Nietzsche and Zhuang Zi both believe that the supposed value of certain emotions they deem harmful should be questioned and that reflection can be utilized to change the emotions. They intend to disabuse those of their respective times of conventional morality, with the aim of achieving a state in which negative moral emotions are eliminated and a more natural way of life is embraced. Specifically, Nietzsche examines guilt, a remnant of an ascetic morality endorsed by the religious elite; Zhuang Zi, (...) similarly, considers grief, a moral emotion tied to traditional culture and endorsed by Confucian morality. Living naturally involves the absence of psychic conflict that accompanies negative emotions; it also involves a psychological ease within ourselves and with the world. (shrink)

The term "humanism" has been used to describe only one eastern philosophy: Confucianism. Commentators on Indian philosophy are sometimes emphatic in their judgment that Hinduism, Buddhism, and Jainism represent the very antithesis of western or Confucian humanism. Heinrich Zimmer is typical: "Humanity ... was the paramount concern of Greek idealism, as it is today of western Christianity in its modern form: but for the Indian sages and ascetics... humanity was no more than the shell to be pierced, shattered, and dismissed." (...) [1] Zimmer goes on to say that the goal of the yogi was "superhuman," even "superdivine," and as such constituted what Zimmer calls the "heresy of Titanism.". (shrink)

The “happy fish” passage in the Zhuangzi 莊子 is often interpreted as endorsing some form of perspectivism which precludes objective claims of knowledge and displaces the significance of human perspectives. Relativism has gained particular currency in contemporary readings. However, this essay aims to show the limited explanatory power of such relativist positions, with focus on Chad Hansen’s “perspectival relativism” and Lea Cantor’s “species relativism.” I will also offer a new, “transitional contextualist” reading, which intends to demonstrate that Zhuangzi’s utterance is (...) grounded in his epistemic context and that Huizi’s 惠子 disputation arises from his changing of the epistemic context, from one with quotidian “low standards” to one with “high-standards” skeptical demands. I further argue that when “wandering” (you 遊) is understood as a freedom from one’s partial perspective, it becomes clear how Zhuangzi analogizes a parallel with the fish’s “wandering” through a continuity between his “world” and that of the fish. (shrink)

Mei in Chinese is normally translated into English as "beauty" or "the beautiful." The nature of mei is not a central theme in Zhuangzi's philosophy; neither is it a concept of particular importance in traditional Chinese aesthetics. The core concepts of Chinese aesthetics, according to historians of Chinese aesthetics, are dao, qi, and xiang, but mei is not one of them.1 In Chinese aesthetic history, we see different points of emphasis in contrast to the prevailing concern with beauty in Western (...) aesthetics. "The nature of beauty," as Crispin Sartwell points out, "is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in... (shrink)

Some argue that animals and non-human figures in the Zhuangzi help displace the significance of humans. According to others the Zhuangzi suggests a certain time of ‘animalism,’ asking us to be more like various types of fauna and flora that do not share our self-centeredness. In this paper the use of non-human characters in the Zhuangzi will be examined through a survey of traditional Chinese commentary, comparisons with the Lunyu, and placing the use of non-human characters within the larger context (...) of the Zhuangzi. Thus we find that while anti-anthropocentric and animalistic perspectives can be philosophized with the Zhuangzi, the text itself is not overly concerned with these subjects. Animals and non-human characters are mainly allegorical or metaphorical, allowing the Zhuangzito 1) make broadly applicable arguments; 2) playfully discuss ideas that may be unappealing at first glance, and; 3) create a distance that allows the text to resist ossification. (shrink)

Some argue that animals and non-human figures in the Zhuangzi help displace the significance of humans. According to others the Zhuangzi suggests a certain time of ‘animalism,’ asking us to be more...

A perspectivist theory is usually taken to mean that (1) our knowledge of the world is inevitably shaped by our particular perspectives, (2) any one of these perspectives is as good as any other, and (3) any claims to objective or authoritative knowledge are consequently without ground. Recent scholarship on Nietzsche, however, has challenged the prevalent view that the philosopher holds (2) and (3), arguing instead that his perspectivism aims at attaining a greater level of objectivity. In this essay, I (...) attempt a structurally similar reinterpretation of Zhuangzi’s perspectivism. I argue that while the Chinese thinker sees all knowledge as perspective-dependent, he thinks that some perspectives are broader and more accurate than others. He utilizes shifts in perspective precisely in order to attain these superior perspectives, which constitute what he calls da zhi 大知, or “greater knowledge.” Whereas Nietzsche sees his perspectivism as methodologically continuous with the sciences, Zhuangzi’s “greater knowledge” has the goal of ensuring our survival and well-being in the everyday world. (shrink)

The “happy fish” passage concluding the “Autumn Floods” chapter of the Classical Chinese text known as the Zhuangzi has traditionally been seen to advance a form of relativism which precludes objectivity. My aim in this paper is to question this view with close reference to the passage itself. I further argue that the central concern of the two philosophical personae in the passage – Zhuangzi and Huizi – is not with the epistemic standards of human judgements (the established view since (...) Hansen, “The Relatively Happy Fish”), but with the more basic problem of species-specific perspectives. On my reading, Zhuangzi’s emphatic positionality in the passage – on the dam, accompanied by his friend Huizi – plausibly suggests a circumspect reflection on the limitedness of human knowledge. It is significant that Zhuangzi’s knowledge of fish happiness is avowedly from a certain place, and not absolute. But there is still a sense in which this view is objective: namely, insofar as it adequately accounts for an inherently human perspective on the world. I call this modest form of relativism ‘Species Relativism’, which, crucially, leaves room for objectivity, even though a fully objective (i.e. absolute) view of the world is not accessible to humans. (shrink)

This article offers a meta-analysis of contemporary approaches aimed at resolving the internal, relativistic-non-relativistic tension within the text of the Chuang-Tzu. In the first section, the four most commonly applied approaches are unpacked and evaluated, ranging from relativistic approaches such as hard relativism and soft relativism, to approaches that acknowledge both relativism and non-relativism, as well as others which acknowledge neither of the two perspectives (relativism and non-relativism). After demonstrating the immanent difficulties these four types of approaches encounter, the latter (...) section of this paper puts forward a different philosophical solution known as asymmetrical relativism. This novel approach preserves textual evidence for both relativistic and non-relativistic attitudes within the Chuang-Tzu by proposing that the mind engages in relativism insofar as it is in a state of ignorance; en route to enlightenment, however, value-laden discourse and pedagogical heuristics are nonetheless still employed as instruments for the mind to transcend its own ignorance. (shrink)