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Bringing together a number of case studies, this book shows how from early on Chinese philosophical discourses unfolded through innovation and the subversion of dominant forms of thinking. Narrowing in on the commonplace Chinese motto that “the three teachings” of Confucianism, Daoism, and Buddhism “are joined into one”, as if there had never been any substantial differences between or within these schools of thought, a team of esteemed contributors challenge established views. They explain how the Daoist tradition provided a variety of alternatives to prevailing Confucian master narratives, reveal why the long history of Confucianism is itself full of ambiguities, disputes, and competing ideas and discuss how in Buddhist theory and practice, the subversion of unquestioned beliefs and attitudes has been a prime methodological and therapeutic device. By drawing attention to unorthodox voices and subversion as a method, this exciting collection reveals that for too long the traditional division into “three teachings” has failed to do justice to the diversity and subtlety found in the numerous discourses constituting the history of Chinese philosophy. Critique, Subversion and Chinese Philosophy finally makes such innovative disruptions visible.
Bringing together a number of case studies, this book shows how from early on Chinese philosophical discourses unfolded through innovation and the subversion of dominant forms of thinking. Narrowing in on the commonplace Chinese motto that “the three teachings” of Confucianism, Daoism, and Buddhism “are joined into one”, as if there had never been any substantial differences between or within these schools of thought, a team of esteemed contributors challenge established views. They explain how the Daoist tradition provided a variety of alternatives to prevailing Confucian master narratives, reveal why the long history of Confucianism is itself full of ambiguities, disputes, and competing ideas and discuss how in Buddhist theory and practice, the subversion of unquestioned beliefs and attitudes has been a prime methodological and therapeutic device. By drawing attention to unorthodox voices and subversion as a method, this exciting collection reveals that for too long the traditional division into “three teachings” has failed to do justice to the diversity and subtlety found in the numerous discourses constituting the history of Chinese philosophy. Critique, Subversion and Chinese Philosophy finally makes such innovative disruptions visible.
In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory. He argues that because Chinese fiction, or xiaoshuo, was produced in a tradition very different from that of the West, it has formed a system of fiction theory that cannot be adequately accounted for by Western fiction theory grounded in mimesis and realism. Through an inquiry into the macrocosm of Chinese fiction, the art of formative works, and theoretical data in fiction commentaries and intellectual thought, Gu explores the conceptual and historical conditions of Chinese fiction in relation to European and world fiction. In the process, Gu critiques and challenges some accepted views of Chinese fiction and provides a theoretical basis for fresh approaches to fiction study in general and Chinese fiction in particular. Such masterpieces as the Jin Ping Mei (The Plum in the Golden Vase) and the Hongloumeng (The Story of the Stone) are discussed at length to advance his notion of fiction and fiction theory.
For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artefacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in “canonic” art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art.
This highly original work introduces the ideas and arguments of the ancient Chinese philosophies of Confucianism and Daoism to some of the most intractable social issues of modern American life, including abortion, gay marriage, and assisted suicide. Introduces the precepts of ancient Chinese philosophers to issues they could not have anticipated Relates Daoist and Confucian ideas to problems across the arc of modern human life, from birth to death Provides general readers with a fascinating introduction to Chinese philosophy, and its continued relevance Offers a fresh perspective on highly controversial American debates, including abortion, stem cell research, and assisted suicide
Inspired by the philosopher Graham Parkes, this collection provides a distinctive study of aesthetics and the climate crisis. Engaging with continental European and East Asian traditions, it challenges our definition of self in the West and asks us to re-evaluate our conventional perspectives. Expert authors present a timely reflection on contemporary issues, explicating the relationship between the human species and the natural world through its connection to the arts, dance and music. Showcasing Parkes's cross-cultural views on Japanese rock gardens, Buddhism, Daoist dance and musical ecology, while drawing on the philosophies of Nietzsche, Heidegger and the Zhuangzi, they demonstrate a diversity of comparative perspectives ranging from the structure of consciousness to discourses of climate change. Through a valuable and systematic treatment of the thought of Parkes, A Wandering Dance through the Philosophy of Graham Parkes makes the case that a restoration of the intimate relation of self and nature is indispensable in understanding our place in the order of things and achieving balance in the world.
The Bloomsbury Research Handbook of Chinese Philosophy Methodologies presents a new understanding of the changing methods used to study Chinese philosophy. By identifying the various different approaches and discussing the role, and significance of philosophical methods in the Chinese tradition, this collection identifies difficulties and exciting developments for scholars of Asian philosophy. Divided into four parts, the nature of Chinese philosophical thought is illuminated by discussing historical developments, current concerns and methodological challenges. Surveying recent methodological trends, this research companion explores and evaluates the methodologies that have been applied to Chinese philosophy. From these diverse angles, an international team of experts reflect on the considerations that enter their methodological choices and indicate new research directions. The Bloomsbury Research Handbook of Chinese Philosophy Methodologies is an important contribution to the education of the next generation of Chinese philosophers.
This volume presents the most important portrayals of an ancient Chinese master, Yang Zhu, throughout Chinese history, from the fourth century BCE till today. Due to the striking scarcity of reliable textual testimony regarding his life and thought, all these portrayals are to a large extent inspired by their own historical contexts: Mencius's criticism in the late Warring States, the creation of a Confucian orthodoxy during the imperial era, and the establishment of a Chinese philosophy in the Republic. This volume adopts a historical approach, tracing the most important portrayals of Yang Zhu in their own contexts and mutual connections. It yields new insights not only into the figure of Yang Zhu, but also into the stages of China's intellectual history. Scarcity of reliable textual support is, to varying degrees, a common predicament in the study of ancient Chinese masters, but the case of Yang Zhu is particularly illuminating. The remarkable dearth of textual material represents the almost "nothing" out of which early Chinese philosophers such as Yang Zhu have been fruitfully "created."
Choice Outstanding Academic Title 2014 In Poe and the Subversion of American Literature, Robert T. Tally Jr. argues that Edgar Allan Poe is best understood, not merely as a talented artist or canny magazinist, but primarily as a practical joker who employs satire and fantasy to poke fun at an emergent nationalist discourse circulating in the United States. Poe's satirical and fantastic mode, on display even in his apparently serious short stories and literary criticism, undermines the earnest attempts to establish a distinctively national literature in the nineteenth century. In retrospect, Poe's work also subtly subverts the tenets of an institutionalized American Studies in the twentieth century. Tally interprets Poe's life and works in light of his own social milieu and in relation to the disciplinary field of American literary studies, finding Poe to be neither the poète maudit of popular mythology nor the representative American writer revealed by recent scholarship. Rather, Poe is an untimely figure whose work ultimately makes a mockery of those who would seek to contain it. Drawing upon Gilles Deleuze's distinction between nomad thought and state philosophy, Tally argues that Poe's varied literary and critical writings represent an alternative to American literature. Through his satirical critique of U.S. national culture and his otherworldly projection of a postnational space of the imagination, Poe establishes a subterranean, nomadic, and altogether worldly literary practice.
Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical thought about places and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses.