“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,t...“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,this concept marks the development from the expression of aspirations and emotions in general and collective poetics prevalent in the pre-Qin period to the lyrical theory of individual poetics.The poetry of literati in the Han and Wei dynasties originated from the view of“expressing aspirations”and gave rise to the view of“springing from emotions.”During the Southern and Northern dynasties,poetic thought centered on qing and xing began to be established,and people often associated poetry with“chanting to express one's qing and xing”in addition to the concepts of“expressing aspirations”and“springing from emotions.”The poetics of the Tang Dynasty absorbed the view of“Introduction to Mao's Version of The Book of Odes”on the ballads and court hymns composed in the decline of the Zhou Dynasty and the theory of qing and xing from the Southern and Northern dynasties.Its fundamental assertion regarding poetry is“chanting to express one's qing and xing,”and it endowed the traditional theory of qing and xing with an emphasis on individuality and a reverence for natural aesthetics.Despite advocating the didactic purpose,the poetics of the Tang Dynasty essentially aligned with the ballads composed in the decline of the Zhou Dynasty,“chanting to express one's qing and xing.”In the Song Dynasty,the theory of qing and xing was combined with individual ethical essence,serving as the ideological foundation of the emphasis on reason in Song poetry.In the Ming and Qing dynasties,poets still followed the traditional theory of qing and xing,considering qing and xing as the foundation of poetry.Among them,the school of“expressing one's inner self”emphasized the natural expression of individuality and valued inspiration and innovation.展开更多
This study analyzes how the meaning of yi(夷,barbarian)was constructed in different historical contexts at the end of the Qing dynasty,which is important for us to reconsider xenophobia and Sino-centrism both in the p...This study analyzes how the meaning of yi(夷,barbarian)was constructed in different historical contexts at the end of the Qing dynasty,which is important for us to reconsider xenophobia and Sino-centrism both in the past and present.Our study combines contextual with intertextual reading methods.It places different materials,including missionaries’works,newspapers,and official documents,in their specific historical contexts and links them to obtain a full picture of this transformation.We argue that yi was invented.Various agents and actors created the connotation of yi to suit their interests.It was transformed by the Qing court from“barbarians”to those who follow Confucianism to justify their rule.Then it was first translated as“foreigners”and later as“barbarians”when Europeans came to China.Our study situates the meaning of yi to help us rethink some of the labels and misconceptions attached to yi and the early missionaries in China.展开更多
The late imperial Chinese state made a concerted effort to regulate the bodies of the dead. The statutes and substatutes of the Qing Code not only specified how and when corpses were to be buried, but they also crimin...The late imperial Chinese state made a concerted effort to regulate the bodies of the dead. The statutes and substatutes of the Qing Code not only specified how and when corpses were to be buried, but they also criminalized the exposure, manipulation, alteration, and destruction of dead bodies. Through an examination of legal cases related to the crime of ＂uncovering graves＂ （fazhong）, this article explores the uses and abuses of corpses in early nineteenth century China It argues that dead bodies presented a unique problem for the state. On the one hand, laws related to uncovering graves were intended to keep corpses in their proper places. Once a corpse was buried, it was supposed to be fixed--ritually, materially, and spatially. Unfortunately, this ideal could never be fully realized, since corpses were always in motion. They decomposed; they shifted in the earth; they were exposed by soil erosion; and they were subjected to degradation over time. Moreover, they were disturbed, moved, manipulated, gathered, divided, circulated, and even consumed medicinally by others. In other words, many corpses had interesting and eventful social lives. This article explores some of these lives in an effort to illuminate how the state attempted to manage and control intractable bodies during the nineteenth century.展开更多
As the concluding part of a series of essays on theories of humanity in the Zhuangzi, this essay aims at describing the theme of qing＇t （emotion） as a dual-directional attitude towards qing as a partner to xing ＇ ...As the concluding part of a series of essays on theories of humanity in the Zhuangzi, this essay aims at describing the theme of qing＇t （emotion） as a dual-directional attitude towards qing as a partner to xing ＇ （nature） and the influence of this domain of thought on later generations and their continued discussion of it. Faced with a forcible divorce of qing and xing at the hand of Han Dynasty Ruists, which would lock perceptions into a rigid dualist framework, the Wei and Jin period saw authors such as Wang Bi and Ji Kang return to a more faithful rendering of the theme of qing in the classics, the Laozi and Zhuangzi, seeing it become an ever more explicit philosophical topic and beginning a lengthy period of discussion of the theme of qing. In the Northern Song period, representative thinkers Zhang Zai and Wang Anshi The Northern Song tradition constitute a continuance of Pre-Qin Daoist philosophical ideas, providing a logical reinterpretation of the indivisibility of qing and xing from a syncretist approach to the Daoist and Ruist traditions, in a way that drastically differs from the Southern Song preference for xing at the cost of qing, as represented by thinkers such as the Brothers Cheng and Zhu Xi. At the bottom of it, this continued tradition draws from themes that appear in the Zhuangzi, a holistic approach to life and the relationship between humanity and nature, an important and continuous thread in the fabric of human civilisation.展开更多
