Wilson, Lee. The Cycles of Heaven and History: Some Notes on Approaching Historical Immortality and the Project of Reconciliation from a Look at Nineteenth Century Straits Chinese Philosophy
2025, The Journal of the Philosophy of History 19(2): 201–217
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Added by: Tammo LossauAbstract:
The pluralism of The Shadow of God invites us to also consider ‘non-Western’ ways of ‘coming to terms with the world’ in historical immortality and the project of reconciliation. I offer two methodological notes for any such undertaking. The first note elaborates on Rosen’s point that ‘“non-Western’ cultures have been heavily influenced by Western ones—even in their opposition to the West” by examining the forgotten Straits Chinese philosopher, Tan Teck Soon, in the context of fin-de-siècle British colonial Singapore. The second note concerns a commitment to anthropocentrism in such considerations and how it might condition our search for ‘non-Western’ ways out of the ‘spiritual situation of the West’, even if we are to find ‘non-Western’ cultures uninfluenced by ‘the West’ such as the early Daoist text of the Zhuangzi, which Tan based his version of historical immortality and attempt at the project of reconciliation uponComment: Discusses the limits of comparative lenses for discussing philosophical topics, given colonialism; can be used for debates on the universality of philosophical questions.
Yoshida Kenkō. Essays in Idleness: The Tsurezuregusa of Kenkō
1998, Columbia University Press.
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Added by: Meilin ChinnPublisher's Note: Despite the turbulent times in which he lived, the Buddhist priest Kenkō met the world with a measured eye. As Emperor Go-Daigo fended off a challenge from the usurping Hojo family, and Japan stood at the brink of a dark political era, Kenkō held fast to his Buddhist beliefs and took refuge in the pleasures of solitude. Written between 1330 and 1332, Essays in Idleness reflects the congenial priest's thoughts on a variety of subjects. His brief writings, some no more than a few sentences long and ranging in focus from politics and ethics to nature and mythology, mark the crystallization of a distinct Japanese principle: that beauty is to be celebrated, though it will ultimately perish. Through his appreciation of the world around him and his keen understanding of historical events, Kenkō conveys the essence of Buddhist philosophy and its subtle teachings for all readers. Insisting on the uncertainty of this world, Kenkō asks that we waste no time in following the way of Buddha. In this fresh edition, Donald Keene's critically acclaimed translation is joined by a new preface, in which Keene himself looks back at the ripples created by Kenkō's musings, especially for modern readers.Comment: The writings of Kenkō, a 14th century court poet turned Japanese Buddhist priest, reflecting on a wide range of ordinary and extraordinary subjects in the random style of zuihitsu (“follow the brush”) Japanese composition. His essays were highly influential on Japanese aesthetics, especially the value placed on impermanent, irregular, and imperfect beauty, and the place of understatedness in a turbulent world. This text is best accessed by a reader with a basic understanding of Japanese aesthetics and Buddhism.
Related reading:
- Robert E. Carter The Japanese Arts and Self-Cultivation. Albany: State University of New York Press, 2008.
Zagzebski, Linda. Omnisubjectivity
2008, Jonathan Kvanvig (ed.) Oxford Studies in Philosophy of Religion Vol. 1.
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Added by: Emily PaulSummary: Zagzebski argues that traditional omniscience ought to be revised into 'omnisubjectivity', whereby God has 'perfect total empathy' with all conscious beings. She elaborates on what is meant by this, and makes the important qualification that when God has perfect total empathy, God is aware that God's empathetic state is a 'copy'. Zagzebski is motivated by conceiving of God as a personal being, who knows everything about God's creatures - including their conscious states. An analogy is drawn to Jackson's Mary the Colour Scientist - Mary's does not know 'what it is like' to see in colour when confined to her black and white room, in spite of knowing all propositional facts about colour science and seeing in colour. Similarly, with classical omniscience, God knows the truth value of every proposition, but does not know 'what it is like' to be each of God's creatures. Omnisubjectivity alleges to thus build on classical omniscience, whilst avoiding the worry that God (mistakenly) thinks that God actually is each conscious creature.Comment: Very useful for teaching about classical vs non-classical conceptions of God (omnisubjectivity being a 'non-classical' version of omniscience).
Zagzebski, Linda. Morality and Religion
2005, in William J. Wainwright (ed.) The Oxford Handbook of Philosophy of Religion. Oxford: Oxford University Press.
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Added by: Emily PaulChapter Introduction: Almost all religions contain a code of morality, and in spite of the factthat there are moral codes and philosophies that do not rely upon anyreligion, it has been traditionally argued that there are at least threeimportant ways in which morality needs religion: the goal of the morallife is unreachable without religious practice, religion is necessary toprovide moral motivation, and religion provides morality with itsfoundation and justification. These three ways in which morality may need religion are independent, but I argue that there are conceptual connectionsamong the standard arguments for them. I identify reasons for resistance tothe idea that morality needs religion and then turn to arguments for each ofthe three ways in which morality may need religion. All three are related toclassic forms of the moral argument for the existence of God. I conclude bycomparing classic Divine Command Theory with my Divine Motivation Theory andargue that the latter has advantages over the former in the way it providesa theological foundation for ethics.Comment: Useful to teach this after soliciting intuitions about whether religion is a suitable basis for morality - and the general relationship between religion and morality. Could perhaps follow a unit on Divine Command Theory and the Euthyphro Dilemma. Could lead to a nice seminar debate around the question of something like 'Is Religion a Suitable Basis for Morality'? It seems students are more inclined to answer 'no', but perhaps this article can do more to motivate debate from the 'yes' group of the debate.
Zai, Zhang. Western Inscription
1963, in Wing-tsit Chan (ed.), A Sourcebook in Chinese Philosophy. Princeton: Princeton University Press
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Added by: Kas BernaysAbstract:
Zhang Zai’s Western Inscription articulates a metaphysical vision of universal kinship and moral obligation grounded in the shared substance of all beings. It became a foundational text in Neo-Confucianism, emphasizing compassion and cosmic unity.Comment (from this Blueprint): A very short (1-page) primary source which introduces the Neo-Confucian approach to the relationship between human beings and the rest of nature.
Zeami Motokiyo. Zeami: Performance Notes
2008, New York: Columbia University Press
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Added by: Meilin ChinnPublisher's Note: Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English. Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater. Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.Comment: A compilation of writings on performance by the Japanese playwright, actor, and aesthetician, Zeami Motoyiko. His work addresses the principles of nō theater, including dramatic imitation, music, and movement, as well as ideas from Japanese philosophical aesthetics such as yūgen (“dark” or “mysterious”). Zeami also maintains a focus throughout his writings on jo-ha-kyū, a style of movement found in many Japanese arts, including theater, tea ceremony, and martial arts. This text is best used in a course on aesthetics, especially theater and cross-cultural aesthetics.
Zhuangzi. Autumn Floods
1968, in B. Watson (trans.), The Complete Works of Chuang Tzu. New York: Columbia University Press
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Added by: Kas BernaysAbstract:
This chapter presents a dialogue between the Lord of the Yellow River and the Ruo of the North Sea, illustrating Daoist themes of humility, relativism, and the vastness of nature. It challenges narrow perspectives and celebrates the interconnectedness of all things.Comment (from this Blueprint): A primary reading from Zhuangzi, one of the two most significant philosophers in the pre-Qin Daoist tradition. Readers are encouraged to look closely at this chapter for any ecological themes they can discern.
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