The diverse cultures of the fifty-six ethnic groups in China have given rise to a variety of folk dances, each embodying unique national cultural connotations and serving as an epitome of the broader national culture. These dances not only reflect artistic aesthetics but also hold profound spiritual and religious significance, making them vital to the preservation of cultural heritage. This paper explores the philosophical dimensions of the inheritance and development of contemporary Chinese folk dances, particularly focusing on (...) their role in conveying religious values and spiritual beliefs. As China is a unified multi-ethnic nation, the integration of various ethnic cultures through folk dances has been pivotal in promoting spiritual harmony and unity. This study delves into how national folk dances have evolved from their traditional ecological contexts to modern stages, reflecting both historical continuity and cultural adaptation. The transition of these dances into contemporary settings illustrates a dynamic interaction between traditional religious practices and modern aesthetic values. The main thrust of this research is to analyze the current pedagogical approaches to national folk dance education in China, examining how these dances are taught as a means of fostering deeper spiritual and cultural awareness among students. The study also proposes solutions to the challenges faced in teaching these dances, aiming to enhance the transmission of China's rich national and spiritual heritage through folk dance. By highlighting the religious dimensions of these dances, this paper seeks to contribute to a broader understanding of how traditional art forms can continue to enrich modern spiritual life and foster a deeper connection to the divine through cultural expression. (shrink)

Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and Chinese style (...) appear. Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works. (shrink)

As a social issue, violence continues to manifest and remains a current topic of academic research. Scientific studies mostly focus on the individual and societal dimensions of violence; however, studies that address violence in the context of everyday life practices remain limited. This study argues that violence has a masculine character as a result of gender inequality and within the framework of the masculinity-power relationality. On the other hand, this study considers folk dances as a product of social culture (...) and views them as an effective form of non-verbal communication within society. The study is based on the claim that, in folk dances observed in formal or informal ceremonial events, which are part of everyday life and contain elements of violence, violence is legitimized as a spectacle. In this context, local folk dances from different regions of Turkey, performed exclusively by male dancers and portraying themes of heroism, victory, bravery, and courage, have been selected as examples. These include Trabzon Bıçak Horonu, Bursa Kılıç-Kalkan, Manisa Seğmen Sekmesi, Balıkesir Bengi, Erzurum Köroğlu Barı, Giresun Tüfekli Çandır Karşılaması, and Diyarbakır Şur-u Mertal. The violent content of these dances has been analyzed through the method of semiotic analysis. Weapons used in these dances, fast and rhythmic tunes, and rigid movements have been considered as indicators of violence. It has been concluded that these dances, admired and enthusiastically applauded, normalize violence. This study makes a significant contribution by addressing folk dances within the context of violence and aims to fill the gap in the literature in this field. (shrink)

This case study aims to preserve and disseminate cultural heritage information about the North American community folk dance tradition of contra dance through development of a thesaurus of choreographic terms and a domain ontology. A survey of dance resources was conducted, reviewing historic and modern examples of contra dance choreography notation and instructions, records of dance events, and recordings of dance performances. Domain and content analysis were performed on the resources to collect and organize concepts and themes regarding choreographic (...) components and their relationships, the structure and function of cultural works, their creative expressions, and the evidence of those expressions in documents and recordings. Vocabulary used in the description of contra dance choreography was identified, classified, and notated to build a thesaurus, which was used as the basis of a domain ontology. Ontology building methodology and existing conceptual models for cultural heritage domains guided the ontology development and revision phases. The study also seeks to safeguard an intangible cultural heritage by applying knowledge organization and semantic approaches to folk dance in order to model such challenges as multiple, simultaneous modes of communication and forms of representation, modular conceptual components, descriptive sequences, differing levels of structured information, and complex cultural networks found at various levels of domain discourse. (shrink)

The major dilemma of defining Chinese folk religion was that it could be defined neither by its belief contents nor characteristics, as these might also be found in other religious traditions. The fact that it did not involve any authoritative doctrine, scripture or institution has also made treating it as a religion problematic. To solve the problem, I survey the major theories proposed by both Western and Chinese scholars concerned with the methodological issues of defining this nameless (...) religion, and develop an alternative approach that can distinguish Chinese folk religion from any other existing religious tradition. Basically, this approach eliminates the limitations of two existing models by defining Chinese folk religion on two aspects simultaneously. I also conclude that Chinese folk religion, based on the sociological perspective, can be seen as a religion, and should be taken into consideration while developing certain theological models. (shrink)

Court conciliation conducted by judges in Chinese people’s courts has been playing a vital role in resolving civil disputes. When it heaps praises and compliments, it also faces severe criticisms such as pressing parties to settle due to judges’ over-engagement. To date, except for mere criticisms from the legal literature, few efforts have been made to reveal how judges get engaged linguistically in conciliation and whether their engagement exceeds the limit in each phase of court conciliation. This paper, taking (...) the engagement system of the appraisal framework and the exchange structure model as the theoretical basis, aims to analyze the features of judges’ engagement and the underlying forces that influence their engagement. Data-analysis shows that for court conciliation conducted in court, judges often employ dialogically contractive resources in uni-directional information exchange structures to warrant their engagement. Under the co-influence of the driving and curbing forces, judges are often “dancing with shackles” in court conciliation. (shrink)

