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Winner of the Aldo and Jeanne Scaglione Prize for a Translation of a Scholarly Study of Literature Exemplary Figures (sometimes translated as Model Sayings) is an unabridged, annotated translation of Fayan, one of three major works by the Chinese court poet-philosopher Yang Xiong (53 BCE-18 CE). Yang sought to "renew the old" by patterning these works on earlier classics, drawing inspiration from the Confucian Analects for Exemplary Figures. In this philosophical masterwork, constructed as a dialogue, Yang poses and then answers questions on philosophical, political, ethical, and literary matters. Michael Nylan's rendering of this text, which is laden with word play and is extraordinarily difficult to translate, is a joy to read-at turns wise, cautionary, and playful. Exemplary Figures is a core text that will be relied upon by scholars of Chinese history and philosophy and will be of interest to comparativists as well.
Written by the Han philosopher Xu Gan (A.D. 170-217), Balanced Discourses is an inquiry into the causes of political breakdown. It provides a unique contemporary account of the social, intellectual, and cosmological factors that Xu Gan identified as having precipitated the demise of the Han order. This edition of Zhonglun (or Balanced Discourses) contains the original Chinese text with annotations and, on facing pages, an English translation also accompanied by annotations. This collection of essays spans a range of topics, from Confucian cultivation to calendrical calculation. Xu's perspectives are of not only historical but also philosophical interest, for they reveal his belief in a special correlative bond that should exist between names and actualities and his understanding of what happens when that bond is broken. The translator, John Makeham, argues in his introduction that the essays display the same quality of balance that Xu Gan sees as essential to social and political equilibrium.
Heaven Is Empty offers a new comparative perspective on the role of the sacred in the formation of China's early empires (221 BCE–9 CE) and shows how the unification of the Central States was possible without a unitary and universalistic conception of religion. The cohesive function of the ancient Mediterranean cult of the divinized ruler was crucial for the legitimization of Rome's empire across geographical and social boundaries. Eventually reelaborated in Christian terms, it came to embody the timelessness and universality of Western conceptions of legitimate authority, while representing an analytical template for studying other ancient empires. Filippo Marsili challenges such approaches in his examination of the reign of Emperor Wu of the Han (141–87 BCE). Wu purposely drew from regional traditions and tried to gain the support of local communities through his patronage of local cults. He was interested in rituals that envisioned the monarch as a military leader, who directly controlled the land and its resources, as a means for legitimizing radical administrative and economic centralization. In reconstructing this imperial model, Marsili reinterprets fragmentary official accounts in light of material evidence and noncanonical and recently excavated texts. In bringing to life the courts, battlefields, markets, shrines, and pleasure quarters of early imperial China, Heaven Is Empty provides a postmodern and postcolonial reassessment of "religion" before the arrival of Buddhism and challenges the application of Greco-Roman and Abrahamic systemic, identitary, and exclusionary notions of the "sacred" to the analysis of pre-Christian and non-Western realities.
While cultural literacy in early China was grounded in learning the Classics, basic competence in official life was generally predicated on acquiring several forms of technical knowledge. Recent archaeological finds have brought renewed attention to the use of technical manuals and mantic techniques within a huge range of discrete contexts, pushing historians to move beyond the generalities offered by past scholarship. To explore these uses, Technical Arts in the Han Histories delves deeply into the rarely studied "Treatises" and "Tables" compiled for the first two standard histories, the Shiji (Historical Records) and Hanshu (History of Han), important supplements to the better-known biographical chapters, and models for the inclusion of technical subjects in the twenty-three later "Standard Histories" of imperial China. Indeed, for a great many aspects of life in early imperial society, they constitute our best primary sources for understanding complex realities and perceptions. The essays in this volume seek to explain how different social groups thought of, disseminated, and withheld technical knowledge relating to the body, body politic, and cosmos, in the process of detailing the preoccupations of successive courts from Qin through Eastern Han in administering the localities, the frontier zones, and their numerous subjects (at the time, roughly one-quarter of the world's population).
Xuanhe Catalogue of Paintings is the first complete translation of the well-known document produced at the court of Emperor Huizong (r. 1100–1125). Dated to 1120, the Catalogue is divided into ten categories of subject matter. Under Daoist and Buddhist Subjects, Figural Subjects, Architecture, Barbarian Tribes, Dragons and Fish, Landscape, Domestic and Wild Animals, Flowers and Birds, Ink Bamboo, and Vegetables and Fruit are biographies of 231 painters, ranging from famous early masters, such as Wu Daozi (ca. 685-758) and Li Cheng (919-967), to otherwise unknown artists of the Song-dynasty court, including fourteen eunuch officials and sixteen male and female members of the royal family. Titles of their pictures held in the palace collection are listed for each artist. These 6,396 paintings testify to the visual culture experienced by viewers of the twelfth century. The author's Introduction analyzes the Catalogue as a source of evidence about the formation of the Song-dynasty palace collection and argues that the majority of its pictures were already in the collection before Huizong's reign, as a result of conquest, confiscation, tribute, gift culture, collecting by earlier emperors, and the production of academy artists and regular officials at the Song court. Under Huizong's reign, around a thousand other pictures were added to the Catalogue through acquisition and reattribution. Open access edition funded by the National Endowment for the Humanities.
