This article examines the aesthetic ideas associated with the concept of zhong yong zhi dao 中庸 之道 (“golden mean”) by Confucius. Particular attention is paid to the following provisions of Confucian aesthetics: wen zhi bingbin 文质彬彬 “appearance and essence are equally perfect”, le er bu yin, ai er bu shang 乐而不淫，哀而不伤 “being joyful is not obscene; being sad does not hurt”, jin shan jin mei 尽善尽美 “quite beautiful and quite moral”. The author comes to the conclusion that Confucian (...) aesthetics expresses the idea of zhonghe zhi mei 中和之美 “the beauty of middle harmony”, embodying the ancient Chinese thought of “the balance of yin and yang”. Confucius advocated the equality of wen “appearance” and zhi “essence”, which should complement each other and correspond to the principle of the “golden mean”. The philosopher praised the music of 關雎Guan Ju (“Meeting the Bride”), claiming that it was “cheerful but not obscene, sad but not hurtful” and believed that sadness and joy generate each other and adapt to each other. Confucius clearly distinguished beauty from goodness, and the combination of beauty and goodness that he adheres to is actually based on the reverence of morality. (shrink)

Both Confucius and Gandhi were fervent political reformers and this paper argues that their views of human nature and the self-society-world relationship are instructively similar. Gandhi never accepted Shankara's doctrine of.

The most constructive response to the crisis in moral theory has been the revival of virtue ethics, an ethics that has the advantages of being personal, contextual, and, as this paper will argue, normative as well. The first section offers a general comparative analysis of Confucian and Whiteheadian philosophies, showing their common process orientation and their views of a somatic self united in reason and passion. The second section contrasts rational with aesthetic order, demonstrating a parallel with analytic and synthetic (...) reason, and showing that rule-based ethics comes under the former and virtue ethics under the latter. The third and final section discusses a Confucian-Whiteheadian aesthetics of virtue, focusing on love as the comprehensive virtue. The principal goal of the paper is to propose that an appropriation of Confucian virtue ethics will enhance the otherwise slow development of a Euro-American process ethics. (shrink)

Linda Zagzebski recently put forward a new theory, moral exemplarism, that is meant to provide an alternative to theories like consequentialism and deontology, and which proposes to define key moral terms by direct reference to exemplars. The theory’s basic structure is straightforward. A virtuous person is defined as a person like that, where that points to individuals like Leopold Socha, Confucius, Jesus Christ, and so on. A key component of this theory is the function played by the emotions, specifically (...) the emotion of admiration, which helps us identify moral exemplars, inspires our emulation of them, and grounds moral motivation. In other words, admiration tracks persons like that. The aim of this article is to show that unless moral exemplarism recognises and incorporates an aesthetic dimension to morality, as did, for instance, eighteenth-century sentimentalists by recognising the categories of moral beauty and ugliness, the theory suffers important theoretical difficulties, whilst failing to yield some of the theoretical merits that it boasts. To this end, I will cast doubt on the prominent role accorded to the emotion of admiration for morality, arguing that it has to either be qualified as a specific kind of admiration––namely that which takes the beautiful as its object––or be replaced altogether with the affective response to the beautiful, a mark of which is pleasure or delight in the contemplation of an object. In short, an aesthetics of character is necessary in order to properly theorise the affective and motivational components of morality under an exemplarist framework. (shrink)

Antoni Tàpies’ essays and interviews display how his conception of art is impregnated with an Oriental nondualistic aesthetics.1 I argue that, among them, the Chinese aesthetics of qi 氣 plays the most pivotal role and leaves an indelible imprint in his corpus. Tàpies’ encounter with this Asian thinking probably came through the translated writings of Laozi 老子, Confucius 孔子, Mencius 孟子, Zhuangzi 莊子, Mozi 墨子, and Lin Yutang 林語堂, among others, thanks to the publications of different Western-based (...) Sinologists.2 However, instead of the term qi, Tàpies was prone to using the words “energy” or “spirit” to designate this element, which he understood as a cosmological principle and force, as was mentioned... (shrink)

