Abstract

While Ji Kang’s 嵇康, (223–262) famous dispute “Music Has in It neither Grief nor Joy” has commonly been understood as a subtle and indirect critique of Confucian rituality and of the “abuse” of music for political intentions, the present article draws attention to a new interpretation based on his thesis on the structural connection between the subject and the object of perception.

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Additional Information

ISSN
1529-1898
Print ISSN
0031-8221
Pages
pp. 109-122
Launched on MUSE
2014-01-24
Open Access
No
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