This book provides an innovative, critical textual and literary analysis, in light of Song dynasty (960-11279) Chinese cultural and intellectual historical trends, of the Blue Cliff Record, the seminal Chan/Zen Buddhist collection of commentaries on one hundred gongan/koan cases long celebrated for its intricate and articulate interpretative methods.

The Records of Mazu and the Making of Classical Chan Literature explores the growth, makeup, and transformation of Chan (Zen) Buddhist literature in late medieval China. The volume analyzes the earliest extant records about the life, teachings, and legacy of Mazu Daoyi (709-788), the famous leader of the Hongzhou School and one of the principal figures in Chan history. While some of the texts covered are well-known and form a central part of classical Chan (or more broadly Buddhist) literature (...) in China, others have been largely ignored, forgotten, or glossed over until recently. Poceski presents a range of primary materials important for the historical study of Chan Buddhism, some translated for the first time into English or other Western language. He surveys the distinctive features and contents of particular types of texts, and analyzes the forces, milieus, and concerns that shaped key processes of textual production during this period. Although his main focus is on written sources associated with a celebrated Chan tradition that developed and rose to prominence during the Tang era (618-907), Poceski also explores the Five Dynasties (907-960) and Song (960-1279) periods, when many of the best-known Chan collections were compiled. Exploring the Chan School's creative adaptation of classical literary forms and experimentation with novel narrative styles, The Records of Mazu and the Making of Classical Chan Literature traces the creation of several distinctive Chan genres that exerted notable influence on the subsequent development of Buddhism in China and the rest of East Asia. (shrink)

Introduction: Chinese philosophy and the translation of disciplines -- The faces of masters literature until the Eastern Han -- Scenes of instruction and master bodies in the Analects -- From scenes of instruction to scenes of construction: Mozi -- Interiority, human nature, and exegesis in Mencius -- Authorship, human nature, and persuasion in Xunzi -- The race for precedence: polemics and the vacuum of traditions in Laozi -- Zhuangzi and the art of negation -- The self-regulating state, paranoia, and (...) rhetoric in Han Feizi -- Epilogue: a future for masters literature and Chinese philosophy. (shrink)

This singular work presents the most comprehensive and nuanced studies available in any Western language of Chinese aesthetic thought and practice during the ...

Hengxian: stages of cosmic unfolding -- Taiyi shengshui: textual structure and conceptual layers -- Fanwu liuxing: from oneness to multiplicity -- Huangdi sijing: governing through oneness -- Laozi: "Dao models itself" -- Laozi: "a great vessel" -- Han Laozi: variants and new readings.

In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao 道 and wen 文 are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, (...) whose denotations and connotations are multifaceted and open to interpretations. This article argues that the elusive nature of wen can be understood adequately from the perspective of language philosophy and aesthetics via its relationship to the metaphysical principle of the Dao. By examining the discourses on wen and dao, this article advances a thesis with three interrelated ideas: wen as manifestations of the Tao is an instance of “humanized nature”; the birth of wen marked the beginning of reflections on literature and art, hence inaugurating aesthetics in the Chinese tradition; and the early discourses on wen have determined the distinctiveness of Chinese aesthetic consciousness. (shrink)

《想象与理性：中国道教文学及其思想史研究》简洁地勾勒了中国道教的次生学科——道教文学（含道教文学思想）产生、发展的历史进程，揭示了道教文学形成和兴盛的诸多因素，探讨了道教文学盛衰的内在规律。.

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities in (...) the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

The book aims to describe the history of Chan (Japanese Zen) School thought from the standpoint of social history. Chan, a school of East Asian Buddhism, was influential on all levels of societies in the region because of its intellectual and aesthetic appeal. In China, Chan infiltrated all levels of society, mainly because it engaged with society and formed the mainstream of Buddhism from the tenth or eleventh centuries through to the twentieth century. This book, taking a critical (...) stance, examines the entire history of Chan thought and practice from the viewpoint of a modern Chinese scholar, not a practitioner, but an intellectual historian who places ideological developments in social contexts. The author suggests that core elements of Chan have their origins in Daoist philosophers, especially Zhuangzi, and not in Indian Buddhist concepts. Covering the period from the sixth century into the twentieth century, it deals with Chan interactions with neo-Confucianism, Quanzhen Daoism, and Gongyang new text philology, as well as with literature and scholarship, its fusion with Pure Land Buddhism, and its syncretic tendencies. Chan’s exchanges with emperors from the Song, Yuan, Ming, and Qing Dynasty, as well as the motives of some loyalists of the Ming Dynasty for joining Chan after the fall of the Ming, are described. The book concludes with an examination of the views of Chan of Hu Shi, D.T. Suzuki, and the scholar-monk Yinshun. (shrink)

A groundbreaking study of the lost tradition of Tibetan Zen containing the first translations of key texts from one thousand years ago. Banned in Tibet, forgotten in China, the Tibetan tradition of Zen was almost completely lost to us. According to Tibetan histories, Zen teachers were invited to Tibet from China in the 8th century, at the height of the Tibetan Empire. When doctrinal disagreements developed between Indian and Chinese Buddhists at the Tibetan court, the Tibetan emperor called for (...) a formal debate. When the debate resulted in a decisive win by the Indian side, the Zen teachers were sent back to China, and Zen was gradually forgotten in Tibet. This picture changed at the beginning of the 20th century with the discovery in Dunhuang (in Chinese Central Asia) of a sealed cave full of manuscripts in various languages dating from the first millennium CE. The Tibetan manuscripts, dating from the 9th and 10th centuries, are the earliest surviving examples of Tibetan Buddhism. Among them are around 40 manuscripts containing original Tibetan Zen teachings. This book translates the key texts of Tibetan Zen preserved in Dunhuang. The book is divided into ten sections, each containing a translation of a Zen text illuminating a different aspect of the tradition, with brief introductions discussing the roles of ritual, debate, lineage, and meditation in the early Zen tradition. Van Schaik not only presents the texts but also explains how they were embedded in actual practices by those who used them. (shrink)

The Chinese translation of Coca Cola is thought to be a well-known good translation, and many people discussed the translation or brand translation with it as an example. A large number of books or articles generally and abstractly conclude that the Chinese translation leaves people a kind of feeling of coolness and cleanness, pleases and attracts consumers’ attention and their favor, however there is not still a book or an article studying systematically and scientifically how good the translation (...) is, neither wholly from perspectives of linguistics, culture and aesthetic translation. Based on the literature review and comparative analysis with cultural translation study and translation aesthetics, the thesis is to discover how good the translation is, based on the analysis of Chinese translation of Coca Cola from the aspects of linguistics, culture and translation aesthetics, and to build a criticism model of translation of brand names, in addition, to analyze the enlightenment of this translation in other translation activities. (shrink)

Often considered China's greatest poet, Du Fu (712-770) came of age at the height of the Tang dynasty, in an era marked by confidence that the accumulated wisdom of the precedent cultural tradition would guarantee civilization's continued stability and prosperity. When his society collapsed into civil war in 755, however, he began to question contemporary assumptions about the role that tradition should play in making sense of experience and defining human flourishing. In this book, Lucas Bender argues that Du Fu's (...) reconsideration of the nature and importance of tradition has played a pivotal role in the transformation of Chinese poetic understanding over the last millennium. In reimagining his relationship to tradition, Du Fu anticipated important philosophical transitions from the late-medieval into the early-modern period and laid the template for a new and perduring paradigm of poetry's relationship to ethics. He also looked forward to the transformations his own poetry would undergo as it was elevated to the pinnacle of the Chinese poetic pantheon. (shrink)

本书选录金开诚先生在文艺心理学、楚辞研究、传统文化研究、书法艺术研究等诸多领域研究方面的代表作，附收部分“随笔杂谈”类文编于后。.

本书探讨了元代儒学学派与诗文流派之间的互动关系。全书分为上下两编，上编为总论部分，对南宋金元时期学术变迁与派别分化、学术与诗文的联动、理学门派传承与诗文流派的生成加以宏观性论述；同时重点考察了许衡与元 代中州文派、刘因与元代北方文派、许谦与元代金华文派、李齐贤与元代高丽文派等的儒学承传和文学创作。下编为考证部分，汇辑了元代高丽士人李齐贤研究资料，并考撰了“元代中朝（韩）越日间文学活动编年”。.

The Han dynasty Huainanzi is a compendium of knowledge. This edited volume follows a multi-disciplinary approach to explore how and why the Huainanzi was produced and how we should interpret the work.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study at the beginning (...) of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Opening a Mountain: Kōans of the Zen MastersDale S. WrightOpening a Mountain: Kōans of the Zen Masters. By Steven Heine. Oxford: Oxford University Press, 2002. Pp. xiv + 200. Hardcover $25.00. Paper $17.95.On the beautifully designed cover of Steven Heine's Opening a Mountain: Kōans of the Zen Masters, we gaze at one of the masterworks of Chinese painting, Kuo Hsi's Early Spring, painted in the late eleventh (...) century at what may have been the pinnacle of the Chinese Zen monastic tradition. Allowing our eyes to wander up, down, and across this truly great work, we spot the curved roof of a Buddhist monastery gorgeously nestled in a rugged valley halfway up a towering, mist-covered mountain. No image could more adequately capture the mystique that Chinese Zen monasticism attained in that era and has continued to cultivate into the modern period. Steven Heine's new book masterfully communicates the aura of Zen in those times by highlighting a segment of kōan literature that features the work of Zen masters in "opening a mountain." While it is clear that the mountain in this phrase is really a Zen monastery, and that this phrase became a standard way to refer to the initiation of a new monastery, Heine unravels this act of opening by detailing the enormously interesting historical/cultural tradition behind it.Long before the emergence of the Zen or even the Buddhist tradition in China, mountains symbolized numinous, spiritual power. Early Taoists had already used the image of the mountain as a metaphor of mysterious, otherworldly reality. Chinese [End Page 194] popular tradition pictured the deities residing at these far-off and little-known elevations. Buddhists continued to capitalize on images like this until literature valorizing the T'ang and Sung dynasty Zen masters brought them to their current cultural position. Climbing a mountain, and dwelling there, required the utmost mental and spiritual discipline. Residing in that lofty sphere, one attained a vision of the world that in its depth and breadth trumped any understanding that could be attained in the world below. The mountain recluse and the enigmatic Zen master who drew disciples into remote mountainous regions for mental or spiritual training is by now one of the best known, most powerful images in the world. It is quite understandable that the great Zen masters would "open" their monastic training centers in the kind of setting depicted in Heine's reconstruction of the idea of the mountain in Chinese history.What Heine's analysis makes clear, though, is that there is much more to the act of "opening" than we have hitherto assumed. Prior to the movement of Buddhist monasteries into these remote areas there existed a largely oral tradition concerning enigmatic mountain recluses who, like the legendary Taoist Lao-tzu, had withdrawn from the world in the quest for profound spiritual vision. Popular images of these visionaries were widespread throughout China in the medieval period, and no parallel to them existed in the staid, scholarly world of Buddhist monasticism. The movement of monastic Buddhism into that domain, therefore, necessitated a conflict and melding of images, and the terms in which this ideological battle would take place would not be derived from the rarified philosophical and textual traditions that had made Buddhism so impressive to earlier generations of Chinese converts. Instead, Zen masters would compete for popular recognition in south-central China in terms that were familiar to the residents of that area, namely of magical powers, demons, local deities, and the visions, apparitions, and exorcisms that supported that premodern metaphysical world.The innovation of Opening a Mountain is that, while not denying what Heine calls the "conventional understanding" of the kōan tradition, which has been communicated in largely modern, demythologized, psychological images, the book undertakes the study of kōan literature by being particularly attentive to these clear representations of the extent to which Zen was born and cultivated in a premodern world. Opening new territory in Zen kōan studies, Heine works his way back into the medieval Chinese mentality that would have set the context for the emergence of the kōan tradition... (shrink)

This volume focuses on Chinese Chan Buddhism and its spread across East Asia, with special attention to its impacts on Korean Sŏn and Japanese Zen. Zen enthralled the scholarly world throughout much of the twentieth century, and Zen Studies became a major academic discipline in its wake. Interpreted through the lens of Japanese Zen and its reaction to events in the modern world, Zen Studies incorporated a broad range of Zen-related movements in the East Asian Buddhist world. As broad (...) as the scope of Zen Studies was, however, it was clearly rooted in a Japanese context, and aspects of the "Zen experience" that did not fit modern Japanese Zen aspirations tended to be marginalized and ignored. Approaches to Chan, Sŏn, and Zen Studies acknowledges the move beyond Zen Studies to recognize the changing and growing parameters of the field. The volume also examines the modern dynamics in each of these traditions. (shrink)

Modernism and the Architecture of Private Life offers a bold new assessment of the role of the domestic sphere in modernist literature, architecture, and design.

This volume brings together modernity as a Western project. From the early, via the classic and high to the late modern period, each chapter reveals a marked interdisciplinary approach to the various aspects of this century-old process.

Ben shu tan tao le Song Ming li xue yu Ming dai wen xue de guan xi, bing yi ren ge feng fan wei zhong dian shen ru yan jiu le Ming dai wen xue de chuang zuo yu liu bian, jian gou le Ming dai wen xue de chuang zuo yu liu bian jian gou le Ming dai wen xue de fa zhan ti xi, dui Ming dai zhong yao zuo jia, zuo pin ti chu le du dao de (...) kan fa. (shrink)

本书内容涉及传统反思与现代批判,人文中国与现代精神人格建构,儒教,儒学与现代人文学术,西方思想传统与现代西方哲学,文学中国与文学研究的现代化,跨文化对话与中西文化交流,现代学术前沿等方面.

One of Ireland's foremost literary and cultural historians, Terence Brown's command of the intellectual and cultural currents running through the Irish literary canon is second to none, and he has been enormously influential in shaping the field of Irish studies. These essays reflect the key themes of Brown's distinguished career, most crucially his critical engagement with the post-colonial model of Irish cultural and literary history currently dominant in Irish Studies. With essays on major figures such as Yeats, MacNeice, Joyce (...) and Beckett, as well as contemporary authors including Seamus Heaney, Derek Mahon, Michael Longley, Paul Muldoon and Brian Friel, this volume is a major contribution to scholarship, directing scholars and students to new approaches to twentieth-century Irish cultural and literary history. (shrink)

Introduction: How newness enters the world -- Surrealism and the Caribbean: a curious line of resemblance -- Writing back to the colonial event: Derek Walcott and Wilson Harris -- Édouard Glissant's poetics of the chaosmos -- Postcolonial literature as health: Robert Antoni and Nalo Hopkinson.