The Dialogues of Confucius (Kongzi Jia Yu 孔子家語) is an unexplored resource for the philosophy of Confucius. In this article, I make a first attempt at mining its riches. Focusing on Chapters 21 and 32, I reconstruct a multilevel theory of governing that is a cyclic process proceeding from the moral psychology of the individual to social organization, to the society as grounded in natural processes, and to the metaphysics of the natural processes themselves, thus adumbrating a metaphysics (...) of morals from the microcosmic to the macrocosmic. This movement between macrocosmic and microcosmic levels encompasses moral psychology, economics, politics, aesthetics, and metaphysics. The metaphysical forces that account for the blowing of the wind and the motivation of human behavior are forces that flow when functioning properly and that otherwise stagnate. Maintaining that flow is the task of the leadership. Once that task is accomplished, and the flywheel spins of its own momentum, the people become self-governing. This multilevel cyclic process is compared to contemporary Western economic and political theory that is based on the unimpeded individual, aggregated into majoritarian democratic rule, based on the social contract, and vulnerable to the tragedy of the commons. Contrary to current Confucian-based correctives to democracy that seek to limit the power of the people, this Confucian argument empowers the people via a frugal, caring, well-regulated leadership. (shrink)

If we say that the school of Confucianism—Confucius, Mencius, and Xun Zi—focused on the nurturing and forming of the psychological temperament of man, that it emphasized humanizing the innate nature so that the natural physiological desires and the sensory needs of man—that "which is unavoidable in man's nature and feelings"—are nurtured in a societal way and attain societal functions, and that for this reason the state and results of its appreciation of beauty are often related to pleasing the ear, (...) the eye, the heart, and the mind, and on the whole are controlled by the realm of human relationships and ethics, then it is possible to say that the characteristics of Daoist aesthetics as represented by Zhuang Zi were precisely focused on transcending just this. (shrink)

The prevailing interpretation of ren (humanness) in the Analects is ethical. One consequence of this interpretation is the one-dimensional image of the Confucian junzi (noble man) as a rigid moralist, a fastidious observer of li (ritual). But there are numerous passages in the Analects that resist such a one-sided representation of the junzi, especially Confucius's remarks related to the (Book of) Songs and music. My basic thesis is that Confucius's concept of junji is aesthetic. This is implied by (...) his notion of junji ru (noble scholar) as opposed to xiaoren ru (common scholar). The noble man is one awakened to the beauty of humanness. It is because of this awareness that he 'sets his mind on the Way, depends on virtue, relies on ren and enjoys the arts.' Confucius included the Songs and music in his curriculum precisely for the purpose of cultivating in his pupils this aesthetic sensibility. (shrink)

Confucius endorses a balance between generalism and particularism in ethics and aesthetics. Rather than standards, his rules are defeasible guides for perception, thought, and action balanced by particularizing capacities of judgment. These rules have opaque and open-ended hedges that strengthen a generalization by restricting its application. A similar architecture for ethical and aesthetic rules reflects a broad view of ethics and aesthetics as intertwined and continuous. Hence, whether one chooses a generalist or particularist ethics depends on one's (...) corresponding choices in aesthetics, and vice versa. This fundamental finding about value theory invites philosophers everywhere to investigate the teachings of Confucius. (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we do not (...) find such a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

This essay introduces ideas from Confucius, Xunzi, the Six Dynasties, and Kant about beauty, music, morality, and what we might today call “aesthetic education.” It asks how beauty and morality are related and how they ideally should be related to each other. We know that beauty and morality can drift apart, and we may wonder how aesthetic education might work best. Should the arts be a means for developing morality? Or should it be the other way around? These questions (...) are still relevant today. But our world has changed, not only since Confucius, but also since Kant. We may ask what to make of their ideas in our present time. I argue that there are good reasons for keeping morality and aesthetics apart, somewhat in the spirit of Kant, and in opposition to the idea of “fusing” the two. (shrink)

This essay analyzes how the zhengming 正名 theory of Confucius is linked to the problem of “observances of form” in light of the methodology of Confucian aesthetics. This essay argues that the “name-shape” combination in the zhengming paradigm is ultimately connected with the “name-role” combination. The “name-shape” paradigm continuously maintains and strengthens the “name-role” paradigm. However, the “name-shape” paradigm itself ultimately becomes more meaningful than the “name-role” paradigm. This is because the aesthetic structure that appears peculiar in the (...) Analects constitutes the “name-shape” paradigm. In this aesthetic structure, what is ultimately important is “form.”. (shrink)