The Chinese folk science fiction genre, as an emerging sub-genre of Chinese science fiction films, has sparked a certain amount of attention and discussion in conjunction with the mockumentary form. The Chinese folk science fiction mockumentary shows the science fiction of the folk, explores traces of extraterrestrial life in real space, and intrinsically expresses reflections on the cosmic ecological ethics and the relationship between human beings and the universe. It becomes worthwhile to explore how (...) this genre presents the discourse of cosmic ecology, whether there exists a pursuit of ecological sensibility that achieves the purpose of reflection, and by what means the films evoke the audience's experience of cosmic ecological sensibility. From a new perspective of ecocinema criticism, this study plans to state the potential narrative expression path of anti-rational narration based on the textual analysis of Chinese folk science fiction mockumentary genres. By subverting certainty and rebelling against pure rationality and scientificity, the anti-rational narrative leads to an ecological sensibility based on the Chinese folk science fiction cosmology through the combination of science fiction, mockumentary, and ecocinema, ultimately achieving the purpose of ecological care and ecological reflection. The study verifies the potential of the Chinese folk science fiction mockumentary genre in exploring ecological discourse, and the attention paid to the cultural context of Chinese folk science fiction also provides a new research perspective for the study of Chinese science fiction movie genres. (shrink)

Stress that the exchange of social legacy to what's in store is the main capability of schooling; social qualities should be shown for social turn of events, socialization of the individual and participation of a general public. With esteem schooling, it is feasible to introduce the information on many long periods of philanthropic qualities, which are situated external the mainstream society, to the understudies and pursue choices in the illumination of these aggregations. The conviction that social legacy is a significant (...) Behind the dreams are the resources that will be preserved and supplied to people in the future. This idea emphasizes the "leading side" of folk dance, and scientific and linguistic research has become the focus of interdisciplinary research influenced by the "state-of-the-art similarity hypothesis" presented in 1980. I am. The word illustration comes from "metaforin". It is a combination of the Greek words "meta" (develop) and "ferein" (send). "Metaforein" means "tell" or "send", but today two are used as equivalent / comparable links between events or connections. (Draaisma, 2007). (shrink)

ArgumentScholars of modern Chinese publishing and book culture focus on the dramatic transformations that took place in the late nineteenth and early twentieth centuries: the new technologies that enabled “mass” printing and the development of “modern” genres of print. They often neglect the fact that xylography remained a working technology through much of the Republican period and even into the People's Republic of China. Here I examine the continued use of woodblock printing and the continuing popularity of “traditional” textual (...) genres from two perspectives. First, from a “bottom up” perspective, I examine the production and sale of woodblock texts in rural markets, often in the face of efforts by both the Republic and the People's Republic to prohibit their use. Second, from a perspective from the top, I consider the deliberate choices made by the government, some elite book collector-publishers, and Daoist and Buddhist devotees to print certain works xylographically. (shrink)

As a type of Chinese folk art, jianzhi paper carving expresses not only people's spiritual life, but also their aspirations for a better life. Chinese paper carving art is filled with simple life wisdom and good wishes, and the figurative symbols contain unique artistic value and national traits. However, in today's multifaceted development, the traditional art of paper carving with a thousand years of history is gradually fading away. Traditional folk art represented by paper cutting has (...) also begun to be introduced into new fields, not only in graphic design, but also in installation design of public spaces, showing its rich expressiveness and deep artistic value. This paper will examine the characteristics of traditional national paper carving, highlight cultural differences between Eastern and Western paper carving art, combine traditional folk art of paper carving with modern artistic expressions, analyse symbolic and emotional imagery and explore new ideas for the development and innovation of Chinese national art. (shrink)

Social media has been widely applied by major religions throughout the world to enhance cohesion among believers. Although a considerable amount of research has focused on the effect of social media on the beliefs of Christianity and Islam, East Asian religions have seldom been featured in current research. This study, therefore, took a representative sample of individuals participating in the celebration of the festival of the goddess Mazu and measured their attitudes towards and perceptions of social media’s influence on (...) class='Hi'>folk religion. I also explored how social media stimulates transformation in Chinese folk religion, its influence on the preservation of cultural values, and the cross-industry alliance between folk temples and local businesses. Moreover, this study proposes suggestions for further research. (shrink)

Resumo: A dança clássica chinesa, influenciada pelo pensamento confucionista, mostra tanto seu valor estético quanto sua profunda herança cultural. Este artigo explora, principalmente, como o pensamento confucionista se reflete nas técnicas de desempenho e nas práticas culturais da dança clássica chinesa. O texto também propõe a “beleza” e a “virtude” nos “ritos e música” do confucionismo e os combina com a performance da dança clássica chinesa. Além disso, examina como os ideais confucionistas de “beleza” e “virtude” em “ritos e música” (...) são incorporados nas apresentações de dança clássica chinesa, no ensino e na disseminação, na criação de obras e no espírito cultural. Entre eles, o confucionismo enfatiza o conceito moral de “orientação para as pessoas”, que é integrado à criação e ao desempenho da dança clássica chinesa, aprimorando a conotação espiritual do desempenho da dança clássica chinesa. Este artigo constatou que, durante o longo processo de desenvolvimento da dança clássica chinesa, um conjunto de excelentes padrões artísticos foi gradualmente desenvolvido, o que desempenha um papel decisivo no surgimento e desenvolvimento da dança clássica chinesa. O texto revela que o confucionismo contribuiu para o desenvolvimento de altos padrões artísticos na dança clássica chinesa, o que é crucial para sua evolução e importância. (shrink)

