PHIL 3141 Neo-Daoist Philosophy Course Outline
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Is Freedom in Necessity Or in Happiness? Guo Xiang's and Lin Xiyi's Controversial Readings of Zhuangzi's »Free Rambling«
Is Freedom in Necessity or in Happiness? Guo Xiang’s and Lin Xiyi’s Controversial Readings of Zhuangzi’s »Free Rambling« David Machek The opening of Zhuangzi 莊子1 is subject of a long and ongoing controversy in both Chinese and Western interpretive tradition.2 The most debated issue in this discussion is the nature of relationship between big things, as represented by a huge Peng bird, and small things, as embodied by a cicada and dove. This paper will work with two traditional Chinese commentaries on Zhuangzi that represent the earliest articulations of two opposing perspectives on this relationship, charting the battlefield for later interpreters.3 Since this study will confine itself solely to the commentaries on the first 1 As tradition has it, the author of Zhuangzi is the philosopher Zhuangzi who lived in the fourth century B.C. Today, scholars generally agree that the received and the only extant version of the text in the edition of Guo Xiang consists of several textual layers written in different times by different authors. For a detailed overview and discussion of the history of the text, see David Chai, Early Zhuangzi Commentaries (München: Verlag Dr. Müller, 2008). Nonetheless, the authorship of the first chapter is ascribed to Zhuangzi himself. 2 The most recent discussion of the controversy, as well as a critique of Guo Xiang’s reading was presented by Lian Xinda, »Zhuangzi the Poet: Re-Reading the Peng Bird Image«, Dao 8 (2009), 233– 254. The present study is much indebted to Lian Xinda’s article and endorses a great deal of his conclusions. -
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Lipsey, Eleanor Laura (2018) Music motifs in Six Dynasties texts. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32199 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Music motifs in Six Dynasties texts Eleanor Laura Lipsey Thesis submitted for the degree of PhD 2018 Department of East Asian Languages and Cultures China & Inner Asia Section SOAS, University of London 1 Abstract This is a study of the music culture of the Six Dynasties era (220–589 CE), as represented in certain texts of the period, to uncover clues to the music culture that can be found in textual references to music. This study diverges from most scholarship on Six Dynasties music culture in four major ways. The first concerns the type of text examined: since the standard histories have been extensively researched, I work with other types of literature. The second is the casual and indirect nature of the references to music that I analyze: particularly when the focus of research is on ideas, most scholarship is directed at formal essays that explicitly address questions about the nature of music. -
Response to Leonard Tan and Mengchen
Title Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin” Author(s) Leonard Tan and Mengchen Lu Source Philosophy of Music Education Review, 26(2), 199-202 Published by Indiana University Press Copyright © 2018 Indiana University Press This paper was published as: Tan, L., & Lu, M. (2018). Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin”. Philosophy of Music Education Review, 26(2), 199-202. https://www.muse.jhu.edu/article/704999 No part of it may be reproduced, stored in a retrieval system, transmitted, or distributed in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of Indiana University Press. For education reuse, please contact the Copyright Clearance Center at http://www.copyright.com For all other permissions, contact IU Press at http://iupress.indiana.edu/rights This document was archived with permission from the copyright owner. In Dialogue Response to Chiao-Wei Liu, “Response to Leonard Tan and Mengchen Lu, ‘I Wish to be Wordless’: Philosophizing through the Chinese Guqin” Philosophy of Music Education Review 26, no. 2 (2018): 202. Leonard Tan National Institute of Education, Nanyang Technological University, Singapore [email protected] Mengchen Lu National Institute of Education, Nanyang Technological University, Singapore [email protected] Chiao-Wei Liu’s response to our paper raised important issues regarding the translation and interpretation of Chinese philosophical texts, our construals of Truth and ethical awakening, differences between the various Chinese philosophical traditions, and the importance of recognizing students’ selves as music educators work with them through diverse musical traditions. -
