David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Dao: A Journal of Comparative Philosophy 8 (2):151-171 (2009)
Wei-Jin period is characterized by neo-Daoism ( xuanxue 玄學), and J I Kang lived in the midst of this philosophical exploration. Adopting the naturalism of the Zhuangzi , J i Kang expressed his socio-political concerns through the medium of music, which was previously regarded as having moral bearing and rectitude. Denying such rectitude became central for J i Kang, who claimed that music was incapable of possessing human emotion, releasing it from the chains of Confucian ritualism. His investigation into the name and reality of musical expression gave music an “aesthetic turn” lacking in Qin and early Han thought, and by making use of concepts such as natural harmony and spontaneity, J i Kang was able to turn away from the negative aesthetics of earlier thinkers such as H e Yan and W ang Bi to one cherishing the naturalism espoused by Zhuangzi.
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References found in this work BETA
His K'ang & Robert G. Henricks (1983). Philosophy and Argumentation in Third-Century China: The Essays of Hsi K'ang. Princeton University Press.
Citations of this work BETA
So Jeong Park (2013). Musical Thought in the Zhuangzi: A Criticism of the Confucian Discourse on Ritual and Music. [REVIEW] Dao: A Journal of Comparative Philosophy 12 (3):331-350.
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