This book takes up one of the most important themes in Chinese thought: the relation of pleasurable activities to bodily health and to the health of the body politic. Unlike Western theories of pleasure, early Chinese writings contrast pleasure not with pain but with insecurity, assuming that it is right and proper to seek and take pleasure, as well as experience short-term delight. Equally important is the belief that certain long-term relational pleasures are more easily sustained, as well as potentially more satisfying and less damaging. The pleasures that become deeper and more ingrained as the person invests time and effort to their cultivation include friendship and music, sharing with others, developing integrity and greater clarity, reading and classical learning, and going home. Each of these activities is explored through the early sources (mainly fourth century BC to the eleventh century AD), with new translations of both well-known and seldom-cited texts.
On the Horizon of World Literature compares literary texts from asynchronous periods of incipient literary modernity in different parts of the world: Romantic England and Republican China. These moments were oriented alike by “world literature” as a discursive framework of classifications that connected and re-organized local articulations of literary histories and literary modernities. World literature thus provided—and continues to provide—a condition of possibility for conversation between cultures as well as for their mutual provincialization. The book offers readings of a selection of literary forms that serve also as textual sites for the enactment of new socio-political forms of life. The literary manifesto, the tale collection, the familiar essay, and the domestic novel function as testing grounds for questions of both literary-aesthetic and socio-political importance: What does it mean to attain a voice? What is a common reader? How does one dwell in the ordinary? What is a woman? In different languages and activating heterogeneous literary and philosophical traditions, works by Percy Bysshe Shelley, Lu Xun, Charles and Mary Lamb, Lin Shu, Zhou Zuoren, Jane Austen, and Eileen Chang explore the far-from-settled problem of what it means to be modern in different lifeworlds. Sun’s book brings to light the disciplinary-historical impact world literature has had in shaping literary traditions and practices around the world. The book renews the practice of close reading by offering the model of a deprovincialized close reading loosened from confinement within monocultural hermeneutic circles. By means of its own focus on England and China, the book provides methods useful for comparatists working between other Western and non-Western languages. It establishes the critical significance of Romanticism for the discipline of literary studies and opens up new paths of research in global Romanticism and global nineteenth-century studies. And it offers a new approach to analyzing the cosmopolitan character of the literary and cultural transformations of early twentieth-century China.
Literary Forms of Argument in Early China explores formal approaches to the study of philosophical texts to present new methods for the analysis of pre-modern thought in China. Attempts made by Chinese thinkers to generate literary forms of philosophical reasoning have gone unrecognised within scholarship in China and the West. Drawing together the expertise of leading scholars of early Chinese textuality, this volume addresses this omission by examining the formal characteristics of an argument, the interrelationship between form and content, as well as patterned compositions and non-linear semantic utterances. With these comprehensive new readings, the volume makes a landmark contribution to the study of written thinking in early China. Contributors include: Wim De Reu, Joachim Gentz, Christoph Harbsmeier, Martin Kern, Dirk Meyer, Michael Nylan, Andrew H. Plaks, David Schaberg, Rudolf G. Wagner.
Based on several research seminars, the authors in this volume provide fresh perspectives of the intellectual and cultural history of East Asian medicine, 1550-1800. They use new sources, make new connections, and re-examine old assumptions, thereby interrogating whether and why European medical modernity is an appropriate standard for delineating the modern fate of East Asia’s medical classics. The unique importance of early modern Europe in the history of modern medicine should not be used to gloss over the equally unique and thus different developments in East Asia. Each paper offers an important contribution to understanding the dynamics of East Asian medicine, namely, the relationship between medical texts, medical practice, and practitioner identity. Furthermore, the essays in this volume are especially valuable for directing our attention to the movement of medical texts between different polities and cultures of early modern East Asia, especially China and Japan. Of particular interest are the interactions, similarities, and differences between medical thinkers across East Asia. Contributors include: Susan Burns, Benjamin A. Elman, Asaf Goldschmidt, Angela KC Leung, Federico Marcon, MAYANAGI Makoto, Fabien Simonis, Daniel Trambaiolo, and Mathias Vigouroux.