The informative purpose of the research study is to describe the Applications of modern dance and creation in Chinese dance from dialectical materialist philosophy. This research study was conducted in china to measure Chinese and modern dance from materialist philosophy. Research based on primary data analysis for gathering the data developed almost 10 to 12 questions related to the variables. The Chinese dancers, department of Chinese dancers, film industries, etc., are all research study participants. For measuring, (...) the research study used smart PLS software, and run results included composite reliability, segmentations, smart PLS Algorithm, indicator correlations, and signification analysis related to the modern dance creation performance in China and the effect of dialectical materialist philosophy. Overall, the research found a positive and significant application of modern dance and creation from dialectical materialist philosophy. Modern dance and creation have a direct influence on dialectical materialist philosophy. (shrink)

This paper employs the theoretical framework of phenomenology of the body to explore embodiment and existentialism in contemporary Chinese dance. With the backdrop of the current status and influence of Chinese contemporary dance in the realm of dance arts, it analyzes the unique forms and techniques of bodily expression in Chinese contemporary dance, attempting to explore how personal emotions, inner experiences, and spiritual states are conveyed through bodily expression in Chinese contemporary dance. The paper utilizes case (...) analysis and observational research methods to delve into the cognition of bodily expression and identity construction in Chinese contemporary dance, as well as how the body is used to reflect on the cognition and positioning of Chinese traditional and modern cultural identities, exploring the diversity and changes in Chinese cultural identity. Finally, by applying Merleau-Ponty's phenomenology of the body theory, it deeply analyzes the significance and existentialism of bodily expression in contemporary Chinese dance, experiencing and understanding the relationship between bodily subjectivity and self through dance. Through these studies, we can gain a deeper understanding of the complexity and diversity of bodily expression in contemporary Chinese dance, enabling dancers to reassess their ability to express emotions, as well as the application and insights of Merleau-Ponty's phenomenology of the body therein. (shrink)

Ontological approaches to the arts have neglected art forms such as dance. This hinders analysis of the metaphysical similarities and differences between different art forms. In this paper, I develop a metaphysical realist ontological approach to dance and sport that is grounded in embodiment. I first examine the debate between descriptivism and metaontological realism in the philosophy of arts in the context of Thomasson’s descriptive approach and Dodd’s metaontological approach of folk-theoretic modesty. Following Dodd, I adopt a realist metaontological (...) approach to dance as an art form, drawing on philosophical debates within dance. I then review metaphysical approaches to sport and argue that most such approaches are based on abstract, top-down models. I therefore propose an ontological account of sport and dance based on metaontological realism and grounded in embodied movement knowledge. Drawing on Schaffer’s concept of ground functionalism, I use this approach to compare the aesthetic and bodily aspects of sport and dance in terms of elite-level movement knowledge. I describe how the embodiment of such movement knowledge through practice permits dancers and athletes to create expert movements. Drawing on findings from neuroscientific research, I argue that dancers and athletes, through the process of physiological plasticity, acquire embodied memories that are transformed into new bodily and behavioral dispositions. I believe that the metaphysical realist ontological approach presented here could help to broaden the focus in arts ontology to encompass movement disciplines such as sport and dance. This account may also engender cross-disciplinary research and encourage philosophers to explore the role of movement in arts such as music. (shrink)

The Tianqin, often a plucked zither or lute, holds significant cultural and musical heritage in China. The objective of this study is to explore the evolutionary perspectives on the culture of a Chinese folk musical instrument by examining its playing techniques and cultural changes. Conducted in Longzhou County, Guangxi Zhuang Autonomous Region, China, this study involved ethnographic fieldwork, including participant observation and interviews with key informants such as Tianqin musicians and craftsmen. Data analysis was performed using thematic analysis, (...) revealing that the Tianqin has transitioned from a ritualistic instrument to a symbol of cultural heritage and mass entertainment. The findings highlight the instrument's adaptability through innovations in playing techniques and materials, supported by governmental initiatives promoting Tianqin culture. This research underscores the importance of preserving and promoting traditional musical instruments in contemporary society. The study's insights contribute to a broader understanding of cultural adaptation and innovation in ethnomusicology. (shrink)

The content of Chinese folk paintings by nongminhua is based on morality and national philosophy, which can inspire and raise the morale of citizens. This type of incentive differs from agitation and advertising in the usual sense of these concepts. This is a form of complex artistic expression combining symbolic lyrics and philosophical reflections, which has in its arsenal methods of active stimulation aimed at gaining the trust of the audience and expanding the coverage of propaganda activities. The (...) object of this study is the Chinese folk paintings of nongminhua, and the subject is their educational and propaganda functions. The pictorial language of Chinese folk painting with a clearly defined theme, rich illustrative language, features of mass art, as well as its inherent tendency to widespread distribution distinguishes nongminhua from other art forms. All these differences inevitably become the reason for a completely different, unique force of social impact of folk paintings. The main conclusion of the study is that the simplicity of creating folk paintings, their inherent features of information dissemination and cultural functions have led to a wide range of their existence at different stages of China's social development. Brightness and visibility made the nongminhua understandable to the general population, determined their effectiveness in the implementation of educational and propaganda functions. (shrink)

This study presents a philosophical exploration of how regional dance, as a form of cultural heritage, influences emotional regulation and mental health, drawing on theories of psychological resilience and cognitive engagement with cultural practices. Engaging 206 participants from diverse regional, age, and occupational backgrounds, we employed the Simplified Mood State Scale, Anxiety Self-Rating Scale, and Depression Self-Rating Scale to quantitatively assess their emotional states. Our findings reveal that engagement in folk dance markedly enhances mood, with participants showing lower scores (...) on negative mood factors and higher on positive mood factors compared to those not involved in dance activities. Correlation analyses further indicated significant relationships between positive emotions, psychological resilience, and the appreciation of dance heritage, with coefficients of 0.5 and 0.450, respectively. Notably, psychological resilience exhibited a strong correlation (0.70) with the perception of cultural heritage, underscoring its crucial role in deepening the understanding and appreciation of cultural practices. Hierarchical regression analysis revealed that psychological resilience mediates the relationship between emotional regulation and the perception of dance cultural heritage significantly. After accounting for the influence of psychological resilience, the impact of emotional regulation on heritage perception diminished, confirming the profound effect of psychological resilience. This study not only confirms the therapeutic potentials of dance in emotional management but also enriches our understanding of how cultural engagement acts as a medium for spiritual and emotional expression, aligning with philosophical inquiries into the interplay between tradition, spirituality, and well-being. (shrink)