Chikurin Shichiken 竹林七賢 Seven Wise Men of the Bamboo Thicket Seven Sages of the Bamboo Grove
Notebook, Slide 31 Condensed Visual Classroom Guide to Daikokuten Iconography in Japan. Copyright Mark Schumacher. 2017. Chikurin Shichiken 竹林七賢 Seven Wise Men of the Bamboo Thicket Seven Sages of the Bamboo Grove Below text from Japan Architecture and Art Net User System (JAANUS) Chn: Zhulinqixian. Lit. Seven Sages of the Bamboo Grove. A pictorial theme based on seven Chinese literati who, to escape the social chaos of the Wei-Jin period, fled to a secluded bamboo grove chikurin 竹林 where they could express their personalities freely by the enjoyment of pure conversation seidan 清談, music, and wine. The Seven Sages are: Ruan Ji (Jp: Gen Seki 阮籍; 210-263), Ji Kang (Jp: Kei Kou 稽康; 223-266), Shan Tao (Jp: San Tou 山 涛; 205-266), Xiang Xiu (Jp: Kyou Shuu 向秀; 221-300), Liu Ling (Jp: Ryou Rei 劉伶; ca. 225- 280), Wang Rong (Jp: Oujuu 王戎; 234-305), and, Ruan Xian (Jp: Gen Kan 阮咸, nephew of Ruan Ji). All were famous for the purity of their reclusive spirits, their strong Taoist and anti- Confucian values, and their strikingly eccentric personalities. The Seven Sages are mentioned in several Chinese texts, most notably Shushuoxinyu (Jp: SESETSU SHINGO 世説新語; ca 5c) or New Specimens of Contemporary Talk. The earliest depiction of the subject is found on a set of late 4c or early 5c clay tomb tiles from the Xishanqiao 西善橋 area of Nanjing 南京. Typical Chinese iconography shows gentlemen playing musical instruments and writing poetry as well as drinking wine. The subject was popular with Japanese painters of the Momoyama and early Edo periods who tended to transform the theme into a rather generalized image of reclusive scholars engaging in literary pursuits. -
C China Allgemein
Seite 1 C China Allgemein R C 1 Biblio-Bibliographien / Kataloge von Bibliographien / periodisch erscheinende Bibliographien / Bücherkataloge / Bibliographische Jahrbücher C 1 Bibliographien: allgemeine Studien R C 2 Bibliographien, Kataloge und Indices von Zeitschriften, Zeitungen, Datenbanken / allgemeine Verzeichnisse von Zeitschriften- und Zeitungsartikeln [Indices von einzelnen Zeitschriften, welche die Bibliothek besitzt, stehen bei der ZS] R C 3 Bibliographien von Sammelwerken C 4 Geschichte und Technik der Papierherstellung, des Buchdrucks und des Buchbindens / Konservierung alter Materialien / banben 版本 [s.a. → C 299] C 6 Bibliotheken, Archive, Privatsammlungen, Buchhandlungen und Verlagswesen, Zeitschriften und Zeitungen C 7 Bibliothekskunde R C 11 Bibliothekskataloge: bis 1850 (China und Japan) R C 13 Bibliothekskataloge: nach 1850 (nur China) R C 16 Bibliothekskataloge: Privatsammlungen in China (inkl. Hongkong und Taiwan) R C 18 Bibliothekskataloge: Sammlungen chinesischer Bücher im Ausland (ab 1850 inkl. Japan) R C 21 Allg. Bibliographien und Indices / Bibliographien und Indices von allg. Nachschlagewerken C 24 Bibliographische Hinweise, Notizen und Essays / dushu ji 讀書記 R C 25 Spezialbibliographien zu historischen Perioden, geographischen Gebieten, verbotenen, verlorenen und wiedergefundenen Büchern etc. [Bibliographien zu den einzelnen Fachgebieten → Fachgebiete] Seite 2 C 27 Textüberlieferung / Authentizität / jiaokanxue 校勘學 / wenxianxue 文獻學 / [xungu 訓詁 → C 411]/ Verfolgung von Texten, Literatur wenhuo 文禍, wenzi yu 文字獄, Textedition jiaoben 校本 / guji 古 籍 R C 29 Bibliographien und Indices zu Sammelwerken congshu 叢書 R C 31 Enzyklopädien / leishu 類書 [ cihai 辭海 → RC 472] C 31 Sekundärliteratur zu Enzyklopädien, leishu 類書 und congshu 叢書 R C 765 Allgemeine Nachschlagewerke / Handbücher gongjushu 工具書 [Bibliographien dazu → RC 21] C 34 Sekundärliteratur zu Nachschlagewerken und Handbüchern R C 35 Adress- und Telefonbücher C 37 Studiengesellschaften / Museen / Institutionen / Kongresse etc. -
