Diversity Reading List

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."

Abstract: While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions.

Emotion is an essential component of human nature, and therefore it is necessary to explore the issue of a desirable emotional state if we want to properly discuss human well-being. This article examines the issue by advocating a new understanding of the Zhuangzi’s 莊子 ideas on emotion. In terms of the Zhuangzi’s ideas on the desirable emotional state, scholars have presented various interpretations to date, even arguing that the ideas themselves are mutually contradictory or inconsistent. This article shows that the Zhuangzi’s ideas about emotions are in fact consistent by dividing emotions into two types: “conventional knowledge-dependent emotions” and “true knowledge-dependent emotions.” It then examines the characteristics of a desirable emotional state and the conditions necessary to reach it and explores the implications of the Zhuangzi’s ideas for discussions on well-being in modern times.

The Zhuangzi offers two apparently incompatible models of bereavement. Zhuangzi sometimes suggests that the sage will greet loss with unfractured equanimity and even aplomb. However, upon the death of his own wife, Zhuangzi evinces a sorrow that, albeit brief, fits ill with this suggestion. In this essay, I contend that the grief that Zhuangzi displays at his wife’s death better honors wider values averred elsewhere in the text and, more generally, that a sage who retains a capacity for sorrow will be better positioned for the robust joy so often identified as central to the Zhuangzi’s vision of flourishing. The sagely figures who entirely forego sorrow, I argue, achieve equanimity only through a sacrifice of the emotional range and responsiveness necessary not only for grief but also for the delight Zhuangzi recommends.

Since Zhuangzi laments the human obsesssion with being right, he would be highly amused at the scholarly obsession with being right on the meaning of his text, especially on the matter of whether he ultimately believed in a right versus wrong. The fact is that he invites our obsession by raising the question and then refusing to answer it. In chapter two, we are invited to take a stance above the debating Confucians and Mohists. What one shis 是 the other feis 非 (what is 'right' for one is 'not right' for the other); what one feis the other shis. Argument is powerless to declare a victor. Zhuangzi asks, "Are there really shi and fei, or really no shi and fei?".