In the early Beijing spring 1995, Mr. Li Qing, General Manager of the INSTEC Video Technology Corporation, received an invitation which asked him to attend the International Broadcasting and TV Exhibition held in Las ...In the early Beijing spring 1995, Mr. Li Qing, General Manager of the INSTEC Video Technology Corporation, received an invitation which asked him to attend the International Broadcasting and TV Exhibition held in Las Vegas in April. The exhibition is considered the "Olympic Exhibition" of broadcasting and TV technology and equipment, focusing on exhibiting new technology and equipment. Corporations in the sector around the world are proud展开更多
Chinese culture, which has been regarded as a collectivistic one by such great heads as G. Hofstede and Triands for a long time, seldom receives challenge on its very nature. The authors, however, found at least three...Chinese culture, which has been regarded as a collectivistic one by such great heads as G. Hofstede and Triands for a long time, seldom receives challenge on its very nature. The authors, however, found at least three critical mistakes in Hofstede＇s work, and raised their argument that Chinese culture is not a collectivistic one, but a ＂shi＂ culture which relies heavily on context. The split of mind is the fundamental cause of this ＂shi＂ culture.展开更多
The current academic research on the Dian Shi Zhai Pictorial founded in 1884 has been perfected,but there is very little research on the Flying Shadow Pavilion Pictorial,which can be said to be derived from Dian Shi Z...The current academic research on the Dian Shi Zhai Pictorial founded in 1884 has been perfected,but there is very little research on the Flying Shadow Pavilion Pictorial,which can be said to be derived from Dian Shi Zhai Pictorial terms of both content and form,and which was founded by the Haiist painter Wu Youru in 1890 in order to reward the increasing number of admirers,but it is still in the initial stage.Flying Shadow Pavilion Pictorial consisted of four parts:pictures of ladies in Shanghai costumes,news about current affairs,pictures of animals,and compilations of women,each of which was accompanied by the then popular notebooks,which were popular at the time among the then readers because of the matching of pictures with text and the mixing of narratives and discussions.This paper takes Flying Shadow Pavilion Pictorial as the main object,summarizes the existing literature about Flying Shadow Pavilion Pictorial,points out the deficiencies of the current research on this basis,and points out the development trend of Flying Shadow Pavilion Pictorial in the future research.展开更多
Wang Guowei expressed doubts about Xun Zi＇s proposition on ＂establishing ritual practices in accord with qing,＂ arguing that it was in direct conflict with the philosopher＇s famous thesis that ＂human natural tend...Wang Guowei expressed doubts about Xun Zi＇s proposition on ＂establishing ritual practices in accord with qing,＂ arguing that it was in direct conflict with the philosopher＇s famous thesis that ＂human natural tendency is evil.＂ The word qing （情） has several connotations in the Xunzi： it may refer to factual truth （实情）, sincerity （诚实） or emotions （情感）. Readers of the Xunzi tend to view the emotional connotation of qing in a negative light, but in actuality qing as human emotions can also be understood in a commendatory or neutral sense in the Xunzi. I argue that Xun Zi＇s proposition on ＂establishing ritual practices in accord with qing＂ can only be consistent with his view that ＂human natural tendency is evil＂ when qing is used in the neutral sense. In other words, ＂establishing ritual practices in accord with qing＂ means to establish, on the basis of actual circumstances, ritual practices and rules that adequately satisfy people＇s normal feelings. Xun Zi＇s propositionon ＂establishing ritual practices in accord with qing＂ can be validated within his own philosophical framework.展开更多
In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when ...In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when China was facing profound cultural changes. Part of their significance lies in the way they provide us with an unabashed glimpse at what Lu Xun set out to accomplish, early on, in his new-found literary career. Although they are mainly the product of his final Lehrjahre （years of study） in Japan, the fact that he chose to include the two longest of them in the very first pages of his important 1926 anthology Fen （The grave） indicates that he considered the views expressed therein neither too immature nor too pass- to reprint at the height of his career as a creative writer. In fact, he wrote that one of his reasons for doing so was that a number of the literary figures and issues treated in these essays had, ironically, taken on an increased relevance for China ＂since the founding of the Republic.＂ The central concern of all the essays turns on questions of cultural crisis and transition. What I propose to do in this paper is to re-examine the essays within the context in which they first appeared, i.e., the expatriate Chinese journal Henan, then published in Tokyo as an unofficial organ of the anti-Manchu Tongmenghui （Revolutionary Alliance）.展开更多
