In "The Variation of Chinese Literature and the Formation of World Literature" Shunqing Cao and Lu Zhai discuss how Chinese works of literature entered other countries' literary circles through variation, and became an essential part of world literature. Both ancient Chinese literature and contemporary Chinese literature have undergone textual circulation, language translation and cultural filtering before becoming part of world literature, all of which are the reasons why literary variation (...) occurs. According to Cao and Zhai, the occurrence of variation is a key factor for Chinese literature to become world literature, and an important foundation for the formation of world literature. A country's literature absorbs the characteristics of other countries' literature through variation, thus adapting to the cultural background and reading habits of other countries' readers in terms of language and style, in order to enter the world literature market. Variation may lead to a certain loss of nationality in literary works, and result in significant differences from the original texts. However, the formation of world literature does not come at the cost of eliminating nationality; variation facilitates the formation of world literature. (shrink)

This paper examines the translation of literary terminology as cultural sign in the selected versions of the History of Chinese Literature in the Anglophone world. It argues that classical Chinese literary terminology with its rich connotations and strong prescriptiveness as „symbol‟ in semiotics, holds great difficulty for translators and scholars. Its inherent social and cultural elements in determining the meaning of these terms cannot be transferred across cultures, thus causing problems such as „neutralization‟ either in free or (...) literally translation or transliteration of these terms. The paper points out that an ideal way out for translation of classical Chinese literary terms should be transliteration coupled with proper notes. Although not qualified as translation in the strict sense, transliteration could, in some way, remind the readers of the heterogeneity of the term, thus offsetting the negative effect by the “neutralization” of the term. It could also guarantee the term‟s independency with the ultimate aim to make the term accepted by and integrated into the culture of the new land. (shrink)

Introduction: Chinese philosophy and the translation of disciplines -- The faces of masters literature until the Eastern Han -- Scenes of instruction and master bodies in the Analects -- From scenes of instruction to scenes of construction: Mozi -- Interiority, human nature, and exegesis in Mencius -- Authorship, human nature, and persuasion in Xunzi -- The race for precedence: polemics and the vacuum of traditions in Laozi -- Zhuangzi and the art of negation -- The self-regulating state, (...) paranoia, and rhetoric in Han Feizi -- Epilogue: a future for masters literature and Chinese philosophy. (shrink)

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

In "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction" Yiping Wang discusses contemporary Chinese science fiction against the backdrop of the influence of world literature and the development of industrialization in China. Wang argues that two sides represented respectively by Liu Cixin and Han Song constitute the feature of contemporary Chinese science fiction. The side characterized by the works of Liu Cixin is the close connection with world science fiction and the (...) positive attitude and consistency with technological innovation and industrialization in China while the other side has Han Song as its representative, whose works, with similarities to high literature of world canons and the mainstream Chinese literature, reflect on the development of technology and industrialization focusing on individuals and disasters in the shadow of modernization. These two sides join together in the illustration of the basic image of science fiction in contemporary Chinese literature. By absorbing the essence of world literature and echoing the concerns of the nation, contemporary Chinese science fiction surmounts the hierarchy of literary genres and make its way into the active center of world literature. (shrink)

Although a sizable number of works on analytic philosophy are published in non-Western languages, the literature continues to be written mainly in Western languages, especially English and German. This article makes a case for discussing analytic philosophy in Chinese and argues that it entails a dilemma: it can fulfill either the audience-service or knowledge-service functions but not both at the same time. This is problematic because a standard original or critical philosophical article should fulfill both functions. (...) Then, to challenge the validity of this dilemma, I pose the hypothetical scenario of Jake, who writes a marvelous, purely original publication on analytic philosophy in Chinese. This article posits that the dilemma will not be undermined by such a case and suggests an alternative way to resolve it. (shrink)

Featuring contributions from the world's most highly esteemed Asian philosophy scholars, this important new encyclopedia covers the complex and increasingly influential field of Chinese thought, from earliest recorded times to the present day. Including coverage on the subject previously unavailable to English speakers, the _Encyclopedia_ sheds light on the extensive range of concepts, movements, philosophical works, and thinkers that populate the field. It includes a thorough survey of the history of Chinese philosophy; entries on all major (...) thinkers from Confucius to Mou Zongsan; essential topics such as aesthetics, moral philosophy, philosophy of government, and philosophy of literature; surveys of Confucianism in all historical periods and in key regions outside China; schools of thought such as Mohism, Legalism, and Chinese Buddhism; trends in contemporary Chinese philosophy, and more. (shrink)