To commemorate Professor Yip Lai drunk, this article analyzes the social construction of beauty in the role. Focus on the imagination in Kant's "first critique" and "third critical" role into the comparison. In the "first critique", the imaginative scope of row rank succumb to emotional information under the force measured. In the "third critique" in the free world and the physical manifestation of the social world, you need to play an active imagination and rich creative role. Lai drunk leaf through (...) the philosophy of science and metaphysics, more step forward, from the mathematical and theoretical physics has been traced back to the aesthetics of the sublime original management of the environment. In this way, Lai In order to disclose the beauty of drunk leaves the constructive role of liaison to the beauty of creation, the beginning and end of performances In order to source of the purpose. In honor of the late Professor Jean Ladrière, this study nalyzes the role of the aesthetic in social construction. It focuses upon the contrasting role of the imagination in Kant's first and third Critiques. In the first Critique the imagination is subservient to the categories in its ordering of the sense data. In the third Critique the realization of freedom in the physical and social world requires that the imagination play an active, indeed creative role. Jean Ladrière reaches further still through the philosophy of science and metaphysics to trace the principles of the aesthetic order from mathematics and speculative physics to the role of the sublime. He thereby uncovers a constructive role for the aesthetic which joins all of creation in a celebration of its Source and End. (shrink)

This essay discusses the goods of friendship as they are articulated by Confucius, Mencius, and Aristotle. It is argued that since Confucius and Mencius tend to conceive personal relationships in hierarchical terms, they do not directly address the goods of symmetrical friendships. Using Aristotle ’s account of friendship, I argue that friendship is necessary for the cultivation of virtue outside the family. This is supported by discussing the virtues of generosity, trust, and wisdom as they develop within family (...) life and then are refined in friendships. Lastly, as Confucius, Mencius, and Aristotle agree that the good friendship is necessarily a virtuous one, I consider what value aesthetic friendships have. (shrink)

Confucius associates the good and the beautiful. Li (translated variously as “ritual propriety,” “ritual,” “etiquette,” or “propriety”) embodies the entire spectrum of interaction with humans, nature, and even material objects. I argue that Confucius attempts to introduce an ethical ontology, not of “what,” but of “the way.” The “way” of reality becomes known with the deliberate participation to the Dao. In other words, through interaction. The way people co-exist demonstrates the rationality of the associations of living and functioning (...) together. Li, as an aesthetic-moral principle, embodies the entire spectrum of one’s interaction with humans, nature, and even material objects. Li is a constitutive element of Confucian ethics and politics, highlighting the importance of beauty, and not only goodness, in human action. The worthiness of human action is judged both aesthetically and morally. Moreover, I hold that Confucius’ ethical ontology is not an ontology of “whatness” but of “howness,” according to the Dao, since Confucius primary concern was not to define the Dao, but to restore the Dao of the ancient sage-kings. The morality of the action is dependent on the way it is performed, according to the mandates of the Dao. (shrink)

The ideology about the relation between goodness and beauty for Confucius and the early Confucians is the continuation of the aesthetic tradition long before Confucius’s time, which sees more value in Yuejiao, namely, music/beauty education, than in Lijiao, Moral education. No doubt Confucius’s aesthetic idea is featured as the juxtaposition of Li and Yue, goodness and beauty. But we must not forget that Confucius, taking himself as a preserver of the sages’ tradition, personally values Yue (music/beauty) (...) over Li (ritual/moral). It is in this context that we argue that taking the unity of beauty and goodness as a Confucian aesthetic feature is a misinterpretation of his teaching and is poles apart from the ancient Chinese aesthetic tradition and from Confucius’ aesthetics. (shrink)