ABSTRACT The research purpose is to investigate the influence of Confucianism, Taoism and Buddhism on Chinese folklore vocals and their elements in modern music. The research methodology is based on descriptive, comparative, interpretative and statistical analysis (Spearman’s rank correlation coefficient). The analysis of the folk vocals of each thematic group among 110 folk songs of the Shi Jing supports the argument that Confucianism, Taoism and Buddhism had the greatest influence on the vocals. During the analysis, it was (...) determined that folk songs about love (0.942) and songs themed around nature (0.917) exhibit the most pronounced influence on their potential utilisation in the performance of popular compositions. The findings indicated that 75% of the folk vocal compositions with nature-related themes demonstrated discernible influences from Buddhism. The research findings have enabled the identification of exemplary renditions of the folkloric composition ‘Czo-yui’ from the ‘Book of Changes’, adeptly adapted to contemporary motifs, which were achieved at a notably high level within respondent groups #1 (7.2), #4 (7.4) and #5 (7.1). These commendable outcomes are attributed to the preservation of harmonious tonality, precise intonation and artistic expression during the performance process. (shrink)

The relation between knowledge and action has been a lengthy debate in philosophy which traces back to Descartes and Locke. Purism holds that the practical factors related to action are fundamentally independent of the standard of knowledge, while pragmatic encroachment argues that practical considerations about action can impact judgments about knowledge. This traditional debate was put front and center recently by discussions on some knowledge attribution cases and relevant empirical studies. This paper reports three empirical studies based on three pairs (...) of classic knowledge attribution cases on Chinese participants. The results indicate that folk's understanding of knowledge is more compatible with purism and suggest a conversational implicature account of the connection between judgments about knowledge and action. (shrink)

With its unique combination of depth, clarity, and humor that has enchanted millions, this beloved classic by bestselling author Gary Zukav opens the fascinating world of quantum physics to readers with no mathematical or technical background. "Wu Li" is the Chinese phrase for physics. It means "patterns of organic energy," but it also means "nonsense," "my way," "I clutch my ideas," and "enlightenment." These captivating ideas frame Zukav's evocative exploration of quantum mechanics and relativity theory. Delightfully easy to read, (...) The Dancing Wu Li Masters illuminates the compelling powers at the core of all we know. (shrink)

[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for (...) Aristotle and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

Resumen: La ola creciente de la China-chic proporciona un nuevo modo de presentación para la excelente cultura tradicional, permitiendo a la gente volver a ser testigo de la vitalidad innovadora de la cultura local y brindando una nueva vía de creación para la cultura popular rural. En este contexto, el diseño con el tema de la cultura popular rural se enfrenta tanto a nuevas oportunidades como a nuevos retos. En este artículo, basado en el estudio de caso del diseño folclórico (...) rural del Templo señorial del condado de Hexian, en la provincia de Anhui, se analizan brevemente la relación dialéctica y la práctica de la herencia y la innovación en el trabajo de diseño bajo el trasfondo del China-chic. Se propusieron estrategias de diseño innovador para revitalizar el énfasis de la gente en la cultura tradicional, reavivar la atención de la gente hacia la cultura tradicional y ampliar la vía de diseño innovador de una vía de comunicación de la cultura tradicional para promover la transformación creativa y el desarrollo innovador de la cultura tradicional china. (shrink)

For Steve Biko, ‘Black Consciousness’ has to do with remedying the ‘lack’ and ‘failure’ which emanate from the colonial encounter. It describes the existential and ontological shift whereby the black moves towards the assumption of her humanity. Beginning on the margins of Continental European philosophy with Jacques Derrida and Frantz Fanon, I examine the pathogenesis of the situation of the black, and point to a road to recovery. In the process, I centre the lived experience of black folk: our (...) yearning to dance with the past; our need for air; our struggle to keep madness at bay. (shrink)

The argument presented in this paper is not a direct attack or defence of the Chinese Room Argument (CRA), but relates to the premise at its heart, that syntax is not sufficient for semantics, via the closely associated propositions that semantics is not intrinsic to syntax and that syntax is not intrinsic to physics. However, in contrast to the CRA’s critique of the link between syntax and semantics, this paper will explore the associated link between syntax and physics. The (...) main argument presented here is not significantly original – it is a simple reflection upon that originally given by Hilary Putnam (Putnam 1988) and criticised by David Chalmers and others: instead of seeking to justify Putnam’s claim that, “every open system implements every Finite State Automaton (FSA)”, and hence that psychological states of the brain cannot be functional states of a computer, I will seek to establish the weaker result that, over a finite time window every open system implements the trace of a particular FSA Q, as it executes program (p) on input (x). That this result leads to panpsychism is clear as, equating Q (p, x) to a specific Strong AI program that is claimed to instantiate phenomenal states as it executes, and following Putnam’s procedure, identical computational (and ex hypothesi phenomenal) states (ubiquitous little ‘pixies’) can be found in every open physical system. (shrink)