Much of the literature exploring Chinese international student engagement with critical thinking in Western universities draws on reductive essentialisations of ‘Confucianism’ in efforts to explain cross-cultural differences. In this paper I review literature problematising these tendencies. I then shift focus from inferences about how philosophy shapes culture and individual students, toward drawing on philosophy as a ‘living’ resource for understanding and shaping the ideal of critical thinking. A cross disciplinary approach employs historical overview and philosophical (...) interpretation within and beyond the Confucian tradition to exemplify three types of criticality common in Chinese philosophy. These are criticality within tradition, criticality of tradition, and critical integration of traditions. The result is a refutation of claims or inferences (intentional or implicit) that Chinese philosophy is not conducive to criticality. While this paper focuses ontypesof criticality, it also reveals a commonmethodof criticality within Chinese philosophy, in the form of ‘creation through transmission’. This resonates with recent research calling for less confrontational and more dialogical engagement with critical processes. However, I also draw attention to examples of confrontational argumentation within Chinese philosophy, which may provide valuable resources for educators and students. Finally, I conclude careful and explicit consideration is needed regarding the types of criticality sought within Western universities to prevent educators and students from ‘speaking past’ one and other instead of ‘speaking with’ one and other in critical dialogue. (shrink)

This paper argues for an interpretation of Chinese philosophy as the pursuit of the Dao rather than the popular reading of it as a kind of wisdom literature. I examine the shared pursuit of two major Chinese schools of thought: Daoism and Confucianism—Dao, and compare it to the task of philosophy represented in the works of two major western thinkers—Hegel and Heidegger. By investigating the Dao comparatively with Hegel’s Concept and Heidegger’s philosophia, I reveal the (...) common quest of philosophical thinking in both traditions. (shrink)

Trude Dijkstra discusses how Chinese religion and philosophy were represented in printed works produced in the Dutch Republic between 1595 and 1700. By focusing on books, newspapers, learned journals, and pamphlets, this study sheds new light on the cultural encounter between China and western Europe in the early modern period. Form, content, and material-technical aspects of different media in Dutch and French are analysed, providing new insights into the ways in which readers could take note of Chinese (...) religion and philosophy. This study thereby demonstrates that there was no singular image of Chinese religion and philosophy, but rather a varied array of notions on the subject. (shrink)

In "Formations of World Literature and Shaw's The Man of Destiny in Chinese and Japanese Translation" Shunqing Cao and Xin Chen expand Franco Moretti's dictum that "world literature is not an object, it's a problem" to elaborate that the concept of world literature is in some sense a problematic one, which is itself under a process of problematization. Cao and Chen discuss how variation and heterogeneity contribute to a more in-depth understanding of formations of world (...) class='Hi'>literature. Taking the Bernar Shaw's The Man of Destiny they discuss the writer's presence in world literature from a bi-lateral perspective: Shaw's work in the English-speaking West and Shaw in Asia. For the former, Shaw stands in a specific place in recent postcolonial Irish Studies and thus raise problems for their research paradigm. For the latter, Cao and Chen present an analytical comparison between a Chinese and a Japanese translation of The Man of Destiny. Cao and Chen argue that by such a bilateral approach we may recognize the importance of heterogeneity so as to obtain further reflections on present discussions of world literature. (shrink)

Arthur Waley's brilliant and definitive translation of one of the foremost of all mystical books, Lao Tzu's Tao Te Ching, has become a modern classic in its own right. Unlike previous translations, it is founded not on the medieval commentaries but on a close study of all the early Chinese literature, and it provides a singular example of authoritative scholarship skillfully blended with brilliant, precise writing. In his introduction, Dr. Waley gives an extensive scholarly account of Chinese (...) thought down to the end of the third century B.C. Here, the author presents a full picture of Chinese prehistory, early philosophy, and literature, showing the original, lofty conception of Taoism before the gradual corruption through the course of centuries, tracing this conflict of philosophies and its background of politics. (shrink)