Mencius aesthetic features, that he inherited before Confucius and Confucius to "goodness-in-one" as the characteristics and tendencies of the Confucian aesthetics, and in its human nature is good, based on the "goodness-in-one" This proposition reflects a profound the sake of being in the main character. In this paper, respectively, from the moral emotions, moral reasoning and moral will of the three areas, see Mencius, human nature is good and what actually provides the theoretical basis, the "good" and (...) "beauty" to above the sake of unity in the personality; then "desirability of that good, have all been of that letter, full of that beauty," as the central passage, Mencius, human nature is good in theory of thinking under the clear implication of which, in order to be able to explore one idea Mencius goodness The Katsuyoshi. A special characteristic of Mencius' aesthetic theory is that he carried on the Confucian tradition of "the union of the beautiful and good". He also made this theory the embodiment of. His most basic notion that "human nature is essentially good. " This article would like to lay as a basis three aspects of moral emotion, moral reasoning and moral will, in looking at Mencius' theory of the goodness of human nature. These findings culminate in" the good "and" the beautiful "in a person. I would also like to examine Mencius'" A man who commands our liking is called a good man, he whose goodness is part of himself is what is called a real man, and he whose goodness brims over is called a beautiful man ", as the crux of this article. From his consideration of man's essence as good, we can bring light to the profundity of his meditations on the synthesis of the beautiful and good. (shrink)

How Plato and Confucius formulate their views on poetry in light of their overriding concerns with harmony is examined here. Both acknowledge the educational value of poetry in similar terms and set up similar moral-aesthetic standards. Both rank poetry lower than other objects of learning because they find poetic harmony to be less significant than intellectual or moral harmonies. But both take note of the transforming aesthetic experience afforded by poetry in certain circumstances, and identify this experience of the (...) attainment of blessed harmony with the ultimate reality--Truth or the will of Heaven. Despite all these similarities, their embrace of opposing schemes (vertical versus horizontal) of harmony leads to a fundamental difference between their views on the nature of poetry, which for Plato is an epistemological process and for Confucius largely an existential process. (shrink)

In the Analects, Confucius portrays himself as a transmitter instead of a maker, which raises a question about the concept of ren: If ren is an idea transmitted by Confucius from his predecessors, then why is it so hard to convey its meaning?1 Is it because the meaning has been lost in the transmission, or because Confucius is not an ordinary transmitter? An ordinary transmitter may just relay messages from one dimension of space and/or time to another, (...) whereas a transmitter like Confucius may not simply be transferring ideas, but also be making sure that the ideas transferred from a previous time period are also appropriate for the current situation or circumstance.There were thinkers throughout early... (shrink)

In ancient China, art has never been a substitute for the category of ‘truth’ in the sense of Western aestheticism, but a mimic for goodness and beauty. The image in traditional Chinese aesthetics never transcended the idea to the level of Western abstraction, and that is because the artistic expression bore a social synthesis, rather than metaphysical, between human beings, reality, and the world. However, the Ming Dynasty introduces a Dionysian discourse that challenges the Apollonian tradition.

In ancient China, art has never been a substitute for the category of ‘truth’ in the sense of Western aestheticism, but a mimic for goodness and beauty. The image in traditional Chinese aesthetics never transcended the idea to the level of Western abstraction, and that is because the artistic expression bore a social synthesis, rather than metaphysical, between human beings, reality, and the world. However, the Ming Dynasty introduces a Dionysian discourse that challenges the Apollonian tradition.