The present study addressed two related problems: The status of the concept of the soul in folk psychological conceptualizations across cultures, and the nature of mind-body dualism within Chinese folk psychology. We compared folk intuitions about three concepts – mind, body, and soul – among adults from China and Poland. The questionnaire study comprised of questions about the functional and ontological nature of the three entities. The results show that the mind and soul are conceptualized differently (...) in the two countries: The Chinese appear to think of the soul similarly to how they view the mind, while Poles differentiate it both in ontological and functional respects. The study provides important insights into cross-cultural differences in conceptualizing the soul as well as into the nature of Chinese mind-body dualism. (shrink)

In recent years, China has increasingly emphasized art education, particularly dance, for its therapeutic benefits and cultural significance. Dance Movement Therapy (DMT), which originated in the U.S. in the 1960s, integrates emotional and physical health through dance. This interdisciplinary approach combines art, psychology, and exercise, showing effectiveness in treating psychological disorders and enhancing well-being. Integrating DMT into Chinese higher education could improve mental health outcomes for students by offering an engaging, participatory alternative to traditional counseling methods.

I propose for emotion research a dynamic approach to truth in which folk theories, no matter how much they may be infested with magical thinking and peculiar beliefs, can function as potential competitors and valued interlocutors on the platform of theory construction. For demonstration, I present the ancient Chinese notion of ganlei as a counterpoint to Western metaphysics. Potential contributions of this indigenous belief system to theory and research on emotions include bringing greater clarity to existing concepts of (...) empathy and mind reading and participating meaningfully in the current debates on emotions. More important, ganlei suggests a shift of focus in emotion research from epistemological to ontological categories and from mental representations to intermental transactions. 2012 APA, all rights reserved). (shrink)

Kineska gimnastika, daoyin xingqi 導引行氣, koju svakodnevno vježbaju milijuni Kineza, potječe iz razdoblja starodrevne Kine i ima korijene u šamanističkim obrednim plesovima. Bazira se na pokretima tijela kojima se oponašaju pokreti životinja. Doslovni prijevod termina daoyin xingqi jest »upravljati, rastezati i gibati qi 氣«, tj. sveprožimajući vitalni dah. Naime, gimnastika u kineskoj tradiciji nije se razumijevala samo kao puka tjelovježba, već kao oblik kultiviranja vitalnog daha, qia. Gimnastika, štoviše, predstavlja važan korak prema harmoniziranju čovjeka s nebom i zemljom . Iščitavanjem (...) isječaka tekstova iz razdoblja Zaraćenih država i razdoblja dinastije Han 漢, kao i analiziranjem najstarijeg pronađenog vizualnog prikaza gimnasticiranja u Kini »Karte upravljanja i povlačenja« , analizirat će se poimanje gimnastike u ranoj kineskoj kulturi. Interpretacija tjelovježbe postavit će se unutar paradigme promjene koja je oblikovala kinesko viđenje kozmosa. Posebno će se naglasiti veza između gimnasticiranja i pojma sheng 生 koji znači život, kao i rađanje, stvaranje, obnavljanje.Chinese gymnastics, daoyin xingqi 導引行氣, practised daily by millions of Chinese people, originates from ancient China and is rooted in shamanistic ritual dances. It is based on body movemements which imitate the movements of animals. Literally translated, daoyin xingqi means “guiding, pulling and moving qi 氣” i.e. the all-permeating vital spirit. Gymnastics in Chinese tradition, therefore, was never considered to be just a body exercise but also a form of cultivating the vital spirit, qi. Gymnastics, however, is the important medium of harmonizing man with heaven and earth . By reading of Warring States and Han 漢 dynasty writings, as well as the the oldest excavated visual representation of gymnastics in China “Daoyin chart” , in this exposure analysis will be on the understanding of gymnastics in the early Chinese culture. The interpretation of Chinese gymnastics will be set forth within the paradigm of change which shaped Chinese vision of cosmos. Special emphasis will be given to the connection between gymnastics and the concept of sheng 生, which means life, as well as birth, creation, renewal. (shrink)

Slavery is as old as human history and is a product of established cultures. To gain profit from captives resulted in slave trade and exploit them as labor force. Although ancient Turks took advantage of slaves, the conditions of Turkish nomadic steppe culture did not allow slavery become institutionalised. During Islamization of Turks, Turkistan witnessed one of the most successful periods of the slave trade because of raids against non-Muslim Turks by Samanids and Muslim Turks. Muslim travellers of X and (...) XI th century emphasize frequently the importance of the Turkish slave trade and its network. Turkish jawari (singular: jariya, an Arabic word, means concubine, female slave and housemaid) were the most demanded in Muslim countries in Turkestan and Near East due to their beauty, which the Muslim travelers mention quite frequently. Their beauty was reflected in epics like the stories of Dede Korkut and Shahnama as well. Turks used a few Turkish and Chinese origin words to mean jariya. Mahmud al-Kaşgari recorded the terms related to jariya in his book, Divan al-Lugat al-Turk. The meaning of some of these words have changed over time but the women referred to by these terms were generally housemaids in family life. All kind of jariya had opportunities such as marriage, being treated like a member of the family and being emancipated. My aim in this study is to address perception and interpretation of jariya and certain practices related to them in Turkish folk culture in the period of Islamization. (shrink)

