You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Originally presented as the author's thesis (doctoral)--University of Zeurich, 2003.
Chinese and Greco-Roman ethics present highly articulate views on how one should live; both of these traditions remain influential in modern philosophy. The question arises how these traditions can be compared with one another. Comparative ethics is a relatively young discipline, and this volume is a major contribution to the field. Fundamental questions about the nature of comparing ethics are treated in two introductory chapters, followed by chapters on core issues in each of the traditions : harmony, virtue, friendship, knowledge, the relation of ethics to morality, relativism. The volume closes with a number of comparative studies on emotions, being and unity, simplicity and complexity, and prediction.
Bone, Bronze, and Bamboo explores the tremendous wealth of newly unearthed artifacts and manuscripts that have been revolutionizing the study of early China. Leading scholars from China and abroad lend their expertise in archaeology, art history, paleography, intellectual history, and many other disciplines to show how these fascinating finds change our understanding of China's past. Organized in a chronological progression from the Shang to Han periods, and treating bone, bronze, and bamboo-strip artifacts in turn, the book treats a wide breadth of topics, from the status of owls in Shang religion to the Zhou court's economic interest in managing salt resources, and from the conceptual evolution of de 德 in Spring and Autumn covenants to the interplay between materiality and text in Han scribal primers. Bone, Bronze, and Bamboo exemplifies the exciting energy and sense of discovery inspired by these sources in recent years, while surveying the latest debates and developments shaping early China as a field.
Focusing on narratives about female knights-errant (xia) along thematic lines in Chinese literacy history, this text provides an overview of the narrative subgenre, the literary representation of gender and the particularities of the Chinese knight-errantry narrative.
This book offers students all the necessary tools to read, understand, and analyse Classical Chinese texts, including descriptions of syntactic features, introductions to historical and cultural topics, and selected readings from classical literature with original commentaries. It also provides an extensive glossary and up-to-date bibliography.
Dealing with the central issue of style in literature, this groundbreaking study is a must for sinologists, but also for all students of comparative literature. Michel Hockx takes as a point of departure the observation that most writers of the Republican period adhered to a distinctly traditional practice of gathering in literary societies, while at the same time displaying a marked preference for publishing their works through the modern medium of the literary journal. The first part of the book analyses different types of societies and their journals. The case studies in part two convey the wider impact of literary collectives and journal publications on literary practice. Convincingly breaking with the 'May Fourth' paradigm, the author proposes a radically new way of understanding the relationship between New Literature and other styles of modern Chinese writing.
Critical reflections on the work of Angus Charles Graham, renowned Western scholar of Chinese philosophy and sinology. This volume engages with the works and ideas of Angus Charles Graham (1919–1991), one of the most prominent Western scholars of Chinese philosophy, at the twenty-fifth anniversary of his passing. Over a professional career of more than thirty years, Angus Graham produced an impressive amount of scholarship on a wide array of topics, ranging from Chinese grammar and philology to poetry and philosophy. His combination of rigorous scholarship and philosophical originality has continued to inspire scholars to tackle related research topics, and in so doing, has required of them a response to his views. This book illustrates the range of scholarship still elaborating upon, disagreeing with, and reacting to Graham's work on Chinese thought, philosophy, philology, and translation.
Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The first chapter takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art (hence the title) he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age. .
This essential reference work provides an alphabetic listing, with an extensive index, of studies on women in China from earliest times to the present day written in Western languages, primarily English, French, German, and Italian. Containing more than 2500 citations of books, chapters in books, and articles, especially those published in the last thirty years, and more than 100 titles of doctoral dissertations and Masters theses, it covers works written in the disciplines of anthropology and sociology; art and archaeology; demography; economics; education; fashion; film and media studies; history; interdisciplinary studies; law; literature; music; medicine, science, and technology; political science; and religion and philosophy. It also contains many citations of studies of women in Hong Kong and Taiwan.
Musô Soseki (1275-1351), one of the most important Zen patriarchs of the early fourteenth century in Japan, devoted his life to spreading Buddhist wisdom in his writings. As a member of the Gozan movement, he belonged to the literary elite and had a profound knowledge of Chinese und Japanese poetry. He left behind numerous calligraphies, among them those now housed in the temples Engakuji and Zuizenji in Kamakura and in Tenryûji and Saihôji in Kyoto. Musô signed many of his calligraphies with his pseudonym Bokutotsusô, which means «the wooden stutterer». Most of Musô's calligraphies are composed in cursive script and deal with themes of particular interest to him, such as nature and ...