The Philosophy of Zhuangzi and the Commentatorial Tradition of Guo Xiang
THE PHILOSOPHY OF ZHUANGZI AND THE COMMENTATORIAL TRADITION OF GUO XIANG Desislava Damyanova Guo Xiang (also known as Kuo Hsiang or Zixuan) is the author of the most important commentary on Zhuangzi – one of the classical Daoist texts.1 He is also known as the person who implemented the current arrangement of thirty-three chapters divided into inner, outer and miscellaneous sections. Although Guo’s initial aim might have been to elucidate the ideas in the original text, his commentary on Zhuangzi represents a substantial philosophical achievement compared to the core text. It contains many original ideas and we shall examine the textual issues on which he is commenting in a try to get a deeper insight into their meaning. Guo Xiang2 practiced his philosophical pursuits this way – within the framework of the Daoist classic – and his manner has served as a blueprint for the later Neo-Confucian synthesis of the Chinese thought. 1 There is some controversy in the recent years over the true authorship of Guo’s commentary - the earliest source, the Jin Shu (Standard History of the Jin Dynasty), accuses Guo Xiang of plagiarizing all but two chapters of the commentary from Xiang Xiu (d. 300 CE, writing a generation earlier). “Current scholarship, while acknowledging that Guo made use of Xiang Xiu’s work and other earlier commentaries, still credits Guo as the principal author. The evidence for this recognition falls into three main areas. Firstly, the most innovative philosophical features in the commentary do not correspond with those in other works by Xiang Xiu. Secondly, in the early twentieth century, a postface to the commentary was discovered which details the work Guo carried out and finally, various linguistic analyses and references in other works suggest that Guo is the principal author.” <http://www.iep.utm.edu/guoxiang/>10.10.2012 2 Actually very little is known about the life of Guo Xiang: he lived in a time of great political upheaval and his own career was one of consistent and significant success. -
Wendy Swartz CV
WENDY SWARTZ ⽥菱 Associate Professor of Chinese Literature Director of Graduate Studies Department of Asian Languages and Cultures Rutgers University 43 College Avenue Scott Hall, Room 330 New Brunswick, New Jersey 08901-1164 work phone (848) 932-7605 | work fax (848) 932-7926 email: [email protected] EDUCATION • Ph.D. in Comparative Literature, University of California, Los Angeles (primary area: premodern Chinese literature; secondary areas: literary theory and French literature), 2003 • Dissertation Research at National Taiwan University (funded by a Fulbright-Hays Fellowship), 2000-2001 • M.A. in Comparative Literature, University of California, Los Angeles, 1997 • B.A. with High Distinction in Literature, University of California, San Diego (specializations: French, Chinese, Italian), 1994 ACADEMIC EMPLOYMENT Tenured and Tenure-track Appointments • Associate Professor, Chinese Literature, Department of Asian Languages and Cultures (with affiliate membership in Comparative Literature), Rutgers University, 2011-present • Associate Professor, Chinese Literature, Department of East Asian Languages and Cultures, Columbia University, 2009-2011 • Assistant Professor, Chinese Literature, Department of East Asian Languages and Cultures, Columbia University, 2003-2009 Other Appointments • Visiting Instructor, Department of East Asian Languages and Cultural Studies, University of California, Santa Barbara, Spring 2002 RESEARCH AWARDS and ACADEMIC HONORS • Chiang Ching-kuo Foundation Inter-University Center for Sinology Conference Grant -
Ziran: Authenticity Or Authority?