Medical argumentation in non-Western societies has attracted little attention. In line with the pragma-dialectical approach to the study of argumentation, this article identifies a prototypical argumentative pattern in Chinese medical consultations. In addition to institutional preconditions, whose relevance to the argumentative pattern has been well cited, a factor that may be equally important has remained unnoticed: the preference for certain drugs, treatments or therapeutic measurements on the basis of folk interpretations of medical phenomena in individual ethnic groups. These (...) preferences may be seen as cultural preferences in the medical domain. In this paper, a prototypical argumentative pattern of Chinese medical consultations is provided. Two levels of the pattern are distinguished and discussed: a basic argumentative pattern as presented in the pragmatic-dialectical approach and its extensions due to cultural preferences as well as institutional constraints. Illustrated by an exemplary analysis on the basis of empirical data collected from Chinese consulting rooms, the impact of cultural preferences on physicians’ strategic maneuvering in argumentation is identified and recognized. It is argued that the existence and impact of cultural preferences require attention in medical argumentation. (shrink)

The article explores the digital innovations that are being used in a folk performance in West Bengal, namely the Chhau dance. The COVID-19 pandemic foregrounded the relevance of digital space across disciplines. Being an expression of the collective experience of the people of the Purulia district, Chhau dance is commonly associated with fostering and perpetuating folk and mythical beliefs through its extensive use of masks and dance movements steered by the Jhumur songs. While the common urge to archive (...) the traditional dance-drama form in its ‘authentic’ essence precipitates a digital turn within the performance, the digital contact paradoxically reorients the ‘authentic’ identity of this cultural practice. The present study seeks to use the ‘identity–authenticity’ interplay in the context of globalization as the crux of the article. Within this framework, the article analyses how a folk cultural practice like Chhau dance, with its recent innovations in masks and performances mandated by the pandemic, problematizes the debate. It further strives to recognize the implications of the digital presence of the performances as well as the performers, which, for many of the traditionalists, might have jeopardized the ritualistic practices that were considered the ‘essence’ of the performance. The research was conducted through ethnographic methods gathered through fieldwork to gain first-hand knowledge of the ground reality. (shrink)

This article takes its retrospective lead from the oppressive schooling years during the Chinese Cultural Revolution to reflect on the educational significance of artistic activities through considering aesthetic virtues and moral agency cultivated in these activities. Describing an unconventional educational milieu where schooling was deliberately ‘dismantled’, I emphasize the important role that artistic endeavours can play in building a person’s aesthetic strength and moral power to overcome the adversity of life, hence for the fuller human development. By blending philosophical (...) discussion with historical manifestation, I stress the less articulated educational discourse that makes dance relevant to the educational formation of epistemic virtues and moral sensibilities. Joining in the emerging efforts to improving the worlds of schools, curricula, and pedagogies, I argue that the contingent integration of different histories, life conditions, and social and cultural discourses are ‘transformative’ sites for pedagogy. Thus, I seek to shed historically fresh light on the ways of thinking of schooling, education, and the arts for hope and possibility to ultimately argue for ways that can speak to the diversity of global societies today. (shrink)

Medically unexplained symptoms (MUS) are common and costly in both primary and secondary health care. It is gradually being acknowledged that there needs to be a variety of interventions for patients with medically unexplained symptoms to meet the needs of different groups of patients with such chronic long-term symptoms. The proposed intervention described herewith is called The BodyMind Approach (TBMA) and promotes learning for self-management through establishing a dynamic and continuous process of emotional self-regulation. The problem is the mismatch between (...) the patient’s mind-set and profile and current interventions. This theoretical article, based on practice-based evidence, takes forward the idea that different approaches (other than cognitive behaviour therapy) are required for people with MUS. The mind-set and characteristics of patents with MUS are reflected upon to shape the rationale and design of this novel approach. Improving services for this population in primary care is crucial to prevent the iterative spiralling downwards of frequent GP visits, hospital appointments, and Accident and Emergency attendance, all of which are common for these patients. The approach derives from embodied psychotherapy (authentic movement in dance movement psychotherapy) and adult models of learning for self-management. It has been developed from research and practice-based evidence. In this article the problem of MUS in primary care is introduced and the importance of the reluctance of patients to accept a psychological/mental health referral in the first instance is drawn out. A description of the theoretical underpinnings and philosophy of the proposed alternative to current interventions is then presented related to the design, delivery, facilitation and educational content of the programme. The unique intervention is also described to give the reader a flavour. (shrink)

In their “The Prevalence of Mind-Body Dualism in Early China,” Slingerland and Chudek use a statistical analysis of the early Chinese corpus to argue for Weak Folk Dualism (WFD). We raise three methodological objections to their analysis. First, the change over time that they find is largely driven by genre. Second, the operationalization of WFD is potentially misleading. And, third, dating the texts they use is extremely controversial. We conclude with some positive remarks.

This study is devoted to the artistic and stylistic analysis of traditional Chinese New Year's pictures called "puhui nianhua" on the example of historical and documentary material collected in the city of Gaomi in Shandong province. It traces the changes in its form and content, the means of expression used during the five-hundred-year history of its distribution in China. The subject of attention is the development of Chinese splint pictures from the Ming Dynasty to the present. As an (...) object, we see the transformation of technological and visual features of the performance of such works within their individual varieties, which were popular in the creative activities of several generations of masters of the city of Gaomi. The purpose of the study is to get a general idea of how the main varieties of "puhui nianhua" were born and formed in the creative activity of Gaoming artisan artists. By means of artistic-stylistic, iconographic and comparative-historical analysis, the author identifies several stages in the process of formation of the tradition of making such pictures. Moreover, a typological series of Chinese New Year's splints is proposed, consisting of images of Lao and Buddhist saints, visualizations of homophonic metaphors, and a description of Chinese life. Each of the presented types differs not only in the originality of the content, but also in the set of compositional and visual means used by the authors. (shrink)