Covering the historical, social, political, and cultural contexts, The Bloomsbury Research Handbook of Chinese Philosophy and Gender presents a comprehensive overview of the complexity of gender disparity in Chinese thought and culture. -/- Divided into four main sections, an international group of experts in Chinese Studies write on Confucian, Daoist and Buddhist approaches to gender relations. Each section includes a general introduction, a set of authoritative articles written by leading scholars and comprehensive bibliographies, designed to provide (...) the non-specialist with a practical and broad overview. Beginning with the Ancient and Medieval period before moving on to Modern and Contemporary approaches, specially commissioned chapters include Pre-Qin canonical texts, women in early Chinese ethics, the yin-yang gender dynamic and the Buddhist understanding of the conception of gender. Considering why the philosophy of women and gender dynamics in Chinese thought is rarely confronted, The Bloomsbury Research Handbook of Chinese Philosophy and Gender is a pioneering cross-disciplinary introduction to Chinese philosophy's intersection with gender studies. -/- By bridging the fields of Chinese philosophy, religion, intellectual history, feminism, and gender studies, this cutting-edge volume fills a great need in the current literature on Chinese philosophy and provides student and scholars with an invaluable research resource to a growing field. - See more at: http://www.bloomsbury.com/us/the-bloomsbury-research-handbook-of-chinese-philosophy-and-gender-9781472569851/#sthash.vFg3oUPk.dpuf. (shrink)

This edited book considers the need for the continued dismantling of conceptual and cultural hegemonies of 'East' and 'West' in the humanities and social sciences. Cutting across a wide range of literature, film and art from different contexts and ages, this collection seeks out the interpenetrating dynamic between both terms. Highlighting the inherent instability of East and West as oppositional categories, it focuses on the 'crossings' between East and West and this nexus as a highly-charged arena of encounter and (...) collision. Drawing from varied literary contexts ranging from Victorian literature to Chinese literature and modern European literature, the book covers a diverse range of subject matter, including material drawn from psychoanalytic and postcolonial theory and studies related to race, religion, diaspora, and gender, and investigates topical social and political issues -including terrorism, nationalism, citizenship, the refugee crisis, xenophobia and otherness. Offering a framework to consider the salient questions of cultural, ideological and geographical change in our societies, this book is a key read for those working within world literary studies. (shrink)

"What can we expect from the study of Chinese philosophy? « In the philosophical systems of the Hindoos and the Chinese there are still hidden treasures, in which the anticipation of scientific discoveries, the results of thousands of years of occidental research, is most striking. Such are the words of Edward von Hartmann, the most famous living German philosopher1. Much labour has been spent in Europe on the Indian Vedanta philosophy, which had such a marked influence (...) on Arthur Schopenhauer. « The Upanishads, says the author of the Parerga and Paralipomena, are the outcome of the highest human wisdom.... They afford the most remunerative and sublime reading possible in this world, which has been the consolation of my life, as it will be that of my death 2. I do not see why the many germs scattered over the vast field of Chinese philosophy should not have a similar fertilizing influence on some philosophical European mind also. The deep impression caused by the Tao-tê-king will support my view. But much work remains to be done before Chinese philosophy will take its proper place in the history of philosophy. The burden of this task lies with us who are living in China and studying her language and literature, for, while great care is bestowed on all her sister languages in Europe and America, Chinese, the oldest of all, but the youngest in the curriculum of our high-schools, is treated as a step-child by public opinion. This paper is meant as a move in the direction just indicated.". (shrink)

With references to the theoretical framework of Michel Foucault and Pierre Bourdieu, this book offers a critical investigation into such epic issues as the end of art and the inherent laws of literature's evolution, while conflating the two into one major argumentation. The book proceeds from Hegel's claim of "the end of art" to tackle the universal yet essential problem of literature: its legitimacy in a sociological sense. It invests Bourdieu's sociological terms -- power, capital, habitus, field, etc. (...) into the study of literature and art while taking on other theoretical enquiries, particularly the Marxist exploration into ideology, as well as aspects of economics and communication studies. This book will be a valuable resource for students and scholars of the sociology of literature, cultural studies, and those with specific interests in Chinese literature, literary and art theory. (shrink)