文摘“Chanting to express one's qing(emotions)and xing(natural inclination)”holds a central position in a series of lyrical theories in Chinese classical poetics.Based on the philosophy of emotions and dispositions,this concept marks the development from the expression of aspirations and emotions in general and collective poetics prevalent in the pre-Qin period to the lyrical theory of individual poetics.The poetry of literati in the Han and Wei dynasties originated from the view of“expressing aspirations”and gave rise to the view of“springing from emotions.”During the Southern and Northern dynasties,poetic thought centered on qing and xing began to be established,and people often associated poetry with“chanting to express one's qing and xing”in addition to the concepts of“expressing aspirations”and“springing from emotions.”The poetics of the Tang Dynasty absorbed the view of“Introduction to Mao's Version of The Book of Odes”on the ballads and court hymns composed in the decline of the Zhou Dynasty and the theory of qing and xing from the Southern and Northern dynasties.Its fundamental assertion regarding poetry is“chanting to express one's qing and xing,”and it endowed the traditional theory of qing and xing with an emphasis on individuality and a reverence for natural aesthetics.Despite advocating the didactic purpose,the poetics of the Tang Dynasty essentially aligned with the ballads composed in the decline of the Zhou Dynasty,“chanting to express one's qing and xing.”In the Song Dynasty,the theory of qing and xing was combined with individual ethical essence,serving as the ideological foundation of the emphasis on reason in Song poetry.In the Ming and Qing dynasties,poets still followed the traditional theory of qing and xing,considering qing and xing as the foundation of poetry.Among them,the school of“expressing one's inner self”emphasized the natural expression of individuality and valued inspiration and innovation.
文摘This study analyzes how the meaning of yi(夷,barbarian)was constructed in different historical contexts at the end of the Qing dynasty,which is important for us to reconsider xenophobia and Sino-centrism both in the past and present.Our study combines contextual with intertextual reading methods.It places different materials,including missionaries’works,newspapers,and official documents,in their specific historical contexts and links them to obtain a full picture of this transformation.We argue that yi was invented.Various agents and actors created the connotation of yi to suit their interests.It was transformed by the Qing court from“barbarians”to those who follow Confucianism to justify their rule.Then it was first translated as“foreigners”and later as“barbarians”when Europeans came to China.Our study situates the meaning of yi to help us rethink some of the labels and misconceptions attached to yi and the early missionaries in China.
文摘The late imperial Chinese state made a concerted effort to regulate the bodies of the dead. The statutes and substatutes of the Qing Code not only specified how and when corpses were to be buried, but they also criminalized the exposure, manipulation, alteration, and destruction of dead bodies. Through an examination of legal cases related to the crime of ＂uncovering graves＂ （fazhong）, this article explores the uses and abuses of corpses in early nineteenth century China It argues that dead bodies presented a unique problem for the state. On the one hand, laws related to uncovering graves were intended to keep corpses in their proper places. Once a corpse was buried, it was supposed to be fixed--ritually, materially, and spatially. Unfortunately, this ideal could never be fully realized, since corpses were always in motion. They decomposed; they shifted in the earth; they were exposed by soil erosion; and they were subjected to degradation over time. Moreover, they were disturbed, moved, manipulated, gathered, divided, circulated, and even consumed medicinally by others. In other words, many corpses had interesting and eventful social lives. This article explores some of these lives in an effort to illuminate how the state attempted to manage and control intractable bodies during the nineteenth century.
文摘As the concluding part of a series of essays on theories of humanity in the Zhuangzi, this essay aims at describing the theme of qing＇t （emotion） as a dual-directional attitude towards qing as a partner to xing ＇ （nature） and the influence of this domain of thought on later generations and their continued discussion of it. Faced with a forcible divorce of qing and xing at the hand of Han Dynasty Ruists, which would lock perceptions into a rigid dualist framework, the Wei and Jin period saw authors such as Wang Bi and Ji Kang return to a more faithful rendering of the theme of qing in the classics, the Laozi and Zhuangzi, seeing it become an ever more explicit philosophical topic and beginning a lengthy period of discussion of the theme of qing. In the Northern Song period, representative thinkers Zhang Zai and Wang Anshi The Northern Song tradition constitute a continuance of Pre-Qin Daoist philosophical ideas, providing a logical reinterpretation of the indivisibility of qing and xing from a syncretist approach to the Daoist and Ruist traditions, in a way that drastically differs from the Southern Song preference for xing at the cost of qing, as represented by thinkers such as the Brothers Cheng and Zhu Xi. At the bottom of it, this continued tradition draws from themes that appear in the Zhuangzi, a holistic approach to life and the relationship between humanity and nature, an important and continuous thread in the fabric of human civilisation.