This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues. Research for this work (...) is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers, Mark Godden’s Angels in the Architecture, Martha Clarke’s Angel Reapers and Ralph Lemon’s Geography trilogy. The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process. (shrink)

Through a comparative case analysis regarding the Chinese language, it is discussed how the structure and functions of a natural language would bear upon the ways in which some philosophical problems are posed and some ontological insights shaped. Disagreeing with Chad Hansen's mass-noun hypothesis, a collective-noun hypothesis is argued for: (1) the denotational semantics and relevant grammatical features of Chinese nouns are like those of collective nouns; (2) their implicit ontology is a mereological ontology of collection-of-individuals with both (...) part-whole and member-class structure; and (3) encouraged and shaped by the folk semantics of Chinese nouns, classical Chinese theorists of language take this kind of mereological nominalism for granted. (shrink)

The subject of the study is traditional Chinese costumes, their origin and forms of inheritance in the "new Chinese style". The object of the study is national clothing, the existence of which is a cultural epic spanning thousands of years and including the epochs of the reign of the largest Chinese dynasties. Turning to the past allows the author to demonstrate the depth and unique charm of oriental culture, to show the reasons for its relevance in the (...) world of modern fashion. Such aspects of the topic as the reflection of the history and spiritual values of the nation in the objects and elements of Chinese clothing, as well as their impact on the global fashion industry, are considered in detail. Special attention is paid to the aesthetics of the Hanfu costumes, the baturukongkamshurd vest, the dianzi hair ornament, the head with one hieroglyph hairstyle, the Zhongshan and Cheongsam costumes. The work uses historical, cultural, comparative and analytical research methods. They allow us to trace not only the evolution of Chinese clothing, but also how representatives of the "new Chinese style" skillfully embody traditional drawings in modern design concepts, creating works that combine both cultural heritage and current fashion trends. The novelty of the research lies in identifying ways to transform traditional Chinese costumes into the fashion trends of the "new Chinese style". The author analyzed its wide popularity among modern youth, as well as its large-scale presence in the global media space. The findings of the study reveal the value of clothing as a unique cultural medium, and also reflect the outstanding contribution of the "new Chinese style" in its innovative reinvention. The author's contribution to the study is observations on the use of "folk Chinese aesthetics" in world fashion, which include Zhongshan, Cheongsam, Qipao costumes, as well as ancient techniques for creating jacquard, knotted batik, and antique embroidery. The "New Chinese Style" not only gave national elements a new life in modern society, but also opened the way for the inheritance and development of Chinese culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mechanisms of Violent Retribution in Chinese Hell Narratives Charles D. Orzech University ofNorth Carolina Greensboro Ai! The criminals in this hell have all had their eyes dug out and the fresh blood flows [from them], and each of them cries out, their two hands pressing their bloody eye-sockets—truly pitiful! To the left a middle-aged person is just having an eye pulled out by one of the shades; he (...) struggles unceasingly, screaming; his left eye has already been extracted... (56b) Ai-yah!... Each of the criminals is bound to a an iron pillar and the ox-headed demons are in the process of administering punishment—using iron or copper blades they peel the skin of the person's face, just as a butcher kills a pig and then flays it. Each of the criminal ghosts screams in pain... (59b) The criminal ghost's hands are bound about an iron pillar which is entirely red [with heat] and the criminal ghost's two hands are entirely cooked and it is unbearable... (126a) Record ofA Journey to Hell These passages are found, not in some medieval description of hell, nor in a work for sadists, but in a modern and quite popular Chinese "good book" (shan-shu) titled Record ofA Journey to Hell (Ti-yu yu-chi). Record ofA Journey to Hell is the most recent work of a genre which emerged in tenthcentury China and which may be found throughout Asia from Vietnam to Japan. This persistent fascination with gruesome scenes of torture stands in striking contrast to Michel Foucault's observations that by the first quarter of the nineteenth century "punishment had gradually ceased to be a spectacle" in Europe (9). In Record ofA Journey to Hell we are not faced with a seachange in the discourse and practice of a society. Rather, we must come to 112Charles D. Orzech grips with and seek to understand the persistence of images oftorture as well as actual torture and public execution in some modern Chinese societies. The Chinese hells—more properly purgatories, as punishment there is not eternal—are a product of cultural adaptation and interaction. Before the first century of our era we have evidence of only the most attenuated notions of the underworld, a "yellow springs" (huang-yiian) where "all, good and bad, huddled together in darkness being guarded jealously by the god of the Soil who ended by devouring them" (Thompson 29). The ruling elite avoided this fate through elaborate ancestral ritual indexed by the possession of a surname. Social status was, from the earliest times, "inscribed" on tablets which gave visible form to both social and cosmological hierarchies (Li 247-54). However, the rise of the Taoist Celestial Masters movement (T'ien-shih tao, second century) with its heavenly and infernal bureaucracies soon coupled with newly imported Indian Buddhist descriptions of the workings of karma and the hells. The result of this amalgam is the popular Chinese vision of the underworld as a vast bureaucracy centered on ten "courts," and headed by Yama, the South Asian lord of the dead (Seidel). At death the soul is summoned before the lords of hell who administer punishments appropriate to the misdeeds of the soul. After almost interminable periods of suffering, often in all of the hells in succession, the soul is reborn as a human, an animal, or even an insect, to start the whole process again. By the tenth century this distinctly Chinese version ofthe underworld had found wide dissemination and was the framework for worship and ritual directed to the recently dead.18 Unlike the South Asian prototypes, Chinese hells appear to be modeled on the imperial bureaucracy and administered by a hellish staff. The "court" layout often major and numerous subsidiary hells mimics Chinese palace and temple architecture and is quite distinct from the mandala-like layout found in "orthodox" Buddhist prototypes. Taoist priests, Buddhist monks and nuns, and a variety of folk practitioners and mediums act as intermediaries between this world and the other. They grease the wheels of the bureaucracy with their ritual knowledge and with community offerings to obtain release for imprisoned souls. Knowledge of the workings of the underworld is, according... (shrink)

