scholarly journals Utilitarianism and the Westernization of Modern Mohist Studies

2021 ◽  
Vol 7 (1-2) ◽  
pp. 136-160
Author(s):  
Tao Nie (聶韜) ◽  
Manyi Wu (吴滿意)
Keyword(s):  
Chinese Culture ◽  
Systematic Research ◽  
Hu Shi ◽  
Liang Qichao ◽  
Scholarly Influence ◽  
Traditional Chinese Culture ◽  
Yan Fu

Abstract The term “utilitarianism” in English translates into Chinese as gongli zhuyi. When Liang Qichao and Hu Shi first imported the concept of utilitarianism into the study of Mohist thought, the term was initially translated as shili zhuyi or leli zhuyi. The use of gongli zhuyi in Mohist studies was established only through the efforts of Yan Fu and Wu Yu to break down the negative connotations of gongli in traditional Chinese culture and through the systematic research and scholarly influence of Feng Youlan. The study of Mohist thought within the framework of utilitarianism as gongli zhuyi is now common practice throughout academia with few scholars objecting to the use of this term.

TANG JIANPING'S OPERA "THE DAWNS HERE ARE QUIET": HISTORY OF CREATION AND SPECIFICS OF MUSICAL DRAMATURGY

2020 ◽  
Vol 1 (3) ◽  
pp. 161-167
Author(s):  
Wang Kaidi ◽  
Keyword(s):  
Human Nature ◽  
Chinese Culture ◽  
Gender Disparity ◽  
Psychological State ◽  
Chinese Opera ◽  
Traditional Chinese Culture ◽  
Great Patriotic War ◽  
History Of ◽  
First Time ◽  
Russian Identity

The article is devoted to the Opera "The Dawns Here Are Quiet" by the Chinese composer Tang Jianping based on the same-named novel by Boris Vasilyev. The theme of the Great Patriotic War, which for the first time became the plot of the Chinese Opera, was in tune with the theme of the Chinese Resistance to the Japanese Invasion. The composition synthesizes the characteristics of the European opera type in its Russified version, which was reflected in the heroic and epic dramaturgy and multi-part musical text. Russian folklore allusions, quasi- quotes from Russian operas, military-patriotic and Soviet mass songs reflect the author's method. The integrity of musical dramaturgy was given by the leitmotif, which became the main marker of Russian identity in the Opera. The Opera lacks a naturalistic embodiment of the War, and depicts the enemy in a conventional, symbolic way, in the form of unnamed but recognizable figures. The creators of the play sought to reveal the barbaric essence of the War, its anti-human character, to present the psychological state of the heroes and the manifestation of their human nature. The theme of the death of young girls gave a special perspective to the Opera, which is particularly acute in China due to gender disparity. The concept of the composer, director and screenwriter reflects the ideological constants of traditional Chinese culture, which gave the Opera an internal subtext.

scholarly journals The Belt and Road Policy and Traditional Chinese Culture

2019 ◽  
Vol 11 (2) ◽  
pp. 87
Author(s):  
Wei Zheng ◽  
Qing-Xiang Feng
Keyword(s):  
Chinese Culture ◽  
Policy Initiative ◽  
Xi Jinping ◽  
New Era ◽  
Chinese Characteristics ◽  
Traditional Chinese Culture ◽  
Belt And Road ◽  
National Congress ◽  
The Belt And Road ◽  
Major Decision

Since the 18th CPC national congress, the development of socialism with Chinese characteristics has entered into a new era. In the new context of development, Chinese President Xi Jinping has put forward the Belt and Road Policy. The Belt and Road Policy is not only a major decision for China to promote regional economic integration and international economic and trade exchanges, but also a project to spread traditional Chinese culture. The Belt and Road Policy initiative bears the mission of spreading the Chinese civilization and building a community with a shared future for humanity. It attempts to provide a set of Chinese solutions to the bottleneck of global development and demonstrates the cultural confidence of the CPC.

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