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.
Li, Chenyang. The Confucian Philosophy of Harmony
2014, Routledge Studies in Asian Religion and Philosophy
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, Contributed by: Quentin PharrPublisher’s Note:
Harmony is a concept essential to Confucianism and to the way of life of past and present people in East Asia. Integrating methods of textual exegesis, historical investigation, comparative analysis, and philosophical argumentation, this book presents a comprehensive treatment of the Confucian philosophy of harmony. The book traces the roots of the concept to antiquity, examines its subsequent development, and explicates its theoretical and practical significance for the contemporary world. It argues that, contrary to a common view in the West, Confucian harmony is not mere agreement but has to be achieved and maintained with creative tension. Under the influence of a Weberian reading of Confucianism as "adjustment" to a world with an underlying fixed cosmic order, Confucian harmony has been systematically misinterpreted in the West as presupposing an invariable grand scheme of things that pre-exists in the world to which humanity has to conform. The book shows that Confucian harmony is a dynamic, generative process, which seeks to balance and reconcile differences and conflicts through creativity. Illuminating one of the most important concepts in Chinese philosophy and intellectual history, this book is of interest to students of Chinese studies, history and philosophy in general and eastern philosophy in particular.Comment: This text is the single best introduction and overview of the Confucian conception of harmony (hē), and how it compares with ancient Roman and Greek conceptions of the same. This text is best read with some familiarity of various Confucian texts and commentators. But, the author is quite generous to readers in explaining the background of whatever is under discussion. In general, this text is probably best as a further reading for students who are also reading Confucian texts, but it also stands up as an introductory and specialized overview of its subject matter as well.
Li, Jingjing. Through the Mirror: The Account of Other Minds in Chinese Yogācāra Buddhism
2019, Dao: A Journal of Comparative Philosophy 18 (3):435-451
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Added by: Xintong WeiAbstract:
This article proposes a new reading of the mirror analogy presented in the doctrine of Chinese Yogācāra Buddhism. Clerics, such as Xuanzang 玄奘 and his protégé Kuiji 窺基, articulated this analogy to describe our experience of other minds. In contrast with existing interpretations of this analogy as figurative ways of expressing ideas of projecting and reproducing, I argue that this mirroring experience should be understood as revealing, whereby we perceive other minds through the second-person perspective. This mirroring experience, in its allusion to the collectivity of consciousness, yields the metaphysical explication of mutual interdependence and the prescription of norms for compassionate actions.
Comment: available in this Blueprint
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".
Liu, JeeLoo. The metaphysical as the ethical: a pragmatist reading of Wang Yangming’s “The Mind Is the Principle”
2024, Asian Journal of Philosophy 3 (1):1-29
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Added by: Xintong WeiAbstract:
This paper explores a late-Ming Chinese philosopher Wang Yangming’s (1472–1529) philosophical assertions showcasing the pivotal role that human mind plays in shaping our worldview. Wang Yangming’s view—especially his declaration that the Mind is the Principle—emphasizes that the human mind is the sole foundation of moral principles and that worldly affairs are identified with human ethical practices. This position has been contentious both in his times and among contemporary scholars. While some critics, notably Chen Lai, find Wang’s synthesis of the ethical and the metaphysical realm problematic, others like Wing-tsit Chan view Wang Yangming’s philosophy as verging on subjective idealism. Both Chen and Chan argue that Wang Yangming commits the fallacy of the conflation of fact and value. In this paper, I defend Wang Yangming’s ethics-oriented metaphysics against such criticisms. I will engage a comparative study between Wang Yangming’s perspective and pragmatist metaphysics—a modern philosophical stance which sees metaphysics as intertwining with human ethics and practices. Building upon this comparative study, this paper aims to highlight the intrinsic bond between metaphysics and ethics and to advocate for the centrality of ethics in shaping the very foundation of metaphysical thinking. The conclusion of this paper is that Wang Yangming’s metaphysics aligns with commonsense realism, rather than with subjective idealism. His metaphysics is not a confused worldview that conflates fact with value, nor is it subjective idealism. Instead, it is a metaphysics with the ethical grounding of human engagements and humanistic concerns.Comment: available in this Blueprint
Liu, JeeLoo. Neo-Confucianism: Metaphysics, Mind, and Morality
2017, Hoboken, NJ: John Wiley & Sons
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Added by: Xintong WeiAbstract:
Solidly grounded in Chinese primary sources, Neo Confucianism: Metaphysics, Mind, and Morality engages the latest global scholarship to provide an innovative, rigorous, and clear articulation of neo-Confucianism and its application to Western philosophy. Contextualizes neo-Confucianism for contemporary analytic philosophy by engaging with today’s philosophical questions and debates Based on the most recent and influential scholarship on neo-Confucianism, and supported by primary texts in Chinese and cross-cultural secondary literature Presents a cohesive analysis of neo-Confucianism by investigating the metaphysical foundations of neo-Confucian perspectives on the relationship between human nature, human mind, and morality Offers innovative interpretations of neo-Confucian terminology and examines the ideas of eight major philosophers, from Zhou Dunyi and Cheng-Zhu to Zhang Zai and Wang Fuzhi Approaches neo-Confucian concepts in an penetrating yet accessible wayComment: available in this Blueprint
Lloyd, Genevieve Mary. Routledge Philosophy Guidebook to Spinoza and the Ethics
2002, Routledge.