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within (...) the framework of Kant's transcendental philosophy. They also unite the previous two Critiques, the Critique of Pure Reason and the Critique of Practical Reason. Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis, genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Exegetic Study of the So-Called Proposition of Confucian AestheticsWang Yi (bio) and Xiaowei FuSince Wang Guowei and Cai Yuanpei introduced the concepts of aesthetics and aesthetic education, respectively, to China in the early twentieth century, there has been a strong tendency in many of the aesthetic discussions to examine ancient texts and materials using modern concepts of aesthetics. In particular, sentences with the character-word mei1 are (...) often sought in classical works and interpreted as speeches on or about beauty, which has led to frequent misunderstandings of the classical texts and of the ancient Confucian aesthetic theory.The most typical among these misunderstandings, we think, is the misinterpretation of one of Mencius's remarks on the goodness of human nature-"To possess these qualities of goodness fully is beautiful" (Chongshi zhiwei mei)2-as a representative statement of the Confucian aesthetic theory of "the union of the beautiful and good." Although it is not clear who was the first to put this interpretation forward, it is now widely accepted and almost unquestioned that the statement "Chongshi zhiwei mei" is the classical proposition of the Confucian aesthetic theory after countless repetitions by aestheticians and educationalists. And extended from this is the claim that "the union of the beautiful and good," or the union of the moral and beauty, is the traditional theory of Confucian aesthetic education.3 Finding it coincidentally in accordance with the idea of "the union of the beautiful and good" in both the Soviet and Greek philosophies, aesthetic educators are apt to admit that aesthetic education is included in moral education or aesthetic education is but one of the means of moral education; thus, aesthetic education cannot be an independent subject. [End Page 80]It is rather surprising that in spite of the wide interest in quoting this sentence, very little in the textual research and criticism has offered convincing proof that it is really Mencius's opinion about beauty or aesthetic theory and therefore-since he is the most influential Confucian educator and philosopher after Confucius-representative of the aesthetic theory of Confucianism.Actually, the proper analysis of the meaning of the word mei in this statement by Mencius has long been a controversial issue in Chinese history. There have been two main approaches: mei as an equivalent of shan (good/ goodness) and mei as a synonym with its modern Chinese counterpart. The former is taken by Zhao Qi,4 according to whom mei in this statement is a term used to explain a level of shan. This analysis is further developed by Sun Shi,5 who argues that mei is the third level of the six shan. Likewise, Yang Bojun,6 among other modern scholars, also considers mei an equivalent of shan. The latter approach, on the other hand, is pursued by Zhang Zai, Zhu Xi, Jiao Xun,7 and many modern aestheticians, who all interpret mei as "beauty" or "beautiful" in the aesthetic sense.The main interest of the present analysis is an attempt to decode the genuine meaning of the statement. With references to ancient dictionaries like Origin of Chinese Characters8 and exegetic works (from 206 bc to the modern times) of Mencius, this article attempts to contextualize mei in the original text and historical context in order to interpret the meaning of the sentence and the real intention of Mencius. In this way we hope to determine whether it can be regarded as the proposition of Mencius or the Confucian aesthetic theory of "the union of the beautiful and good."IIn the first part of this article we shall offer a contextual study of the sentence with reference to two of the ancient interpretations of the theme of the passage and the meaning of the character mei. By investigating the context of the sentence "Chongshi zhiwei mei" we argue that the theme of the passage is a discussion of the six levels of shan (goodness).The context of the sentence comes from a passage in Mencius (Jinxin part 2), which begins with Mencius talking with Haosheng Buhai about one of his disciples, Yue Zhengzi, who was reported to embark in a political career in the State... (shrink)

