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A culturally sensitive and rewarding new understanding of the cross-cultural interaction between China and Europe In this important new work author Yu Liu argues that, confined by a narrow English and European conceptual framework, scholars have so far obscured the radical innovation and revolutionary implication of Samuel Taylor Coleridge and William Wordsworth's monistic philosophy. Liu's innovative intellectual history traces the organic westward movement of the Chinese concept of tianren heyi, or humanity's unity with heaven. This monistic idea enters the European imaginary through Jesuit missionary Matteo Ricci's understanding of Chinese culture, travels through Spinoza's identification of God with nature, becomes ingrained in eighteenth-century English thought via the langscaping theory and practice of William Kent and Horace Walpole, and emerges in the poetry and thought of Coleridge and Wordsworth. In addition to presenting a significantly different reading of the two English poets, Liu contributes to scholarship about English literary history, history of European philosophy and religion, English garden history, and cross-cultural interactions between China and Europe in the sixteenth, seventeenth, and eighteenth centuries.
For the Chinese, the drive toward growing political and economic power is part of an ongoing effort to restore China's past greatness and remove the lingering memories of history's humiliations. This widely praised book explores the 1500–1800 period before China's decline, when the country was viewed as a leading world culture and power. Europe, by contrast, was in the early stages of emerging from provincial to international status while the United States was still an uncharted wilderness. D. E. Mungello argues that this earlier era, ironically, may contain more relevance for today than the more recent past. Building on the author's decades of research and teaching, this compelling book illustrates the vital importance of history to readers trying to understand China’s renewed rise.
In Living Chinese Philosophy, Roger T. Ames uses comparative cultural hermeneutics as a method for contrasting classical Greek ontology ("the science of being in itself") with classical Chinese "zoetology" ("the art of living"), which is made explicit in the Yijing 易經 or Book of Changes. Parmenides, Plato, and Aristotle give us a substance ontology grounded in "being qua being" or "being per se" (to on he on) that guarantees a permanent and unchanging subject as the substratum for the human experience. This substratum or essence includes its purpose for being (telos) and defines the "what-it-means-to-be-a-thing-of-this-kind" (eidos) of any particular thing, thus setting a closed, exclusive boundary and the strict identity necessary for a particular thing to be "this" and not "that." In the Book of Changes, we find a vocabulary that makes explicit cosmological assumptions that are a stark alternative to this substance ontology. It also provides the interpretive context for the canonical texts by locating them within a holistic, organic, and ecological worldview. To provide a meaningful contrast with this fundamental assumption of on or "being," we might borrow the Greek notion of zoe or "life" and create the neologism "zoe-tology" as "the art of living" (shengshenglun 生生論). This cosmology begins from "living" (sheng 生) itself as the motive force behind change and gives us a world of boundless "becomings": not "things" that are but "events" that are happening, a contrast between an ontological conception of human "beings" and a process conception of what the author calls human "becomings."
A brilliant polymath and part of the 'first wave' of British Romanticism, Thomas Manning was one of the first Englishmen to study Chinese language and culture. Like famous friends including Samuel Taylor Coleridge and Charles Lamb, Manning was inspired by the French Revolution and had ambitious plans for making a better world. While his contemporaries turned to the poetic imagination and the English countryside, Manning looked further afield – to China, one of the world’s most ancient and sophisticated civilizations. In 1790s Britain, China was terra incognita. Manning undertook a quest to learn the secrets of its language and culture. His travels included the salons of Napoleonic Paris, a period as a prisoner of war, a dramatic shipwreck and, disguised as a Buddhist pilgrim, a trek through the Himalayas to Tibet, where he met the Dalai Lama. But when he returned to England, his ideas confronted an increasingly Sinophobic climate and he failed to publish the grand work his peers had expected for so long. After his death, his outward-looking vision was eclipsed by the English-rural poetic vision of Romanticism, and he was forgotten. Manning’s extraordinary story, here told in full for the first time using recently discovered archival sources, sheds a new light on English Romanticism and the course of cultural exchange between Britain and Asia at the dawn of the nineteenth century.
The first major cultural study to focus exclusively on this decisive period in modern British-Chinese relations. Based on extensive archival investigations, Peter J. Kitson shows how British knowledge of China was constructed from the writings and translations of a diverse range of missionaries, diplomats, travellers, traders, and literary men and women during the Romantic period. The new perceptions of China that it gave rise to were mediated via a dynamic print culture to a diverse range of poets, novelists, essayists, dramatists and reviewers, including Jane Austen, Thomas Percy, William Jones, S. T. Coleridge, George Colman, Robert Southey, Charles Lamb, William and Dorothy Wordsworth and others, informing new British understandings and imaginings of China on the eve of the Opium War of 1839–42. Kitson aims to restore China to its true global presence in our understandings of the culture and literature of Britain in the late eighteenth and early nineteenth centuries.
