omnitemporal rather than atemporal. For (...) just as bodies get their spatiality by participating in God’s omnipresence, so all creatures get their temporality by participating in God’s omnitemporality. Moreover, Malebranche is a substantivalist about space and time: infinite space and time are one and the same divinely simple substance, God (partially considered), who contains the world. My exploration of Malebranche’s metaphysics sheds light on his views of eminent containment, participation, and causation. (shrink)

本书阐述的是一种独特而圆润的人生哲学,在统揽古今中外人生哲学的基础上提出了自己认为的人生哲学。本书也是一种别开生面的中西简明哲学史,以人生哲学为切入点,对中国古代哲学、西方古典哲学以及欧美现代哲学等提 出了自己的真知灼见。.

《新原道：中国哲学之精神》是冯友兰的经典著作，是一本中国文化的普及读物，通过考察中国古代各个思想流派，点明中国哲学的最高境界-“极高明而道中庸”，这不仅是的哲学智慧，也是极高的人生境界，在出世与入世之 间找寻中国哲学的独特精神内涵。全书贯穿了冯友兰对中国哲学的认识，阐述了新理学哲学体系在中国哲学中继往开来的地位，可以从中品味博大精深的中国传统文化精髓。.