This article reveals the philosophical value of the Confucian treatise "Kong-zi jia yu," it examines issues of the theoretical importance for the history of world sinology. In the historicо-philosophical tradition, this text has long been attributed to the Confucian scientist Van Su, however, not so long ago the situation changed significantly. In the modern scientific community, disputes around the authorship and time of writing this treatise continue. The content of "Kong-zi jia yu" is composed of stories from the life of (...) Confucius, his conversations with his closest students, as well as prominent political figures of that time. These conversations are philosophical dialogues, they concern the most important ontological, ethical, aesthetic and epistemological issues, such as: harmonization of the Tianxia on the basis of virtuous management, the philosophical need for ritual practice, cosmological device of the Tianxia, issues traditional for early Confucianism of a pedagogical and educational nature, moral self-improvement. The diverse theme of "Kong-zi jia yu" is a valuable source that reveals the essence of the philosophy of early Confucianism. Individual fragments of "Kong-zi jia yu" coincide with the classic Confucian monuments "Shang shu," "Lun yu," "Xiao jing," etc. Although "Kong-zi jia yu" for a number of reasons, is not considered a classic text of Confucianism, but it carries an enduring philosophical value. The study of "Kong-zi jia yu" seems to the author of this work to be an urgent scientific task, the solution of which can expand the arsenal of world philosophical knowledge, as well as contribute to the dialogue of the philosophical cultures of the East and West. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Praise of Blandness: Proceeding from Chinese Thought and AestheticsJoseph GrangeIn Praise of Blandness: Proceeding from Chinese Thought and Aesthetics. By François Jullien. Translated by Paul M. Varsano. New York: Zone Books, 2004. Pp. 1,969.A book praising "blandness"—which is the translator's English word for the French fadeur, which is the author's translation of the Chinese dan!—and a book that is at once fascinating and "repellent" (to use (...) the translator's description of his tortuous search for an equivalent of fadeur and dan), In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics by François Jullien is a "globalizing" philosophical essay bent on stopping readers in their tracks at every twist and turn of the text. Is it worth the trouble? I shall venture a response in this review.More than once while reading this book, I was reminded of Plato's Sophist, where the difficulty in locating the sophist is described in such intricate detail. First he is here, but then he is over there; on the other hand, he could be hiding near by— but wait, maybe he has disappeared. So it is also with blandness. And perhaps it should be so, because once you have located the bland, it ceases to be bland and turns into something else. To take a fix on blandness Jullien throws it against a number of traits, qualities, experiences, and events: strength, music, sounds, signs, landscapes, painting, tastes, literature, ideology, margins and centers, and, finally, the fact that "transcendence is natural." At the same time, the author weaves these contrasts and comparisons through the history of Chinese culture, especially in the evolution of its painting and poetry. [End Page 484]Foremost among the qualities associated with blandness is inner detachment. What come immediately to mind are Daoism, Chan Buddhism, and aspects of Confucian teaching. Jullien has already given us a splendid treatise in his The Propensities of Things, and in some ways this volume rings many changes on that study of Chinese culture. But there is more to blandness than causal efficacy. It also suggests openness and a mood of friendliness toward the other, the different, and all things strange. Further, blandness is similar to harmony in the sense that it does not insist on its own presence. Rather, it constantly blends together opposites through its own power.It is power and its expression that is at the heart of the author's project. He attempts over and over again to show how the seemingly weak is actually the strong, that the far away is really close to hand, that emptiness is charged with spontaneous creative energy. Thus, what lingers is not yet finished expressing itself. And the translator tells us that a gustatory sense is the primary base of fadeur, dan, and blandness. The body is the region within which the bland can have its most powerful effect. Think of Chinese medicine, where "the web that has no weaver" (the title of Ted Kaptchuk's brilliant book) is the object of the physician's art. Or consider the power of water to yield and then conquer all. Or remember the Mahāyāna Buddhist's invocation of śūnyatā as the source of healing and renewal. Or recall the many times that Confucius advises silence rather than words. All these moments are akin to what Jullien calls "blandness."One way to grasp the insight into Chinese culture that Jullien is struggling with is to express it by way of Neoplatonism and Spinoza. What is often forgotten in expositions of these formidable philosophies is the way in which they use a novel doctrine of causality to bind together different realms of beings. For Plotinus and Spinoza the cause never really leaves the effect but remains there, hidden but effective. It is through this lingering presence that transcendence and immanence, body and soul, and God and the World remain conjoined. The image of the ladder so frequently found in these texts must be understood to run in both directions—up and down. So also, blandness is a dao that opens up experience to further depths and heights.Jullien's major concern is aesthetics... (shrink)

"Without knowing the force of words, it is impossible to know men." - Confucius. The Ethics of Confucius presents everyone with the opportunity to understand the true nature of the Confucian concept of good conduct to encourage independent, clear thinking about the purposes of life and what may be done with it. This volume of ethical teachings, which are almost purely secular, covers self-development - the conduct of "The Superior Man" - but also the family, the state, the (...) cultivation of the fine arts, and universal relations. These insightful, timeless teachings by Confucius and his disciples are arranged by, and commented upon, by Miles Menander Dawson. MILES MENANDER DAWSON (1863-1942) was deeply interested in poetry and philosophy, particularly ethics, and wrote books about the teachings of Zoroaster, Socrates, as well as Confucius. Born in Wisconsin, Dawson spent his life as a highly respected actuary in New York. He wrote numerous books on life insurance and actuarial science and was a member of the Confucian Society of China. (shrink)

