scholarly journals Contributions from Taoist Stories to the Ecological-Spiritual Crisis of Contemporary Mankind

Hallazgos ◽  
2012 ◽  
Vol 9 (18) ◽  
Author(s):  
José Arlés Gómez Arévalo
Keyword(s):  
Research Work ◽  
Far East ◽  
Eastern Culture ◽  
Third Phase ◽  
Starting Point ◽  
Science And Culture ◽  
Eastern Cultures ◽  
The Ancient Chinese ◽  
Far Eastern ◽  
Work Done

This article presents the results of work done by the research group Science- Spirituality, whose third phase is called The Concept of Natural Harmony in Regards to the Man-nature Relationship: A Dialogue between Western and Eastern Cultures. This phase is an attempt to borrow from emerging Western epistemologies together with Far East traditions,<br />primarily the ancient Chinese Taoist tradition. Taking as a starting point the contemporary mankind crisis which has been proclaimed by philosophy, science and culture and regarding that which thinkers and scientists alike, such as Husserl and Prigogine have concluded, the limitations of modern-thinking are highlighted and a thorough revision of this thinking has been proposed. This revision must be done based on<br />the sense of humanity and on the dialogue between sciences and other cultures. In this case: Far Eastern culture.<br />This research work is built upon the idea of examining our perception concerning Taoist culture, assuming that this culture is reflected in its narratives and fables and that they offer an opportunity to gain new insights and meanings regarding the world and some of the issues faced by contemporary humankind. Thus, the category crisis becomes particularly<br />important since it is understood as a challenge or opportunity in an increasingly globalized and technology-oriented world marked by problems such as inequality, exclusion, paradoxes and the contradictions of the human being, including himself, others and furthermore a permanent critical relationship to nature from which he or she has been disconnected<br />in a physical, spiritual and energetic way (Guenon, 2010, 34).

The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein

2018 ◽  
Vol 10 (3) ◽  
pp. 45-54
Author(s):  
Joon Il Song
Keyword(s):  
20Th Century ◽  
Far East ◽  
Historical Context ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
Creative Work ◽  
Eastern Culture ◽  
Chinese Traditional Culture ◽  
The Far East ◽  
Far Eastern

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

scholarly journals Chiny wyobrażone – Chiny ucieleśnione. Państwo Środka w polskich i serbskich relacjach z podróży (od XVIII do połowy XX wieku)

2021 ◽  
pp. 241-253
Author(s):  
Karolina Galewska
Keyword(s):  
Mental Representations ◽  
The Other ◽  
Individual Experience ◽  
Middle Kingdom ◽  
The West ◽  
Chinese Cities ◽  
Eastern Culture ◽  
Travel Writings ◽  
Characteristic Features ◽  
Far Eastern

The article presents an overview of the issues discussed in Tomasz Ewertowski’s monograph Images of China in Polish and Serbian Travel Writings (1720–1949). It reconstructs the discourse that emerges from the journals as their authors report on their journeys to the Middle Kingdom. The article also analyses the conditioning of the presented attitudes in the context of individual experience. Using imagology-based tools, Ewertowski refers to the mental representations of reality recorded in the text in the form of stereotypically formed ethnotypes. Ewertowski creates a mosaic of the way travellers from the West imagined both Chinese cities and the characteristic features of Far Eastern culture, which is often marked by Eurocentrism and an evaluating attitude towards the Other.

User Evaluation of E-Government Systems

2011 ◽  
pp. 63-84
Author(s):  
Nan Zhang ◽  
Xunhua Guo ◽  
Guoqing Chen ◽  
Patrick Y.K. Chau
Keyword(s):  
Chinese Culture ◽  
Evaluation Model ◽  
Ease Of Use ◽  
Perceived Usefulness ◽  
User Evaluation ◽  
Perceived Fit ◽  
Perceived Ease Of Use ◽  
Eastern Culture ◽  
Lack Of Fit ◽  
Far Eastern

Based on Information Technology adoption theories and considering Chinese cultural characteristics, this chapter proposes a user centric IT/IS evaluation model composed of three determinants, namely perceived usefulness, perceived ease of use, and perceived fit, for investigating the e-government systems application and management in China. By empirically validating the model with survey data, it is demonstrated the perceived fit has significant impacts on the end users’ evaluation towards e-government systems, due to the special element of Hexie in the Chinese culture. The results also indicate that the reasons for failures in e-government systems application in China largely lie in the lack of fit, which may root in the long power distance characteristic of the Far Eastern culture.

