Chiu, Wai Wai. Zhuangzi’s Knowing-How and Skepticism
2018, Philosophy East and West 68(4), pp. 1062-1084
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Added by: Lea CantorAbstract:
A common interpretation of the Zhuangzi holds that the text is skeptical only about propositional knowledge and not practical knowledge. It is argued here that this interpretation is problematic, for two reasons. The first is that there is no motivation for Zhuangzi to criticize propositional knowledge, given some general pre-Qin epistemological assumptions. The second is that Zhuangzi explicitly criticizes a certain kind of practical knowledge. It is then explained how Zhuangzi's skepticism can co-exist with the idea of "great knowledge."
Comment: This is a useful article for anyone interested in the question of scepticism in the Zhuangzi - a foundational text in the Daoist tradition of classical Chinese philosophy. The article is written in a way that is accessible to those with little or no background in the Zhuangzi, Daoism, or classical Chinese. However, some basic knowledge of classical Chinese philosophy as a whole is required to follow the argument of the paper. The paper offers a useful overview of a number of scholarly controversies surrounding the scope and nature of Zhuangzi's scepticism, and how they relates to interpretive issues surrounding the so-called 'skills stories' of the Zhuangzi.
Chong, Kim-Chong. The Concept of Zhen 真 in the Zhuangzi
2011, Philosophy East and West 61(2): 324-346.
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Added by: Simon Fokt, Contributed by: Ian James KiddAbstract: The term zhen in the Zhuangzi is commonly associated with the zhen ren or the "true person," who is described, for example, as capable of going through fire and water unharmed. Some scholars take this as typifying a mystical element in the Zhuangzi. This essay investigates the various meanings and uses of zhen in the Zhuangzi and reaches a broader understanding of the zhen ren in various contexts.Comment: Excellent on the concept of 'zhen' (authenticity, naturalness) in Daoism. Long but clearly written. Very useful for explaining the character of Daoist ethics.
Chung-Yuan Chang. Immeasurable potentialities of creativity
2011, In Chung-Yuan Chang (ed.). Creativity and Taoism: A Study of Chinese Philosophy, Art, and Poetry. London & Philadelphia: Singing Dragon.
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Added by: Meilin ChinnSummary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.Comment: Can be used as both an introduction to Daoism and to Chinese aesthetics.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Girardot, Norman, Miller, James, Xiaogan, Liu (eds.). Daoism and Ecology: Ways within a Cosmic Landscape
2001, Cambridge, MA: Harvard University Center for the Study of World Religions
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Added by: Kas BernaysAbstract:
Until now, no single work has been devoted to both a scholarly understanding of the complexities of the Daoist tradition and a critical exploration of its contribution to recent environmental concerns. The authors in this volume consider the intersection of Daoism and ecology, looking at the theoretical and historical implications associated with a Daoist approach to the environment. They also analyze perspectives found in Daoist religious texts and within the larger Chinese cultural context in order to delineate key issues found in the classical texts. Through these analyses, they assess the applicability of modern-day Daoist thought and practice in China and the West, with respect to the contemporary ecological situation.Comment (from this Blueprint): An collection of essays which allows the reader to look in depth at any particular facets of Daoist ecology that might interest them.
Hsi K'ang. Music Has Neither Grief Nor Joy
1983, In Philosophy and Argumentation in Third-Century China. Princeton: Princeton University Press
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Added by: Meilin ChinnSummary: The controversial essay in which Xi Kang offered a distinct counterargument to the orthodox Confucian view that music contains and transfers emotions between musicians and listeners. Xi Kang crafts a series of arguments against the presence of emotions and images in music and contends that the widespread belief to the contrary leads to the misuse of music for political and moral agendas.Comment: This text is best used in a course on aesthetics (especially philosophy of music) and/or Chinese philosophy. A basic understanding of Daoism is helpful.
Related reading:
- Essay on Music. Ruan Ji. In Reed Andrew Criddle's "Rectifying Lasciviousness through Mystical Learning: An Exposition and Translation of Ruan Ji’s Essay on Music." Asian Music 38(2), 2007.
Related reading:
- Essay on Music. Ruan Ji. In Reed Andrew Criddle's "Rectifying Lasciviousness through Mystical Learning: An Exposition and Translation of Ruan Ji’s Essay on Music." Asian Music 38(2), 2007.
Kwang-Myung Kim. Korean Aesthetic Consciousness and the Problem of Aesthetic Rationality
1998, Canadian Aesthetics Journal, 2
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Added by: Meilin ChinnAbstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean's mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist's unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.Comment: Kim argues for aesthetic rationality, as a kind of aesthetic consciousness, at the heart of Korean identity. He traces its unique cultural legacy in Korean shamanism, Buddhism, Confucianism, and Daoism in order to account for the characteristic vitality and spontaneity in Korean art. This text is appropriate for an aesthetics course. It does not require a background in Korean philosophy, but at least an introductory knowledge of aesthetics would be beneficial.