The theory of beauty has always rested on the representation of the infinite, understood in its finite expression and perceptible through the senses. The relationship of beauty to truth, of art to science, is inevitably modified with the new way of treating the infinite in the modern conception of the world. Non-classical science works with the notions of “infinitely large” and “infinitely small,” modifying their meanings in terms of experimental observations. We put these words in quotation marks because the Whole (...) may be considered as finite or infinite according to the angle from which it is viewed: the “infinitely small” only becomes so in determined circumstances, for example, when we consider the extended and discrete elements of space and time in a macroscopic approximation, as infinitely small elements of perpetual motion. Modern science studies these two poles of being—the Whole and its parts—in their interaction, admitting the dependence of macroscopic and even cosmic processes with regard to the processes being created in infinitely small spheres (or, according to another interpretation, finite but extremely small). However, as characteristic of our time as these concepts are—most often hypothetical—they nonetheless express a very old historical tradition that contemporary retrospection, turned toward classical science and the past of science in general, allows us to discern very clearly. All the culture of the past was dominated by the principle of the authority of the Whole over its parts. In peripatetic cosmology and physics, individual processes depended on the cosmic harmony of the center and frontiers of the universe, on the spheres and places toward which bodies tend. This authority of the general law, of universal harmony, of the system hinging on individual processes, is confirmed in Aristotle's Physics, but not only there: we find it in almost all the thinkers of antiquity. On the plane of general logic, it received expression in the Hegelian concept of the true infinite, a concept constituting to a high degree the philosophical equivalent of classical science. In Hegel's time, this last was already drawing away somewhat from the idea of an absolute and strict subordination of elementary processes to integrating systems and general laws, laws being realized through the probability of microprocesses, thus statistical laws, and whose exact application ignored individual acts, for example, the mechanism of molecules in thermodynamics. The statistical theory of heat has rendered continual a discrete microcosm—for the movement of individual molecules it substituted the average speed of the molecules—and continual laws became supreme points determining macroscopic processes. These laws had a differential nature. In other words, they prescribed the defined relationships between the infinitely small increases in size. Also, the schema of the classic law consisted in defining infinitely small processes by an infinitely large integral legality because of the number of processes. The infinitely true of Hegel is the actual infinite being realized in each of its finite elements; it is the subjection of the finite element to the infinite. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the (...) visible: the essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

In the long river of human history, if one person can represent the civilization of a whole nation, it is perhaps Master Kong, better known as Confucius in the West. If there is one single book that can be upheld as the common code of a whole people, it is perhaps Lun Yu, or The Analects. Surely, few individuals in history have shaped their country's civilization more profoundly than Master Kong. The great Han historiographer, Si-ma Qian, writing 2,100 years (...) ago said, "He may be called the wisest indeed!" And, as recently as 1988, at a final session of the first international conference of Nobel prize-winners in Paris, the seventy-five participants, fifty-two of whom where scientists, concluded: "If mankind is to survive, it must go back twenty- five centuries in time to tap the wisdom of Confucius." This a man whose influence in world history is truly incomparable. His sayings form the basis of a distinct social, ethical, and intellectual system. They have retained their freshness and vigor for two and a half millennia, and are still admired in today's China. Compiled by pupils of Confucius's disciples half a century after the Master's death, The Analects of Confucius laid the foundation of his philosophy of humanity--a philosophy aimed at "cultivating the individual's moral conduct, achieving family harmony, bringing good order to the state and peace to the empire. Containing 501 very succinct chapters and organized into twenty books, the collection comprises mostly dialogues between the Master and his disciples and contemporaries. The ethical tenets Confucius put forth not only became the norm of conduct for the officialdom and intelligentsia, but also profoundly impacted the behavior of the common people. The great sage's unique integration of humanity and righteousness struck a powerful chord in all who attempted to understand his moral philosophy. As translator Chichung Huang contends, "What ethical principle laid down by man could be more sensible that none which blends the best our heart can offer with the best our mind can offer as the guiding light for our conduct throughout our lives?" Ever timely, Confucius's teachings on humanity and righteousness may well serve as a ready-made cure for today's ills in an era which human beings are blinded by force and lust, not unlike Confucius's own day. Far more literal than any English version still in circulation, this brilliant new rendition of The Analects helps the reader not only to acquire and accurate and lucid understanding of the original text, but also to appreciate the imagery, imagery, parallelism, and concision of its classical style. The translator Chichung Huang, a Chinese scholar born in a family of Confucian teachers and schooled in one of the last village Confucian schools in South China, brings to this treasure of world literature a sure voice that captures the power and subtleties of the original. Vivid, simple, and eminently readable, this illuminating work makes the golden teachings of the sage of the East readily available to anyone in search of them. (shrink)

Presents the life and social ethics of the great Chinese sage.