The article aims to rethink the pluralistic intellectual currents and social changes of the last centuries in China： How literati reacted to the historical changes, the economic developments, the collapse of the hier...The article aims to rethink the pluralistic intellectual currents and social changes of the last centuries in China： How literati reacted to the historical changes, the economic developments, the collapse of the hierarchical order, and the social mobility from the end of the Ming to the middle of the Qing dynasty. Urbanisation, the great silver inflow, the acceleration of trade, and social mobility raised new challenges to the orthodox view of the world and to Neo-Confucian norms. These new attitudes of the Chinese literati--which can be inferred both from literary and philosophical works--uncover new attitudes in the mental structure of the intellectual strata of the time. In the history of ideas we notice a progressive detachment from the orthodox view of the conflictual relationship between principle and desires, especially in the ambit of the Taizhou school. The elaboration of a new anthropological mindset aimed at the rehabilitation of passions and desires culminated with Li Zhi. This trend went on in the Qing period, from Wang Fuzhi to Dai Zhen. In literature, a similar trend, the so-called ＂cult of qing,＂ can be found with the moral justification of emotion-desire （establishing emotion as a genuine and active source of virtue）, and with the vitalistic identification of emotions as the source of life and reproduction. Another indication of change is the challenge of common and accepted truisms through the praise of ＂folly＂ in real life situations and literary works： To be ＂crazy＂ and ＂foolish＂ became a sign of distinction among certain intellectual circles, in contrast with the pedant orthodox scholars and officials and the vulgar nouveaux ziches. The unconventional character of the anti-hero Baoyu is emblematic, with his aversion for any kind of official ceremony and convention, his abnormal sensibility and impractical and naive mentality, and his consciousness of being different from others. The crisis of the established ladder of values can be seen in the exaltation of ＂amoral＂ wisdom and in the presentation of various dimensions of love, from the idealistic sentiment of ＂the talented student and the beautiful girl＂ to the metaphysical passion that overcomes death, and to the minimalist concept of＂loveis like food＂ in a carpe diem perspective. And finally another challenge is exemplified by Yuan Mei＇s reflections on the concept of Heavenly Mandate, retribution, human responsibility, and historical constructions by resorting to ＂abnormal＂ phenomena to uncover the absurdity of reality and unconscious imagery. His questions testify the polyphonic debates of the late imperial China, besides established conventions and Neo-Confucian orthodoxy.展开更多
文摘In the early Beijing spring 1995, Mr. Li Qing, General Manager of the INSTEC Video Technology Corporation, received an invitation which asked him to attend the International Broadcasting and TV Exhibition held in Las Vegas in April. The exhibition is considered the "Olympic Exhibition" of broadcasting and TV technology and equipment, focusing on exhibiting new technology and equipment. Corporations in the sector around the world are proud
文摘Chinese culture, which has been regarded as a collectivistic one by such great heads as G. Hofstede and Triands for a long time, seldom receives challenge on its very nature. The authors, however, found at least three critical mistakes in Hofstede＇s work, and raised their argument that Chinese culture is not a collectivistic one, but a ＂shi＂ culture which relies heavily on context. The split of mind is the fundamental cause of this ＂shi＂ culture.
文摘The current academic research on the Dian Shi Zhai Pictorial founded in 1884 has been perfected,but there is very little research on the Flying Shadow Pavilion Pictorial,which can be said to be derived from Dian Shi Zhai Pictorial terms of both content and form,and which was founded by the Haiist painter Wu Youru in 1890 in order to reward the increasing number of admirers,but it is still in the initial stage.Flying Shadow Pavilion Pictorial consisted of four parts:pictures of ladies in Shanghai costumes,news about current affairs,pictures of animals,and compilations of women,each of which was accompanied by the then popular notebooks,which were popular at the time among the then readers because of the matching of pictures with text and the mixing of narratives and discussions.This paper takes Flying Shadow Pavilion Pictorial as the main object,summarizes the existing literature about Flying Shadow Pavilion Pictorial,points out the deficiencies of the current research on this basis,and points out the development trend of Flying Shadow Pavilion Pictorial in the future research.