In Giulio Aleni’s The True Source of the Myriad Things chapter 4 contains the following question and answer:One might say that it is like seeds: from only one seed the subsequent branches, trunk, and blossoms are produced in a truly spontaneous manner. There need not be an external creator. All things have their own inherent natures, and they come forth on the basis of their inherent natures spontaneously; why must they have some external maker?1I [i.e., Aleni] say: The sprouting of (...) a seed cannot be separated from the efficient cause. Suppose that the seed had no prior tree to produce it. Then the present tree would not have come to be. Therefore the prior tree is considered the... (shrink)

Sources of angst in Chinese society, ranging from concerns about the environment to political stability and the ongoing economic reforms have persisted into the late 1990s and early 2000s. While official policy often discouraged directly addressing these anxieties in public forums, several articles printed in various officialnewspapers, many of them subsequently reprinted by the People’s Daily, offer advice on dealing with stress or frustration. Self-transcendence is a characteristically Chinese method that many of these articles advocate. Self-transcendence, which one (...) could define as expanding one’s boundaries of the self to take on broader life perspectives to help one make one’s life more meaningful, has religious, philosophical, and psychological dimensions. Chinese philosophy, the historical interactions between the people and their rulers, and even their language have all worked to make the strategy of transcendence a particularly appealing one to the Chinese. (shrink)

This ambitious book looks into the reasons for the exceptional durability of the Chinese empire, which lasted for more than two millennia (221 B.C.E. - 1911 C.E.). Yuri Pines identifies the roots of the empire's longevity in the activities of thinkers of the Warring States period (453-221 B.C.E.), who, in their search for solutions to an ongoing political crisis, developed ideals, values, and perceptions that would become essential for the future imperial polity. In marked distinction to similar empires worldwide, (...) the Chinese empire was envisioned and to a certain extent 'preplanned' long before it came into being. As a result, it was not only a military and administrative construct, but also an intellectual one. Pines makes the argument that it was precisely its ideological appeal that allowed the survival and regeneration of the empire after repeated periods of turmoil. "Envisioning Eternal Empire" presents a panoptic survey of philosophical and social conflicts in Warring States political culture. By examining the extant corpus of preimperial literature, including transmitted texts and manuscripts uncovered at archaeological sites, Pines locates the common ideas of competing thinkers that underlie their ideological controversies. This bold approach allows him to transcend the once fashionable perspective of competing 'schools of thought' and show that beneath the immense pluralism of Warring States thought one may identify common ideological choices that eventually shaped traditional Chinese political culture. The result is a refreshingly novel look at the foundational period in Chinese intellectual history. (shrink)

Chinese culture is the aggregate term for the diverse behavioral norms and ideas that Chinese people share. A college English education can assist students learn about Chinese culture and promote it across the world. This paper explores the deep integration of Chinese culture into college English education through the lens of cross-cultural communication. Effective cross-cultural knowledge has become especially important in English language instruction as globalization encourages relationships between various cultures. This study investigates how Chinese (...) cultural components can enhance the learning process and help students become more culturally conscious by examining the present curricula, teaching strategies, and evaluation procedures in Chinese higher education institutions. The study emphasizes the relevance of giving students the tools for navigating cultural distinctions in English communication by examining instructional approaches that integrate Chinese literature, philosophy, and values. Integration of Chinese cultural viewpoints into the English language curriculum in an effort to create a more comprehensive learning environment that fosters intercultural competency in addition to language ability. The results show that a culturally responsive approach to teaching English in college can help students better appreciate the complexity of global communication as well as their own cultural identity, which will eventually help them become well-rounded, culturally aware people. (shrink)

Biopolitical aesthetics and the Chinese body as surplus -- Chinese whispers : Frankenstein, the sleeping lion, and the emergence of a biopolitical aesthetics -- Souvenirs of the organ trade : the diasporic body in contemporary Chinese literature and art -- Organ economics: transplant, class, and witness from made in Hong Kong to the eye -- Still life : recovering (Chinese) ethnicity in the body worlds and beyond -- All rights preserved : intellectual property and the (...) plastinated cadaver exhibits. (shrink)