For anyone interested in China—its past, its present, and its future—_The_ _Analects_ (Lunyu) is a must-read. This new translation by renowned East Asian scholar Moss Roberts will offer a fresh interpretation of this classic work, sharpening and clarifying Confucius's positions on ethics, politics, and social organization. While no new edition of _The_ _Analects_ will wholly transform our understanding of Confucius’s teachings, Roberts’s translation attends to the many nuances in the text that are often overlooked, allowing readers a richer (...) understanding of Confucius’ historic and heroic attempt to restore order and morality to government. This edition features a critical introduction by the translator as well as notes on key terms and historical figures, a topical index, and suggestions for further reading in recent English and Chinese scholarship to extend the rich contextual background of the translation. This ambitious new edition of _The_ _Analects_ will enhance the understanding of specialists and newcomers to Confucius alike. (shrink)

The connection between the concept of dialogue and the philosophy of education has a long history in Western culture, going back to Socrates’s dialogues with his fellow Athenians some 2,500 years ago. One recent example of the extensive corpus of literature on this topic is Empowering Dialogues in Humanistic Education,1 edited by Nimrod Aloni, that explores the notion of educational dialogues as discussed by thinkers ranging from Confucius to Janusz Korczac, Friedrich Nietzsche, Paulo Freire and, most recently, Nel Noddings. (...) In the course of the twentieth century, dialogue has come to be viewed as an educational and cultural phenomenon whose promotion will ensure a humanistic, pluralistic, and humane model of... (shrink)

This rich and human document is a testament to the words and wisdom of Confucius--whose simplet truths continue to influence the moral and ethical codes of the Far East. A timeless guide to proper living as significant today as it was 2,000 years ago.

Dostoevsky's legacy today calls forth tremendous interest all over the world. And that is understandable: Dostoevsky presented in his work, with utmost vividness and explicitness, many of the social, philosophical, and psychological problems that continue to this day to be central in the mind of humanity.

This book is an introduction to the esthetics of music. Aesthetics, which were of prime importance in thinking about music in the nineteenth century, are today sometimes suspected of being idle speculation. Yet judgments about music and every sort of musical activity are based on aesthetic presuppositions. Carl Dahlhaus gives an account of developments in the aesthetics of music from the mid-eighteenth century onwards. He combines a historical and systematic approach. Central themes in music are grouped together to (...) illustrate both the historical course of events and a systematic unity of the essential elements in the aesthetics of music. For this edition, the late Carl Dahlhaus provided an annotated bibliography. William Austin has added books for the English-speaking reader, and has also supplied notes to the text to help the student. (shrink)

'Updating Bertrand Russell for the 21st century... a cerebrally enjoyable survey, written with great clarity and touches of wit... The non-western section throws up some fascinating revelations' Sunday Times The story of philosophy is an epic tale: an exploration of the ideas, views and teachings of some of the most creative minds known to humanity. But since the long-popular classic Bertrand Russell's History of Western Philosophy, first published in 1945, there has been no comprehensive and entertaining, single-volume history of this (...) great intellectual journey. With his characteristic clarity and elegance A. C. Grayling takes the reader from the world-views and moralities before the age of the Buddha, Confucius and Socrates, through Christianity's dominance of the European mind to the Renaissance and Enlightenment, and on to Mill, Nietzsche, Sartre, and philosophy today. And, since the story of philosophy is incomplete without mention of the great philosophical traditions of India, China and the Persian-Arabic world, he gives a comparative survey of them too. Intelligible for students and eye-opening for philosophy readers, he covers epistemology, metaphysics, ethics, aesthetics, logic, the philosophy of mind, the philosophy of language, political philosophy and the history of debates in these areas of enquiry, through the ideas of the celebrated philosophers as well as less well-known influential thinkers. He also asks what we have learnt from this body of thought, and what progress is still to be made. The first authoritative and accessible single-volume history of philosophy for decades, remarkable for its range and clarity, this is a landmark work. (shrink)