文摘Wang Guowei expressed doubts about Xun Zi＇s proposition on ＂establishing ritual practices in accord with qing,＂ arguing that it was in direct conflict with the philosopher＇s famous thesis that ＂human natural tendency is evil.＂ The word qing （情） has several connotations in the Xunzi： it may refer to factual truth （实情）, sincerity （诚实） or emotions （情感）. Readers of the Xunzi tend to view the emotional connotation of qing in a negative light, but in actuality qing as human emotions can also be understood in a commendatory or neutral sense in the Xunzi. I argue that Xun Zi＇s proposition on ＂establishing ritual practices in accord with qing＂ can only be consistent with his view that ＂human natural tendency is evil＂ when qing is used in the neutral sense. In other words, ＂establishing ritual practices in accord with qing＂ means to establish, on the basis of actual circumstances, ritual practices and rules that adequately satisfy people＇s normal feelings. Xun Zi＇s propositionon ＂establishing ritual practices in accord with qing＂ can be validated within his own philosophical framework.
文摘In this paper I will re-contextualize Lu Xun＇s early thought, as evidenced in his lengthy classical-style essays, which are concerned with issues in literature, philosophy, politics and aesthetics during an era when China was facing profound cultural changes. Part of their significance lies in the way they provide us with an unabashed glimpse at what Lu Xun set out to accomplish, early on, in his new-found literary career. Although they are mainly the product of his final Lehrjahre （years of study） in Japan, the fact that he chose to include the two longest of them in the very first pages of his important 1926 anthology Fen （The grave） indicates that he considered the views expressed therein neither too immature nor too pass- to reprint at the height of his career as a creative writer. In fact, he wrote that one of his reasons for doing so was that a number of the literary figures and issues treated in these essays had, ironically, taken on an increased relevance for China ＂since the founding of the Republic.＂ The central concern of all the essays turns on questions of cultural crisis and transition. What I propose to do in this paper is to re-examine the essays within the context in which they first appeared, i.e., the expatriate Chinese journal Henan, then published in Tokyo as an unofficial organ of the anti-Manchu Tongmenghui （Revolutionary Alliance）.
文摘The article aims to rethink the pluralistic intellectual currents and social changes of the last centuries in China： How literati reacted to the historical changes, the economic developments, the collapse of the hierarchical order, and the social mobility from the end of the Ming to the middle of the Qing dynasty. Urbanisation, the great silver inflow, the acceleration of trade, and social mobility raised new challenges to the orthodox view of the world and to Neo-Confucian norms. These new attitudes of the Chinese literati--which can be inferred both from literary and philosophical works--uncover new attitudes in the mental structure of the intellectual strata of the time. In the history of ideas we notice a progressive detachment from the orthodox view of the conflictual relationship between principle and desires, especially in the ambit of the Taizhou school. The elaboration of a new anthropological mindset aimed at the rehabilitation of passions and desires culminated with Li Zhi. This trend went on in the Qing period, from Wang Fuzhi to Dai Zhen. In literature, a similar trend, the so-called ＂cult of qing,＂ can be found with the moral justification of emotion-desire （establishing emotion as a genuine and active source of virtue）, and with the vitalistic identification of emotions as the source of life and reproduction. Another indication of change is the challenge of common and accepted truisms through the praise of ＂folly＂ in real life situations and literary works： To be ＂crazy＂ and ＂foolish＂ became a sign of distinction among certain intellectual circles, in contrast with the pedant orthodox scholars and officials and the vulgar nouveaux ziches. The unconventional character of the anti-hero Baoyu is emblematic, with his aversion for any kind of official ceremony and convention, his abnormal sensibility and impractical and naive mentality, and his consciousness of being different from others. The crisis of the established ladder of values can be seen in the exaltation of ＂amoral＂ wisdom and in the presentation of various dimensions of love, from the idealistic sentiment of ＂the talented student and the beautiful girl＂ to the metaphysical passion that overcomes death, and to the minimalist concept of＂loveis like food＂ in a carpe diem perspective. And finally another challenge is exemplified by Yuan Mei＇s reflections on the concept of Heavenly Mandate, retribution, human responsibility, and historical constructions by resorting to ＂abnormal＂ phenomena to uncover the absurdity of reality and unconscious imagery. His questions testify the polyphonic debates of the late imperial China, besides established conventions and Neo-Confucian orthodoxy.