In the framework of Japanese studies, the relationship between Buddhism and Japanese poetry has received very little academic consideration. The noticeable founded narrative forms and potent and substantial philosophical influence of classical Chinese writings have resulted in the image of China being recontextualized during the process of fantasy, development, and encounters on the part of Japanese writers or investigators, with the result that many distortions and mischaracterizations have occurred as a result of this process. This work employs a comparative (...) method that incorporates literature and philosophy to examine the poetry of Hagiwara Sakutarô (1886–1942). The comparative analysis is seen from the viewpoint of Naturalism's impact and the use of description in the development of Japanese contemporary poetry. This has led to several inaccurate depictions of the country. The image of China that is presented in Japanese literature is both a perception and an illusion that is produced when cultural knowledge and creative achievements are combined. This combination creates the image of China. In the article, an examination and classification of the depiction of China in Japanese literature is provided. (shrink)

In "On Variations of the Classical Chinese Literary Genre terminchinesescript in Literary History," the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside (...) the quartered-division of modern western stylistics, so is bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature. (shrink)

Aiming at the long repressed politico-semiotic dimension of Dream of the Red Chamber, this essay employs Lacanian theories of discourse and subjectivity inconjunction with the Chan Buddhist idea of enlightenment to analyze the coming into being of the what Zizek defines as a “modern subject” at the historical juncture of the Manchu conquest of China. Attempting to come to terms with the historical trauma caused by the Manchu conquest, the novel re-examines the fate of the emerging Chinese modernity founded (...) in the discourse of qing or “feeling” by re-visiting the last forty years or so of the Ming resistance against the invasion. The examination, however, reveals that the subject involved in this nationalist struggle unwittingly becomes a “modern subject” because of what Zizek describes as a “redoubled renunciation”: he who sacrifices his particular attachment for the purpose of bolstering the universal Cause ends up losing both. Also unprecedented in classical Chinese literature is that this “modern subject” eventually is able somehow doubly to “identify with the symptom/ sinthome” as his only consistency: “man” on the level of the “framed story” in the metafictional structure of the novel, and “contingency” on the level of the framing story. (shrink)

This book considers the Chinese conception of beauty from a historical perspective with regard to its significant relation to human personality and human existence. It examines the etymological implications of the pictographic character mei, the totemic symbolism of beauty, the ferocious beauty of the bronzeware. Further on, it proceeds to look into the conceptual progression of beauty in such main schools of thought as Confucianism, Daoism and Chan Buddhism. Then, it goes on to illustrate through art and literature (...) the leading principles of equilibriumharmony, spontaneous naturalness, subtle void and synthetic possibilities. It also offers a discussion of modern change and transcultural creation conducted with particular reference to the theory of the poetic state par excellence and that of art as sedimentation. (shrink)

The Chinese traditional culture includes three systems of thought: Confucianism, Daoism and Buddhism. The first two are Chinese culture, and Buddhism is a foreign religion introduced from India. Although there had been conflicts among the three systems of thoughts, but integration is the mainstream in the development of Chinese cultural thought. Thus, Chinese culture has developed into a system by uniting the three religions into one with Confucianism at the centre supported by Daoism and Buddhism. For (...) over 2,000 years, Buddhism has interacted with all levels of Chinese culture such as literature, philosophy, morality, arts, architecture and religions. As a result, Buddhism has successfully integrated into the traditional Chinese culture and has become one of the three pillars. In this paper, I will discuss the Buddhist impact on Chinese culture from the following four points: (1) philosophy and moral teaching; (2) religions and popular beliefs; (3) language and literature; and (4) art and architecture. (shrink)

From classical antiquity to contemporary times, challenging situations of dilemmatic or paradoxical nature continue to fascinate both scholars and the casual reader. Although Western literature provides a fruitful source of philosophical discussion on the circumstances under which a morally competent agent faces incompatible moral requirements, Sinology has rarely accepted the idea of moral dilemmas in Chinese philosophy in general and Confucianism in particular. The present paper explores moral and morally motivated dilemmas in Liu Xiang’s 劉向 Lienü Zhuan (...) 列女傳 and the philosophical strategies employed for their resolution within the framework of the Confucian tradition, emphasizing similarities with Western traditions such as Greek tragedy or Thomistic philosophy. (shrink)