Li Zehou. The Chinese Aesthetic Tradition
2009, Honolulu: University of Hawai'i Press
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Added by: Meilin ChinnPublisher's Note: The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity."Comment: Li’s synthesis of Chinese aesthetic thought from ancient to early modern times. Li incorporates pre-Confucian, Confucian, Daoist, and Chan Buddhist ideas to discuss art and the central role of aesthetics in Chinese culture and philosophy. Government, self-cultivation and realization, and ethics are all approached here as aesthetic activities. This text is well-suited to an aesthetics or Chinese philosophy course in which there is some introduction to key philosophical concepts from Chinese philosophy. It provides excellent material for cross-cultural aesthetics.
Lin, Shuen-Fu. Those Who Fly Without Wings: Depictions of the Supreme Ideal Figure in the Inner Chapters of the Zhuangzi
2022, In Chong, Kc. (ed.), Dao Companion to the Philosophy of the Zhuangzi. Dao Companions to Chinese Philosophy, vol 16. Springer, Cham.
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Added by: Clotilde Torregrossa, Contributed by: I Xuan ChongAbstract:
In pre-Qin Chinese canonical texts, the supreme ideal figure with impeccable virtue and wisdom is usually referred to as the Sage (sheng 聖 or shengren 聖人). The Zhuangzi, however, is an exception. In this famous Daoist text, the supreme ideal has been referred to, in different contexts, as a Perfect Person (zhiren, 至人), a Daemonic Person (shenren, 神人), or an Authentic Person (zhenren, 真人), in addition to the Sage. Most scholars, when discussing the meanings of these terms, treat them as synonyms used by the author(s) of the Zhuangzi to designate the same figure. Very few scholars believe that they refer to four different types of ideal figures with different levels of perfection. In this article, I will first focus on depictions of the Sage, the Perfect Person, the Daemonic Person, and the Authentic Person in the Inner Chapters of the Zhuangzi to see whether they are used by the author to refer to the same or four different levels of a supreme ideal figure. I will then move on to discuss Zhuangzi’s art of writing as manifested in these depictions. The interpretive strategy I adopt is that of close reading with an eye to addressing the larger issues around the Inner Chapters in early Chinese culture.Comment: This chapter offers a careful reading of Zhuangzi's descriptions of the "ideal person".
Olberding, Amy, Philip J. Ivanhoe (eds.). Mortality in Traditional Chinese Thought
2011, SUNY Press.
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Added by: Nick NovelliPublisher's note: Mortality in Traditional Chinese Thought is the definitive exploration of a complex and fascinating but little-understood subject. Arguably, death as a concept has not been nearly as central a preoccupation in Chinese culture as it has been in the West. However, even in a society that seems to understand death as a part of life, responses to mortality are revealing and indicate much about what is valued and what is feared. This edited volume fills the lacuna on this subject, presenting an array of philosophical, artistic, historical, and religious perspectives on death during a variety of historical periods. Contributors look at material culture, including findings now available from the Mawangdui tomb excavations; consider death in Confucian, Daoist, and Buddhist traditions; and discuss death and the history and philosophy of war.Comment: This volume contains a number of excellent essays on mortality as it appears in Chinese philosophy. It would be useful in a history of Chinese philosophy course, or to provide an additional perspective in a course on philosophy of death, immortality and the afterlife. Of particular value for this purpose is Tao Jiang's chapter comparing Linji Yixuan's views on immortality to those of William James, discussing the degree to which remembrance counts as immortality.
Raphals, Lisa Ann. A tripartite self: mind, body, and spirit in early China
2023, New York: Oxford University Press
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Added by: Xintong WeiAbstract:
Chinese philosophy has long recognized the importance of the body and emotions in extensive and diverse self-cultivation traditions. Philosophical debates about the relationship between mind and body are often described in terms of mind-body dualism and its opposite, monism or some kind of "holism." Monist or holist views agree on the unity of mind and body, but with much debate about what kind, whereas mind-body dualists take body and mind to be metaphysically distinct entities. The question is important for several reasons. Several humanistic and scientific disciplines recognize embodiment as an important dimension of the human condition. One version, the problem of mind-body dualism, is central to the history of both philosophy and religion. Some account of relations between body and mind, spirit or soul is also central to any understanding of the self. Recent work in cognitive and neuroscience underscores the importance of our somatic experience for how we think and feel.Comment: available in this Blueprint
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