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A skilled observer and noted scholar of Chinese culture, Tsuen-Hsuin Tsien has contributed profoundly to the West's understanding of the East and vice versa. Having spent six decades as a professor and curator at The University of Chicago, he has been an indispensable resource on a wide range of topics that include Chinese paleography, paper, inkmaking, printing, cultural exchange, libraries, and biographies. Collected Writings on Chinese Culture contains distilled selections from Tsien's major works and journal articles, as well as his Memoir of a Centenarian, which traces Tsien's life from his youth in China through sixty years of scholarship at The University of Chicago. This volume is an excellent companion for anyone familiar with Tsien's work and also a welcome resource for readers unfamiliar with the author's writings and extensive impact within East Asian studies and across all of academia.
In this landmark work, noted comparative philosopher Roger T. Ames interprets how the classics of the Confucian canon portray the authentic, ethical human being. He argues that many distinguished commentators on Confucian ethics have explained the fundamental ideas and terms of this distinctively Chinese philosophy by superimposing Western concepts and categories, effectively collapsing this rich tradition into a subcategory of "virtue ethics." Beginning by addressing the problem of responsible cultural comparisons, Ames then formulates the interpretive context necessary to locate the texts within their own cultural ambiance. Exploring the relational notion of "person" that grounds Confucian philosophy, he pursues a nuanced understanding of the cluster of terms through which Confucian role ethics is expressed. Drawing on Western and Chinese sources, Ames provides a convincing argument that the only way to understand the Confucian vision of the consummate life is to take the tradition on its own terms.
By the end of the nineteenth century, after a long period during which the weakness of China became ever more obvious, intellectuals began to go abroad for new ideas. What emerged was a musical genre that Liu Ching-chih terms "New Music." With no direct ties to traditional Chinese music, New Music reflects the compositional techniques and musical idioms of eighteenth-, nineteenth- and early twentieth–century European styles. Liu traces the genesis and development of New Music throughout the twentieth century, deftly examining the cultural, social, and political forces that shaped New Music and its uses by politicians and the government.
The Perspective of Global Modernity
The essays in this volume grew from a series of talks delivered in late 2010 as the Liang Qichao Memorial Lectures at the Academy of National Learning (Guoxue yuan) of Tsinghua University, Beijing. Offering critical perspectives on a number of ideological issues that have figured prominently in Chinese intellectual discourse since the beginning of the so-called “reform and opening” (gaige kaifang) in the late 1970s, these essays range widely in subject matter, from Marxist historiography to sociology and anthropology in China to guoxue/national studies. Together they are conceived as different windows into a basic problem: the deployment of culture and history in postrevolutionary Chinese thought. Dirlik touches on a number of themes, including the repudiation of the revolutionary past after 1978, which has led to a rise of cultural nationalism. He further places these developments within a global context, ultimately making a case methodologically for “worlding” China: bringing China into the world, and the world into China.
A Case Study of The Story of the Stone
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 in-depth 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.
For the past eight hundred years, the study of Confucian doctrine has been largely dominated by the crucial works known as the “Four Books”: the Analects, the Mencius, the Daxue and the Zhongyong. In their original forms, the Daxue and Zhongyong were two of the more than forty chapters of the larger Li ji (Book of Rites), only gaining prominence thanks to the Song Neo-Confucian scholar Zhu Xi. In this groundbreaking text, Ian Johnston and Wang Ping have translated both of these versions of the Daxue and Zhongyong. One version as chapters of the Li Ji that contain the influential commentary and notes of Zheng Xuan and Kong Yingda, and the second after they were reorganized into standalone works and reinterpreted by Zhu Xi. Johnston and Wang also include extensive explanatory and supplemental materials to help contextualize and familiarize readers with these supremely influential works.
Social Movements and Cultural Politics in Postauthoritarian Taiwan
Democracy on Trial is an attempt to begin to negotiate the problem of writing about and understanding democracy and social movements in Taiwan, and what they can tell us about a place and country that for me is both home and the field, an object of study and yet also an area of hope and engagement. "Democracy on Trial is as impressive for its conceptual sophistication as it is for its ethnographic depth. Chuang’s personal experiences and engagement with the movements he describes and analyzes bring to life the wealth of documentary and ethnographic data. The study should be of interest not just to Taiwan scholars and readers, but also those interested in issues of democracy in China and East Asia, the politics of Taiwan-PRC relations, and social movement scholars and activists." -- Arif Dirlik, Author of Culture and History in Postrevolutionary China: The Perspective of Global Modernity
The Book Designs of He Hao, 2003-2013
Almost a Hundred Design Projects: Ai Weiwei, Xu Bing, Araki Nobuyoshi, Lin Tianmiao, Wang Gongxin, RongRong & inri, Liu Zheng, Yue Minjun, Miao Xiaochun, Xu Weixin, Zhang Dali, Yang Fudong, Tim Yip, Chen Wenji, Zhan Wang, Yu Hong... An Asian Trend in Contemporary Graphic Design An independent print-media practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 high-quality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. He Hao’s practice shows an Asian trend in today’s graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary China and the East. An independent print-media practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 high-quality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. He Hao’s practice shows an Asian trend in today’s graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary China and the East. He Hao’s designs grow organically from the content. His sole concern is the discovery and presentation of the content, and his designs show no trace of his hand. This approach might best be called “essential design.” — Xu Bing He Hao is a designer infatuated with the dialogue between space and time. Sensitive to both the pressures of history and the endless transformations of all life forms, he remains in deep and focused meditation, a lone sojourner outside the commercial realm. — Bei Dao
Essays on Seventeenth-Century Chinese Art Th eory and Criticism
This book investigates the issue of conceptual originality in art criticism of the seventeenth century, a period in which China dynamically reinvented itself. In art criticism, the term which was called upon to indicate conceptual originality more than any other was "qi" 奇, literally, "different"; but secondarily, "odd," like a number and by extension, "the novel," and "extraordinary." This work finds that originality, expressed through visual difference, was a paradigmatic concern of both artists and critics. Burnett speculates on why many have dismissed originality as a possible "traditional Chinese" value, and the ramifications this has had on art historical understanding. She further demonstrates that a study of individual key terms can reveal social and cultural values and provides a linear history of the increase in critical use of "qi" as "originality" from the fifth through the seventeenth centuries, exploring what originality looks like in artworks by members of the gentry elite and commoner classes, and explains how the value lost its luster at the end of the seventeenth century.
Following the convening of Hong Kong International Poetry Nights 2013, The World of Words is a collection of selected works by some of the most internationally acclaimed poets today. The poem of "A Door in Epynt" by Menna Elfyn (Wales) is finest contemporary poetry in trilingual or bilingual presentation.