Nature and Landscape in the Chinese Tradition

2012 ◽  
pp. 1-15 ◽  
Author(s):  
Longxi Zhang
Keyword(s):  
Chinese Tradition

Empiricisms

2020 ◽  
Author(s):  
Barry Allen
Keyword(s):  
John Dewey ◽  
Gilles Deleuze ◽  
William James ◽  
Natural Philosophy ◽  
Modern Science ◽  
Detailed Account ◽  
Chinese Tradition ◽  
Experimental Practice ◽  
European Philosophy ◽  
History Of

Empiricisms reassesses the values of experience and experiment in European philosophy and comparatively. It traces the history of empirical philosophy from its birth in Greek medicine to its emergence as a philosophy of modern science. A richly detailed account in Part I of history’s empiricisms establishes a context in Part II for reconsidering the work of the so-called radical empiricists—William James, Henri Bergson, John Dewey, and Gilles Deleuze, each treated in a dedicated chapter. What is “radical” about their work is to return empiricism from epistemology to the ontology and natural philosophy where it began. Empiricisms also sets empirical philosophy in conversation with Chinese tradition, considering technological, scientific, medical, and alchemical sources, as well as selected Confucian, Daoist, and Mohist classics. The work shows how philosophical reflection on experience and a profound experimental practice coexist in traditional China with no interaction or even awareness of each other. Empiricism is more multi-textured than philosophers tend to assume when we explain it to ourselves and to students. One purpose of Empiricisms is to recover the neglected context. A complementary purpose is to elucidate the value of experience and arrive at some idea of what is living and dead in philosophical empiricism.

scholarly journals Ethos in Early Chinese Rhetoric: The Case of “Heaven”

Humanities ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 7
Author(s):  
Yong-Kang Wei
Keyword(s):  
Cultural Heritage ◽  
Chinese Society ◽  
Cultural Tradition ◽  
The West ◽  
Chinese Tradition ◽  
Rhetorical Tradition ◽  
Chinese Rhetoric ◽  
Human Desire ◽  
Collective Ethos ◽  
The Universe

Though applicable in many Western historical-cultural settings, the Aristotelian model of ethos is not universal. As early Chinese rhetoric shows in the example of cheng-yan or “ethos of sincereness,” inspiring trust does not necessarily involve a process of character-based self-projection. In the Aristotelian model, the rhetor stands as a signifier of ethos, with an ideology of individualism privileged, whereas Chinese rhetoric assumes a collectivist model in which ethos belongs, not to an individual or a text, but rather to culture and cultural tradition. This essay will be concentrating on the concept of Heaven, central to the cultural and institutional systems of early Chinese society, in an attempt to explore collective ethos as a function of cultural heritage. Heaven, it shall be argued, plays a key role in the creation of Chinese ethos. This essay will also contrast the logocentrism of Western rhetorical tradition with the ethnocentrism of Chinese tradition. The significance of Heaven in its role as a defining attribute of Chinese ethos is reflective of a unique cultural heritage shaped by a collective human desire in seeking a consciousness of unity with the universe. Just as there are historical, cultural, and philosophical reasons behind logocentrism in the West, so the ethnocentric turn of Chinese rhetoric should be appreciated in light of a cultural tradition that carries its own historical complexities and philosophical intricacies.

Sources of Chinese Tradition, Second edition (review)

2001 ◽  
Vol 8 (1) ◽  
pp. 93-101 ◽  
Author(s):  
Endymion Porter Wilkinson
Keyword(s):  
Chinese Tradition

scholarly journals “Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism

2020 ◽  
pp. 44-50
Author(s):  
Marina Aleksandrovna Neglinskaya
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Oil Painting ◽  
Chinese Tradition ◽  
State Museum ◽  
International Audience ◽  
The Subject ◽  
Traditional Paradigm ◽  
Artistic Tradition

The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

The Influence of Western Literature on Lǔ Xùn's ‘Diary of a Madman’

1960 ◽  
Vol 23 (2) ◽  
pp. 309-322
Author(s):  
J. D. Chinnery
Keyword(s):  
Literary Language ◽  
Chinese Tradition ◽  
Western Literature ◽  
New Culture Movement ◽  
Confucian Morality ◽  
The New Culture Movement

Lǔ xùn's first story Kúangrén rìjì ‘Diary of a madman’ was published in the review Xīn Qīngnián (La Jeunesse) in May 1918. This was during the New Culture Movement when the editors of the review were engaged in their onslaught on Confucian morality, the literary language, and other aspects of the Chinese tradition. Lǔ Xùn's story was intended as a contribution to this movement and was written, according to the author's own account, at the request of one of his friends and fellowprovincials on the editorial board, Qián Xuán-tóng .

Text and Commentary in the Medieval Period

2017 ◽  
Author(s):  
Yu-yu Cheng
Keyword(s):  
Literary Texts ◽  
Original Text ◽  
Medieval Period ◽  
Early Medieval ◽  
Chinese Tradition ◽  
Early Medieval Period ◽  
Classical Chinese

In classical Chinese tradition, writing a commentary is a basic way of interpreting texts and teaching classics. A commentator not only speculates on an author’s intent but also cites from various oral or written accounts to annotate a text. Commentary thus becomes a core text for converging knowledge and conserving culture, and sometimes it is many times longer than the original text. This chapter focuses on a series of commentaries on literary texts in the early medieval period and shows that, instead of being secondary to the original text, a commentary constitutes a new text on a par with the urtext in many ways.

Consumatori cinesi e cibo: tra tradizione millenaria e influenze culturali occidentali

2012 ◽  
pp. 85-99
Author(s):  
Teresa Del Giudice ◽  
Francesco Caracciolo ◽  
Gianni Cicia ◽  
Klaus G. Grunert ◽  
Athanasios Krystallis
Keyword(s):  
Food Products ◽  
Point Of View ◽  
Chinese Society ◽  
Chinese Market ◽  
Chinese Consumers ◽  
Chinese Tradition ◽  
The Rich ◽  
The Ancient Chinese ◽  
Culinary Culture ◽  
Cultural Openness

China is one of the most dynamic economies of the planet. The dramatic economic development in recent decades has greatly influenced the structure and habits of Chinese society. This although still characterized by strong disparities between the poorer classes and the wealthy, shows a growing middle class and an increasingly high-income segment. These segments of society are, as expected, evolving from a cultural point of view beginning to incorporate into the ancient Chinese tradition elements of other cultures, most notably the Western one. As was the case for other new economies, especially the rich part of the population is showing an increasing inclination towards all aspects of Western culture. This opening is also affecting the food consumption habits, transforming the dynamic and vibrant Chinese market into a major destination for European food products. The following research by submitting a questionnaire to 500 Chinese consumers residents in metropolitan areas had a dual objective. The first involved the analysis of the propensity of consumers to enter into the ancient Chinese culinary culture food products from other countries. The second was represented by the attempt to segment consumers, depending on the degree of cultural openness towards non- Chinese food, using both socio-demographic and psychographic variables.

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