Marine ecosystems are in serious troubles globally, largely due to the failures of fishery resources management. To restore and conserve fishery ecosystems, we need new and effective governance systems urgently. This research focuses on fisheries management in ancient China. We found that from 5,000 years ago till early modern era, Chinese ancestors had been constantly enthusiastic about sustainable utilization of fisheries resources and natural balance of fishery development. They developed numerous rigorous policies and regulations to guide people to act (...) on natural laws. Being detailed and scientific, the legal systems had gained gratifying enforcement, due to official efforts and folks’ voluntary participation in resource management. In-depth analyses show that people’s consciousness of ecological conservation was derived from the edification of kinds of ancient eco-ethical wisdom, such as totemism, nature worship, Zhou Yi , Taoism, Buddhism, Confucianism, Mohism, etc. All this Chinese classical wisdom have the same cores: “Nature and Man in One” spirit, frugality and “All things are equal” concept. The findings show that eco-ethical thinking is never inconsistent with social ethic systems, and it’s of great importance to give legal effect to usual ecological moral claims and eco-ethical requirements of the public in protecting the environment. The eco-ethical wisdom is efficient in assisting and urging people to fulfill humans’ obligation for nature. Finally, it’s believed that present world fisheries management will benefit a lot from all these ancient Chinese thoughts and practices. People are expected to make the most of the eco-ethical wisdom, strengthen fishery legislation and fully stimulate their voluntary participation in both marine fishery resources conservation and fishery cyclic economy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Borrowed Gods and Foreign Bodies: Christian Missionaries Imagine Chinese ReligionWhalen LaiBorrowed Gods and Foreign Bodies: Christian Missionaries Imagine Chinese Religion. By Eric Reinders. Berkeley: University of California Press, 2004. 266 + xvi pp.For a long time, Sinology was dominated by scholars with direct or indirect missionary backgrounds, going all the way back to the founding of the discipline by James Legge. Legge occupied the first university (...) chair in the China field in Britain. Legge's vision of China has recently been placed into historical context by Norman Girardot (The Victorian Translation of China [2002]). There were other early figures whose records of Chinese beliefs and folk customs we still use. Beginning with Timothy Richard, more came around to seeing how China needed more than soul saving for the hereafter. China needed urgent sociopolitical reforms in the here and now. In time, the YMCA and the missionary schools would help chaperone in a whole generation of "modern Chinese"; some of them, though exposed to the Gospel, would, in the May Fourth Movement, pit science and democracy against any and all religions. For all that, scholars still do count on the missionary records for understanding the "old China." By exploring what the majority of these men of God saw in China—or thought they saw, since their perception could well be colored by cultural biases—this book by Eric Reinders proves quite refreshing. Instead of holding up those records as a mirror on a Chinese reality, Reinders (to wit) "reversed the light so that it would reflect upon" the Protestant missionaries themselves. For one thing, these Protestant evangelicals reported on China using rhetoric borrowed from their long-standing complaints against the Catholics. For another, they painted the Chinese "body language" in light of their own proud Victorian manners. These missionaries were no James Legge, who was tutored into classical Chinese by erudite Confucians and who then presented the Confucian Classics with appreciative classical (Latin and Greek) references. They were no Arthur Waley either, Waley being one who could "without leaving the door [as to live in China], know all the affairs of the (Chinese) world." By steeping himself in Chinese language and its written culture, Waley could render the Confucian "chun-tzu" into the familiar English "gentleman," and doing so with due sympathy for two land-owning gentry cultures. There is no such sympathy from the Protestant missionaries who lived among the common people. They purported to know the "real" (rural) China that was opened to the inland mission. The China they reported on was not found in library books, the Confucian classics, or some Mandarin's manicured garden. Theirs is not the Good Earth depicted later by Pearl Buck, either.These nineteenth-century Protestant missionaries, flourishing in the heydays of the British Empire, held few illusions about the once fabled Cathay. Their reports sent home served, in the end, both God and country. As means for raising funds for their missionary efforts, the reports probably had to fan high hopes for the Gospel in relation to a very deprecating assessment of the pagan, heathen culture they encountered. The reports also reflected the hard times these zealous missionaries did have [End Page 226] to face. They were living in the backwater, among often illiterate peasants and in isolated enclaves surrounded by what they saw as a huddling mass of faceless humanity. Their frustration at learning the vernacular tongue well enough to communicate with the people led to the still popular joke about the inscrutable Chinese. But the conclusion the missionaries drew, about how the Chinese language is inherently "godless," is more theological than philological. That the many Chinese tongues (local dialects?) were deemed a living Babel assumes somehow that the Queen's English is divinely inspired. This book does not tell us often what China was really like, for so much of that reality is woefully "lost in translation."Above all, "Borrowed Gods and Foreign Bodies" is about how the Protestants transposed their endless bouts with Rome into seeing the errors of the Chinese way as copies of the Catholic way. The Chinese were mindless in their idolatry; they kept up blindly this ritualistic gesture with little or... (shrink)