The article is intended to show that bertolt brecht absorbed foreign materials, In this case chinese philosophy, And transformed them into new intellectual experiences and visions which were strictly his own. The author examines the thought of five chinese philosophers, Confucius, Lao-Tzu, Mencius and chuang-Tzu and mo-Tzu, With whom brecht became familiar. Since chinese philosophers are essentially social philosophers, Brecht read them in order to find guidance in his search for a political and social theory which (...) was to become the basis of his literary work. The study of chinese philosophy led brecht to modify his marxism in a way which amounts to a reinvention of it. (shrink)

In "On Variations of Classical Chinese Literary Theory for a Framework of Global Literary History" Peina Zhuang discusses texts of classical Chinese literary theory as a reservoir for philosophical reflections on literary art. The aesthetics of Chinese literature originate in Confucianism and Taoism and hence represent an important background for any discussion of ancient, modern, or contemporary Chinese literature and literary history. Zhuang analyzes texts of classical Chinese literary theory within such a framework (...) of a literary history and aims at furthering Chinese literature to become an integral part of world literatures. Further, Zhuang argues that "history" and "literary history" present a different picture of works on classical Chinese literary theory owing to the variation caused in representing their literary and aesthetic features. Zhuang also posits that the translation of Chinese literary texts to Western languages, while relevant and important, is not enough to advance Chinese literature from a peripheral status to a status of recognition hence the importance of scholarship with regard to literary history specifically. (shrink)

On the Horizon of World Literature compares literary texts from asynchronous periods of incipient literary modernity in different parts of the world: Romantic England and Republican China. These moments were oriented alike by "world literature" as a discursive framework of classifications that connected and re-organized local articulations of literary histories and literary modernities. World literature thus provided-and continues to provide-a condition of possibility for conversation between cultures as well as for their mutual provincialization. The book offers readings (...) of a selection of literary forms that serve also as textual sites for the enactment of new socio-political forms of life. The literary manifesto, the tale collection, the familiar essay, and the domestic novel function as testing grounds for questions of both literary-aesthetic and socio-political importance: What does it mean to attain a voice? What is a common reader? How does one dwell in the ordinary? What is a woman? In different languages and activating heterogeneous literary and philosophical traditions, works by Percy Bysshe Shelley, Lu Xun, Charles and Mary Lamb, Lin Shu, Zhou Zuoren, Jane Austen, and Eileen Chang explore the far-from-settled problem of what it means to be modern in different lifeworlds. Sun's book brings to light the disciplinary-historical impact world literature has had in shaping literary traditions and practices around the world. The book renews the practice of close reading by offering the model of a deprovincialized close reading loosened from confinement within monocultural hermeneutic circles. By means of its own focus on England and China, the book provides methods useful for comparatists working between other Western and non-Western languages. It establishes the critical significance of Romanticism for the discipline of literary studies and opens up new paths of research in global Romanticism and global nineteenth-century studies. And it offers a new approach to analyzing the cosmopolitan character of the literary and cultural transformations of early twentieth-century China. (shrink)

One longstanding criticism of Chinese thought is that is not truly “philosophical” because it lacks viable protocols of argumentation. Thus it qualifies at best as “wisdom”; Confucius, for example, might provide valuable guidance, or thoughtful epigrams to ponder, but nothing in the way of formal reasoning that would permit his audience to reconstruct and reconsider his arguments in any conceivable context. This criticism seems to be based on the tacit premise that acceptable argumentation must be deductive, whereas most famous (...) Chinese arguments tend to be non-deductive. This paper will survey the types of non-deductive argumentation commonly found in Chinese philosophy. One of the most prolific is appeal to example, which is the basis of the strong interest in anecdotes as a genre of philosophical literature from the Springs and Autumns at least through the Six Dynasties. There are important examples of deductive argument as well, which will be briefly reviewed. Whether these observations are sufficient to rescue Chinese thought from the wilderness of “wisdom” and enshrine it in the halls of “philosophy” will be left for the reader to decide, but a conception of “philosophy” that can account for Chinese thought is naturally more interesting than one that cannot. -/- . (shrink)

