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"While writing his earlier book Individual Autonomy and Responsibility in Late Imperial China and analyzing Li Zhi's thought for its meaningful contributions, Paulo Santangelo notes that he felt it "necessary to collect the evidence that emphasized the importance of individual freedom and responsibility." He posed the problem of the reevaluation of the individual during the period spanning the second part of the Ming dynasty to the first part of the Qing dynasty, with the aim of recounting the development of the valorization of individual will and desire and the construction of a new more autonomous selfhood. Drawing from a myriad of sources from the East and the West and across disciplines, this study adeptly attends to questions of philosophical and ethical comparability. This book is a rich source not only for those interested in Chinese thought about the person and moral norms but also for those who want to understand such problems generally on a world scale"--
An exploration of the conflict between traditional Chinese ideology and modern Chinese business practice
This book explores socio-cultural meanings of ‘self’ in the Chinese language through analysing a range of conversations among Chinese immigrants to Australia qualitatively on the topics of individuality, social relationships and collective identity. If language, culture and cognition are major roads, this book is the junction that unites them by arguing that selfhood occurs at their interface. It provides an interdisciplinary approach to unpack manifestations and perceptions of ‘self’ in the contemporary Chinese diaspora discourse from the perspectives of Sociolinguistics, Cognitive Linguistics and the newly developed Cultural Linguistics. This book not only discusses empirical and theoretical issues on the conceptualisation and communication of social identity in a cross-cultural context, it also reveals how traditional and modern ideas in Chinese culture are interacting with those of other world cultures. Considering the power of language, enduring and emerging beliefs and stances that permeate these speakers’ views on their social being and outlooks on life impart their significance in cross-cultural communication and pragmatics. As of January 2023, this e-book is freely available, thanks to the support of libraries working with Knowledge Unlatched.
Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures. Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
The Invention of China in Early Modern England describes how several different English communities became aware of China. It begins by describing how early modern intellectuals used the utopian ideal of China to license all kinds of progressive innovation before chronicling how England’s growing commerce in southeast Asia radically changed China’s representation in the English discourse community. For the new community of English merchants proposing to trade in Chinese goods, China became the seminal example in the growing discourse community of English Orientalism. It was an absolute or arbitrary authoritarian state, associated with crooked business dealings, and cloaked in a rhetoric of secrecy and exclusion—a dangerous exception to the traditions, values, and identities of the emergent English speaking states. Finally, the book points out some of the ways that contemporary English language sources continue to represent this early modern English thought tradition, labelling the complexities of modern China with analytical vocabulary perhaps better suited to the pressing political anxieties of the seventeenth century.
In Signposts of Self-Realization, Xinmin Liu offers an ontological study of education and development of the individual self through the prisms of ethical progress and social evolution in the context of modern Chinese literature and film. Did self-realization in the Chinese modern follow the law of Social Darwinism: the biggest ego always won out? Is individualism always self-regarding, never other-regarding? How did the Greater I evolve out of the Lesser I socially and ethically? Confronting these questions, the author navigates through the terrains of paraphrastic translation, Buddhist nonself, lyrical epiphany, redemptive memory and ethnic orality to map out an alternative path for the growth of a modern Chinese self.
Self-Cultivation in Early China is an introduction to multiple aspects of the foundational practice of self-cultivation in early China (c.1000 to 100 BCE). Drawing on the Chinese classics and the dozens of scholars' texts (both received and excavated) that together form the basis of intellectual history for China and all of East Asia, the book's analysis relies on the topics and categories that were central to the thought of these authors, including such well-known thinkers as Confucius and Laozi. This book describes a salient point of view from which we may consider the broader landscape of Chinese intellectual history and presents an important paradigm of the scholarly Chinese worldview that is ideal for comparison with paradigms in other communities, ancient or modern, across the globe.
This book explores how a modern English literary identity was forged by its notions of other traditions and histories, in particular those of China. The theorizing and writing of English literary modernity took place in the midst of the famous quarrel between the Ancients and the Moderns. Eun Kyung Min argues that this quarrel was in part a debate about the value of Chinese culture and that a complex cultural awareness of China shaped the development of a 'national' literature in seventeenth- and eighteenth-century England by pushing to new limits questions of comparative cultural value and identity. Writers including Defoe, Addison, Goldsmith, and Percy wrote China into genres such as the novel, the periodical paper, the pseudo-letter in the newspaper, and anthologized collections of 'antique' English poetry, inventing new formal strategies to engage in this wide-ranging debate about what defined modern English identity.
The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook’s themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.
This book, first published in 1980, is a history of modern Chinese literary criticism between the years 1917 and 1930. It examines its development within the overall frame of reference of Chinese national literature from the beginnings of the Chinese literary revolution in 1917 until the end of the first efforts at a revolutionary proletarian literature in 1930. Chinese literary criticism is also analysed within the framework of world literature, of world literary thought, especially of the impact of the progressive literary criticism.