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Added by: Clotilde Torregrossa, Contributed by: Pauline PhemisterPublisher's Note: Spinoza is a key figure in modern philosophy. Ethics is his most studied and well known work. Being both up-to-date and clear, this Guidebook is designed to lead the reader through this complex seminal text. Spinoza's Ethics introduces and assess Spinoza's life, and its connection with his thought.
Locke, Alain LeRoy. The Philosophy of Alain Locke: Harlem Renaissance and Beyond
1989, Temple University Press.
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Added by: Chris Blake-Turner, Contributed by: Lydia Patton
Publisher's Note: This collection of essays by American philosopher Alain Locke (1885-1954) makes readily available for the first time his important writings on cultural pluralism, value relativism, and critical relativism. As a black philosopher early in this century, Locke was a pioneer: having earned both undergraduate and doctoral degrees at Harvard, he was a Rhodes scholar at Oxford, studied at the University of Berlin, and chaired the Philosophy Department at Howard University for almost four decades. He was perhaps best known as a leading figure in the Harlem Renaissance.
Longuenesse, Béatrice. Kant and the Capacity to Judge: Sensibility and Discursivity in the Transcendental Analytic of the “Critique of Pure Reason”
1998, Princeton University Press.
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Added by: Chris Blake-Turner, Contributed by: Charlotte SabourinPublisher's Note: Kant claims to have established his table of categories or "pure concepts of the understanding" according to the "guiding thread" provided by logical forms of judgment. By drawing extensively on Kant's logical writings, Béatrice Longuenesse analyzes this controversial claim, and then follows the thread through its continuation in the transcendental deduction of the categories, the transcendental schemata, and the principles of pure understanding. The result is a systematic, persuasive new interpretation of the Critique of Pure Reason. Longuenesse shows that although Kant adopts his inventory of the forms of judgment from logic textbooks of his time, he is nevertheless original in selecting just those forms he holds to be indispensable to our ability to relate representations to objects. Kant gives formal representation to this relation between conceptual thought and its objects by introducing the term "x" into his analysis of logical forms to stand for the object that is "thought under" the concepts that are combined in judgment. This "x" plays no role in Kant's forms of logical inference, but instead plays a role in clarifying the relation between logical forms (forms of concept subordination) and combinations ("syntheses") of perceptual data, necessary for empirical cognition. Considering Kant's logical forms of judgment thus helps illuminate crucial aspects of the Transcendental Analytic as a whole, while revealing the systematic unity between Kant's theory of judgment in the first Critique and his analysis of "merely reflective" (aesthetic and teleological) judgments in the third Critique.Comment: (This is the English translation of LONKEL-2). Difficult but excellent and influential interpretation of Kant's main theoretical work. Suitable for advanced courses, or further reading on Kant's First Critique.
Longuenesse, Béatrice. Kant’s leading thread in the analytic of the beautiful
2006, In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: Kant conducts his Analytic of the Beautiful, in the Critique of the Power of Judgment, according to the 'leading thread' that also guided the table of the categories in the first Critique: the four titles of the logical functions of judgement. This leading thread, which has not met with much favor on the part of Kant's readers where the first Critique is concerned, is even less popular in the case of the third Critique. In this essay, I will argue that this ill repute is unmerited. In fact, Kant's use of the leading thread of the logical functions of judgment to analyze judgments of taste merits close attention. In particular, it brings to light a striking feature of judgments of taste as analyzed by Kant. We would expect the main headings in the table of logical functions (quantity, quality, relation, modality) to guide the analysis of aesthetic judgments as judgments about an object ('this rose is beautiful,' 'this painting is beautiful'). Now they certainly do serve this purpose. But in addition, it turns out that they also serve to analyze another judgment, one that remains implicitly contained within the predicate ('beautiful') of the judgments of taste. This second judgment, embedded, as it were, in the first (or in the predicate of the first), and that only the critique of taste brings to discursive clarity, is a judgment no longer about the object, but about the judging subjects, namely, the subjects that pass the judgment: 'this rose is beautiful,' 'this painting is beautiful,' and so on.
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