Daoist Philosophy And Literati Writings In Late Imperial China

This volume first explores the transformation of Chinese Daoism in late imperial period through the writings of prominent intellectuals of the times. In such a cultural context, it then launches an indepth investigation into the Daoist dimensions of the Chinese narrative masterpiece, The Story of the Stone—the inscriptions of Quanzhen Daoism in the infrastructure of its religious framework, the ideological ramifications of the Daoist concepts of chaos, purity, and the natural, as well as the Daoist images of the gourd, fish, and bird. Zhou presents the central position of Daoist philosophy both in the ideological structure of the Stone, and the literati culture that engenders it.

This text considers the prevalence of Lao-Zhuang Daoism and Huang-Lao Daoism in late pre-imperial and early imperial Chinese traditional thought. The author uses unique excavated documents and literature to explore the Huang-Lao tradition of Daoist philosophy, which exerted a great influence on China ancient philosophy and political theories, from the Pre-Qin period to the Wei-Jin periods. It explains the original and significance of Huang-Lao Daoism, its history and fundamental characteristics, notably discussing the two sides of Huang-Lao, namely the role and function of Lao Zi and the Yellow Emperor, and discusses why the two can constitute a complementary relationship. It also provides a key study of the Mawangdui silk texts, bamboo slips of the Heng Xian, Fan Wu Liu Xing, considering both the theory of human Xing and of Qi.

A masterpiece of world literature, Honglou Meng (Dream of the Red Chamber) by Cao Xueqin (1715-1763) is widely considered China's greatest novel and serves as a compendium of traditional Chinese life and culture during the Qing Dynasty. This guide offers a comprehensive introduction and overview to Honglou Meng, providing more than 200 alphabetical entries describing characters, key events and a wide range of topics, with discussion of important themes and narrative techniques. A brief biography of Cao is included, along with a history of Chinese and English critical receptions, an extensive bibliography and recommended reading.

This volume brings together experts with diverse disciplinary backgrounds in the China field, from cultural studies to history to musicology, to make a timely intervention—from the historical demise of enuchism to male cross-dressing shows in contemporary Taiwan—to inaugurate a subfield in Chinese transgender studies.

This ambitious book presents a new interpretation of Chinese thought guided both by a philosopher's sense of mystery and by a sound philosophical theory of meaning. That dual goal, Hansen argues, requires a unified translation theory. It must provide a single coherent account of the issues that motivated both the recently untangled Chinese linguistic analysis and the familiar moral-political disputes. Hansen's unified approach uncovers a philosophical sophistication in Daoism that traditional accounts have overlooked.

Setting the context for the upheavals and transformations of contemporary China, this text provides a re-assessment of Max Weber’s celebrated sociology of China. Returning to the sources drawn on by Weber in The Religion of China: Confucianism and Taoism, it offers an informed account of the Chinese institutions discussed and a concise discussion of Weber’s writings on ‘the rise of modern capitalism’. Notably it subjects Weber’s argument to critical scrutiny, arguing that he drew upon sources which infused the central European imagination of the time, constructing a sense of China in Europe, whilst European writers were constructing a particular image of imperial China and its Confucian framework. Re-examining Weber’s discussion of the role of the individual in Confucian thought and the subordination, in China, of the interests of the individual to those of the political community and the ancestral clan, this book offers a cutting edge contribution to the continuing debate on Weber’s RoC in East Asia today, against the background of the rise of modern capitalism in the “little dragons” of Singapore, Taiwan, Hong Kong and South Korea, and the “big dragons” of Japan and the People’s Republic of China.

Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an “Eastern Approach” into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.

This edited volume contains an excellent collection of contributions and presents various informative topics under the central theme: literary and translation approaches to China’s greatest classical novel Hongloumeng. Acclaimed as one of the Four Great Classical Novels of Chinese literature, Hongloumeng (known in English as The Dream of the Red Chamber or The Story of the Stone) epitomizes 18th century Chinese social and cultural life. Owing to its kaleidoscopic description of Chinese life and culture, the novel has also exerted a significant impact on world literature. Its various translations, either full-length or abridged, have been widely read by an international audience. The contributors to this volume provide a renewed perspective into Hongloumeng studies by bringing together scholarship in the fields of literary and translation studies. Specifically, the use of corpora in the framework of digital humanities in a number of chapters helps re-address many issues of the novel and its translations, from an innovative angle. The book is an insightful resource for both scholars of Chinese literature and for linguists with a focus on translation studies.