In the Pre-Qin time, pursuing “Dao” was the main task in the scholarship of most of the ancient Chinese philosophers, while the Ancient Greek philosophers considered pursuing “Truth” as their ultimate goal. While the “Dao” in ancient Chinese texts and the “Truth” in ancient Greek philosophic literature do share or cross-cover certain connotations, there are subtle and important differences between the two comparable philosophic concepts. These differences have deep and profound impact on the later development of (...) class='Hi'>Chinese and Western philosophy and culture respectively. Interestingly, while the modern Chinese philosophy has gradually accepted and established the Western conception of “Truth” on its way towards modernization, the “post-modern” Western philosophy is just undergoing a process of deconstructing its traditional concept of “Truth”, thus, in a certain sense, going closer to the traditional Chinese “Dao”. From a comparative, relative and dynamic perspective, there could possibly be a fusion of horizon between the Chinese “Dao” and the Western “Truth”. (shrink)

The present volume is dedicated to the Wei Jin and Southern and Northern Dynasties (220â "589 AD), which is generally regarded as one of the most fascinating phases in Chinese history. The collection opens new theoretical and methodological pathways in sinological studies, bringing to the forefront a new idea of intercultural encounters based upon a culture of recognition. It highlights the significance of transition in the making of Chinese culture and history, revises prevailing historical approaches in the study (...) and research of China and develops and enhances existing theories or methodologies in this specific area of research. The wide diversity of contributions to the present volume reflects the multifaceted potential for creativity and renewal of this period. The focus is upon the interaction of ideas, researches and perspectives concerning a broad scope of relevant and significant issues in contemporary sinology. In order to understand this diversity, a wide range of cultural, theoretical and historical aspects are considered. The book reveals a new image of the period, thereby undermining the absolute authority and putative objectivity of common historical sources and interpretations. It shows that this was a period rich with political, economic, cultural and theoretical achievements that would prove decisive for the future development of Chinese culture and society. (shrink)

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate (...) these exotic literary materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

In 2005, Chinese President Hu Jintao instituted a “Harmonious Society” policy marking a new China’s approach toward development. This generated intense excitement among observers of Corporate Social Responsibility (CSR) who perceive an overlap in objectives between CSR and Harmonious Society and believe that Harmonious Society will lead to increased CSR engagement in China. However, there is little exploration of how Harmonious Society will contribute to increasing CSR engagement. This article seeks to explore whether Harmonious Society will meet this promise. (...) It does so by drawing up a list of actions that if taken by the government would increase the level of CSR in China and make Harmonious Society a relevant factor in the development of Chinese CSR. To do so, my article studies comparative literature on CSR development to develop a framework that divides causes of CSR in a country into environmental constraints and discretionary responses. Understanding what drives the development of CSR allows us to understand what measures the Chinese government can take to influence the level of CSR. Using this framework, my article suggests that Harmonious Society is unlikely to promote CSR in China’s growing private sector because policy measures that affect the “constraints” driving CSR are bounded by other political considerations. (shrink)

The subject of the research is that the article attempts to create a summary portrait of the cultural and linguistic personality of a Chinese student in modern Russian universities. The connection of the Chinese cultural and linguistic personality with the archetypal elements of the national image of the world determines its constant components with all changes in individual properties and qualities. At the same time, existing explicit or implicit stereotypes may be only part of a generalized portrait. The (...) Chinese cultural and linguistic personality is based on a property that is often formulated by Sinologists as vitalism. The vitality of the modern Chinese audience is explored in connection with such phenomena as "gelotocentrism" and "phagocentrism", dating back to the traditional Chinese worldview. "Gelotocentrism" allows us to understand why laughter becomes one of the dominants of the psychological atmosphere in the classroom, as well as to identify the effectiveness of "laughter didactics" at various stages of learning. Various methods were used in the course of the research, including observation, literature analysis, historical and literary research, comparative and discourse analysis. "Phagocentrism" is not just "filling the stomach", but a peculiar form of possession of higher knowledge, a mental "orientation in the space of Being". In addition, for Chinese living in Russia, food is one of the most effective ways to solve adaptation problems and relieve psychological stress. The relevance of the research is determined by the novelty of the approach, since the novelty shows that phage therapy and gelotherapy are considered as the most important modes of human existence, and their significant role in the philosophy of education is emphasized. Tracing the connection between the history of Chinese culture and its current state in the aspect of international education, the study demonstrates that associative-sympathetic thinking is directly related to the vitalistic perception of the world. Vitalism, in turn, presupposes "holism" as an integral form of mastering reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either (...) good or bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)