Although cognitive processes are fundamental in shaping the language that we speak, they are often overlooked in language teaching and learning. This groundbreaking book addresses how to use key cognitive linguistic (CL) concepts to analyze the Chinese language and to advance L2 Chinese teaching and learning. It presents an overview of the most prominent CL research published in both Chinese and English and explores how it applies to L1 and L2 Chinese studies. Including sample lesson plans and classroom activities, it demonstrates to language teachers how to use CL-based approaches to explain and teach a wide range of linguistic phenomena to their students. Researchers will also gain new insights from the summaries of recent advances and contrastive analyses between English and Chinese. Covering up-to-date research, yet written in a clear and engaging style, it will foster a new understanding of teaching and learning Chinese.
The theory of “literary worlds” has become increasingly important in comparative and world literatures. But how are the often-contradictory elements of Eastern and Western literatures to cohere in the new worlds such contact creates? Drawing on the latest work in philosophical logic and analytic Asian philosophy, this monograph proposes a new model of literary worlds that is best suited to comparative literature dealing with Western and East Asian traditions. Unlike much discussion of world literature anchored in North American traditions, featured here is the transnational work of artists, philosophers, and poets writing in English, French, Japanese and Mandarin in the twentieth century. Rather than imposing sharp borders, this book suggests that vague boundaries link Eastern and Western literary works and traditions, and that degrees of distance can better help us to see the multiple dimensions that both distinguish and join together literary worlds East and West. As such, it enables us to grasp not only how East Asian and Western writers translate one another’s works into their own languages and traditions, but also how modern writers East and West modify their own traditions in order to make them fit in the new constellation of literary worlds brought about by the complex flow of literary information across twentieth-century Eurasia.
Approaching translations of Tolkien's works as stories in their own right, this book reads multiple Chinese translations of Tolkien's writing to uncover the new and unique perspectives that enrich the meaning of the original texts. Exploring translations of The Lord of the Rings, The Hobbit, The Silmarillion, The Children of Hurin and The Unfinished Tales, Eric Reinders reveals the mechanics of meaning by literally back-translating the Chinese into English to dig into the conceptual common grounds shared by religion, fantasy and translation, namely the suspension of disbelief, and questions of truth - literal, allegorical and existential. With coverage of themes such as gods and heathens, elves and 'Men', race, mortality and immortality, fate and doom, and language, Reinder's journey to Chinese Middle-earth and back again drastically alters views on Tolkien's work where even basic genre classification surrounding fantasy literature look different through the lens of Chinese literary expectations. Invoking scholarship in Tolkien studies, fantasy theory and religious and translations studies, this is an ambitious exercises in comparative imagination across cultures that suspends the prejudiced hierarchy of originals over translations.
A few years ago globalism seemed to be both a known and inexorable phenomenon. With the end of the Cold War, the opening of the Chinese economy, and the ascendancy of digital technology, the prospect of a unified flow of goods and services and of people and ideas seemed unstoppable. Political theorists such as Francis Fukuyama proclaimed that we had reached "the end of history." Yes, there were pockets of resistance and reaction, but these, we were told, would be swept away in a relentless tide of free markets and global integration that would bring Hollywood, digital finance, and fast food to all. Religious fundamentalism, nationalism, and traditional sexual identities would melt away before the forces of "modernity" and empire. A relentless, technocratic rationality would sweep all in its wake, bringing a neoliberal utopia of free markets, free speech, and increasing productivity. Nonetheless, as we have begun to experience the backlash against a global world founded on digital fungibility, the perils of appeals to nationalism, identity, and authenticity have become only too apparent. The collapse of Soviet Communism left an ideological vacuum that offered no recognized place from which to oppose global capitalism. What is the alternative? The anxieties and resentments produced by this new world order among those left behind are often manifested in assertions of xenophobia and particularity. This is what it supposedly means to be really American, truly Muslim, properly Chinese. The "other" is coming to take what is ours, and we must "defend" ourselves. Digitalizing the Global Text is a collection of essays by an international group of scholars situated squarely at this nexus of forces. Together these writers examine how literature, culture, and philosophy in the global and digital age both enable the creation of these simultaneously utopian and dystopian worlds and offer a resistance to them. A joint publication from the University of South Carolina Press and the National Taiwan University Press.
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.