religions Article Ziran: Authenticity or Authority? Misha Tadd Institute of Philosophy, Chinese Academy of Social Sciences, 5 Jianguo Inner St., Dongcheng District, Beijing 100022, China; [email protected] Received: 26 December 2018; Accepted: 14 March 2019; Published: 18 March 2019 Abstract: This essay explores the core Daoist concept of ziran (commonly translated as spontaneity, naturalness, or self-so) and its relationship to authenticity and authority. Modern scholarship has often followed the interpretation of Guo Xiang (d. 312) in taking ziran as spontaneous individual authenticity completely unreliant on any external authority. This form of Daoism emphasizes natural transformations and egalitarian society. Here, the author draws on Heshanggong’s Commentary on the Daodejing to reveal a drastically dissimilar ziran conception based on the authority of the transcendent Way. The logic of this contrasting view of classical Daoism results not only in a vision of hierarchical society, but one where the ultimate state of human ziran becomes immortality. Expanding our sense of the Daodejing, this cosmology of authority helps unearths greater continuity of the text with Daoism’s later religious forms. Keywords: Heshanggong; Guo Xiang; ziran; authenticity; authority; transcendence; hierarchy; immortality 1. Introduction Ziran stands as one of the key pillars of Daoist philosophy, and, following the immensely influential theory of Guo Xiang (d. 312), has, in modern times, mostly been viewed as the spontaneous and natural “authenticity” -
Tao Yuanming's Perspectives on Life As Reflected in His Poems on History
Journal of chinese humanities 6 (2020) 235–258 brill.com/joch Tao Yuanming’s Perspectives on Life as Reflected in His Poems on History Zhang Yue 張月 Associate Professor of Department of Chinese Language and Literature, University of Macau, Taipa, Macau, China [email protected] Abstract Studies on Tao Yuanming have often focused on his personality, reclusive life, and pas- toral poetry. However, Tao’s extant oeuvre includes a large number of poems on history. This article aims to complement current scholarship by exploring his viewpoints on life through a close reading of his poems on history. His poems on history are a key to Tao’s perspectives with regard to the factors that decide a successful political career, the best way to cope with difficulties and frustrations, and the situations in which literati should withdraw from public life. Examining his positions reveals the connec- tions between these different aspects. These poems express Tao’s perspectives on life, as informed by his historical predecessors and philosophical beliefs, and as developed through his own life experience and efforts at poetic composition. Keywords Tao Yuanming – poems on history – perspectives on life Tao Yuanming 陶淵明 [ca. 365–427], a native of Xunyang 潯陽 (contem- porary Jiujiang 九江, Jiangxi), is one of the best-known and most-studied Chinese poets from before the Tang [618–907]. His extant corpus, comprising 125 poems and 12 prose works, is one of the few complete collections to survive from early medieval China, largely thanks to Xiao Tong 蕭統 [501–531], a prince of the Liang dynasty [502–557], who collected Tao’s works, wrote a preface, and © ZHANG YUE, 2021 | doi:10.1163/23521341-12340102 This is an open access article distributed under the terms of the CC BY 4.0Downloaded license. -
Self and Society in Pre-Modern Chinese Literature