scholarly journals THE CONCEPTION OF ILLUSIONARY EXISTENCE IN THE «RATNA-GUNA-SAMCAYA-GĀTHĀ»

2020 ◽  
Vol 13 ◽  
pp. 3-31
Author(s):  
Sergey Lepekhov ◽  
Keyword(s):  
Philosophy Of Language ◽  
Main Subject ◽  
Modern Logic ◽  
New Approach ◽  
Eastern Culture ◽  
Special Place ◽  
Far Eastern ◽  
Further Development

The main subject of this paper are the possible ways of forming the concept of illusion (māyopamavada) in the philosophy of Madhyamaka. A special place in this process is occupied by the early prajñāpāramitā sutras. One of the objects of research is the prajñāpāramitā Sutra “Ratna-guna-samcaya-gāthā” (“Prajñāpāramitā in Verses about the Accumulation of Precious Qualities”). Due to the Prajñāpāramitā texts, the Buddhist idea of the illusionary existence became an essential part of the far Eastern culture and art. On the example of “Ratna-guna-samcaya-gāthā”, we can see the dynamics of the concept of “illusory world” how it was formed in the Prajñāpāramitā texts. As an example of further development of the concept and its application to the philosophical ideas of Madhyamaka, are used individual texts of Nāgārjuna (“Ratnāvalī”, “Yuktiṣāṣṭika”, “Lokātīta-stava”). Some variants of the issues of reference and designation (namely, the need to correlate the reference, denotate and designate with the object, and in turn, with the localization of the intensional, i.e., the meaning of the concept and the extensional one) are compared as in modern logic and the solutions, proposed by madhyamikas. The new approach to the study of Madhyamaka as a “philosophy of language” suggests very promising opportunities for study of both logical and philosophical heritage of Nāgārjuna and its connection with the entire previous prajñāpāramitā tradition. The Appendix contains a translation of the seven final chapters (XXVI–XXXII) of “Ratna-guna-samcaya-gāthā” from Sanskrit and Tibetan into Russian.

scholarly journals On the question of the ideological foundations of traditional Japanese culture

2021 ◽  
pp. 36-56
Author(s):  
Elena Skvortsova ◽  
Keyword(s):  
20Th Century ◽  
Basic Concept ◽  
Japanese Culture ◽  
Main Concept ◽  
Kyoto School ◽  
Eastern Culture ◽  
Kyoto School Of Philosophy ◽  
Far Eastern ◽  
Nishida Kitaro ◽  
Tea Ceremony

The article is devoted to the analysis of the phenomenon of the tea ceremony and its main concept of wabi, without which it is impossible to understand the ideological foundations of Japanese spiritual culture. At the same time, the basic concept in which the tea ceremony is recognized and described leads to the ultimate category of the entire Far Eastern culture – Nothingness (Emptiness, nonexistence), which is crucial for understanding Japanese religions, philosophical and aesthetic thought. The article discusses the views of the founder of the Kyoto school of philosophy Nishida Kitaro (1870–1945) and some of his students on the nature of the categories of wabi and Nothingness. Also, an analysis of these categories by researchers of the second half of the 20th century, Izutsu Toshihiko and Izutsu Toyoko is given.

Social Science Materials in Far Eastern Culture

1932 ◽  
Vol 37 (5) ◽  
pp. 748-759
Author(s):  
Maurice T. Price
Keyword(s):  
Social Science ◽  
Eastern Culture ◽  
Far Eastern

scholarly journals Female Images in Chinese and Japanese painting

2021 ◽  
pp. 114-138
Author(s):  
Darya Nikolaevna Belova
Keyword(s):  
Special Role ◽  
Female Images ◽  
Modern Development ◽  
National Heritage ◽  
Female Image ◽  
Woodblock Printing ◽  
The Aesthetic ◽  
Japanese Painting ◽  
Far Eastern ◽  
Modern Artists

This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X &ndash; XVII centuries and Japanese woodblock printing of the XVII &ndash; XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.

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