Self and Society in Pre-modern Chinese Literature ASIA 3891: Special Topics Fall 2015 MWF 10:10-11:00 Buttrick Hall 250 Prof. Guojun Wang ([email protected]) Office Hours: MW 11:15-12:15 (and by appointment) (Prior knowledge of Chinese language or literature is NOT required) Course Description: How did traditional Chinese people think and write about their selves, society, state, and nature? How have these traditions sustained a millennia-long civilization? How is today’s China connected or severed from its past? And above all, how can we answer these questions through reading Chinese literature? This course is the first of two survey courses on Chinese literature from pre-dynastic to contemporary periods (the second one will be offered in 2016 spring). This ASIA 3891 Self and Society in Pre-modern Chinese Literature 2 course introduces the major intellectual traditions, literary texts, and authors in pre-modern China (ca. 17th century BCE to 13th century CE). The readings follow a chronological order, but in each period we focus on some particular themes about self and society. The central topics include the intersections between literature and history, religion, gender, urban life, and print culture. This introductory course will provide you with a firm grasp of Chinese literary tradition, and prepare you for further studies in Chinese literature and history. Through this course, you will be familiar with China’s intellectual traditions and literary history, hone the skills of close reading, and learn to think and write critically. Class meets three times a week. Each class meeting comprises a 30-minute lecture followed by a 20-minute discussion. -
Study on the Guqin Teaching Method: “Inner Understanding Through Oral Teaching”
Open Journal of Social Sciences, 2019, 7, 138-146 http://www.scirp.org/journal/jss ISSN Online: 2327-5960 ISSN Print: 2327-5952 Study on the Guqin Teaching Method: “Inner Understanding through Oral Teaching” Ye Zhao Conservatory of Music, Nanjing Normal University, Nanjing, China How to cite this paper: Zhao, Y. (2019) Abstract Study on the Guqin Teaching Method: “In- ner Understanding through Oral Teaching”. “Inner understanding through oral teaching” is the main teaching method Open Journal of Social Sciences, 7, 138-146. that runs through Guqin for thousands of years. In order to inherit and pro- https://doi.org/10.4236/jss.2019.72011 tect traditional Guqin art originally in the modern society, it’s very important Received: January 12, 2019 to research this method which is used to teach Guqin in the ancient. It con- Accepted: February 16, 2019 sists of two teaching levels: “Oral” and “Mentality”: the combination of the Published: February 19, 2019 two promotes the inheritance and development of traditional Guqin. The teaching method of “inner understanding through oral teaching” is closely Copyright © 2019 by author(s) and Scientific Research Publishing Inc. related to the application of the word reduction spectrum, and it is not con- This work is licensed under the Creative tradictory to “viewing teaching”. In the current society, “inner understanding Commons Attribution International through oral teaching” is of great significance to the protection and inherit- License (CC BY 4.0). ance of Guqin. http://creativecommons.org/licenses/by/4.0/ Open Access Keywords Inner Understanding through Oral Teaching, Guqin 1. What Is the Connotation of the “Inner Understanding through Oral Teaching” “Inner understanding through oral teaching” is a teaching method formed under certain historical conditions and social and humanistic environment. -
Seeking Immortality in Ge Hong's Baopuzi Neipian
Dao Companions to Chinese Philosophy 14 David Chai Editor Dao Companion to Xuanxue (Neo-Daoism) Dao Companions to Chinese Philosophy Volume 14 Series Editor Yong Huang Department of Philosophy The Chinese University of Hong Kong Shatin, New Territories, Hong Kong E-mail: [email protected] David Chai Editor Dao Companion to Xuanxue (Neo-Daoism) Editor David Chai Department of Philosophy Chinese University of Hong Kong Shatin, New Territories, Hong Kong ISSN 2211-0275 ISSN 2542-8780 (electronic) Dao Companions to Chinese Philosophy ISBN 978-3-030-49227-4 ISBN 978-3-030-49228-1 (eBook) https://doi.org/10.1007/978-3-030-49228-1 © Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, speci"cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on micro"lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a speci"c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made.