This book is a collection of articles on different aspects of university education in China since the late nineteenth century, addressing how far the ideal of modern university education, which has gradually been developed in the West since the age of European Enlightenment, was adopted or transformed by Chinese universities.

This article presents findings from research on young adults in the UK from diverse religious backgrounds. Utilizing questionnaires, interviews and video diaries, it assesses how religious young adults understood and managed the tensions in popular discourse between gender equality as an enshrined value and aspirational narrative, and religion as purportedly instituting gender inequality. The article shows that, despite varied understandings, and the ambivalence and tension in managing ideal and practice, participants of different religious traditions and genders were committed to gender (...) equality. Thus, they viewed gender-unequal practices within their religious cultures as an aberration from the essence of religion. In this way, they firmly rejected the dominant discourse that religion is inherently antithetical to gender equality. (shrink)

Pedagogy of power, oppression and empowerment: a Western theoretical underpinnings -- A Chinese confucian articulation of power, oppression and empowerment -- A Chinese legalistic articulation of power, oppression and empowerment -- A Chinese taoistic articulation of power, oppression and empowerment -- A Chinese maohistic articulation of power, oppression and empowerment -- Conclusion: a dynamic and holistic Chinese cultural articulation of power, oppression and empowerment.

In his fine and thought-provoking book, Visual Culture in Contemporary China: Paradigms and Shifts, Xiaobing Tang presents a short history of visual culture in China from the mid-twentieth century to the present, a period that corresponds to the entire history of the People's Republic of China. Examining an array of artwork in various media and genres, from woodblock prints and oil paintings to films, Tang strives to excavate a vital tradition of socialist visual culture in China of the past sixty (...) years or so—a tradition that has been shaped by two major imperatives: "to create an inspirational visual environment in support of the social revolution" and "to... (shrink)

Argues that the explanation of man's social and cultural differences is best defined by history, not human biology, maintaining that humans shape their social lives by their historical activities.

The corpse of a high-ranking male official was unearthed in the 1975, and important archaeologic discoveries were claimed. The exact year of his funeral was 167 BC. Autopsy revealed that the man had peptic ulcer disease. His naked body exposing genitalia and post-dissection stitches, with the dissected-out intestines and brain lying alongside, is now exhibited in a formalin-impregnated viewing glass tank in a museum .Meanwhile a 2000-year-old clothed female corpse is on display in another museum. In 1971, workers in ….

Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of agency (...) as such. Without these things, the question of what to do for any individual would be underdetermined. The problem is that adopting such a contingent form of agency amounts to a restriction on what we can do, and so it is a prima facie threat to our autonomy. I will argue that one way, and indeed the only way, of meeting this challenge lies in aesthetic experience. Granting our capacity for aesthetic pleasure the authority to determine the particularities of our agency is compatible with autonomy because doing so means identifying with one’s capacity for pleasure in free and creative activity. Doing this allows us to be both particular sorts of agents and creatures regulated by the universalizing demands of reason. (shrink)

Abu Man ur al-Maturidi (gest. 333/944) gilt neben seinem Zeitgenossen Abu l- asan al-AS ari (gest. 324/936) als eine der prägenden Figuren des sunnitischen Islams und geniesst bis heute eine grosse Autorität. Die Denkschule der Maturidiyya fand breite Anerkennung in der islamischen Welt und ist heute vom Balkan über die Türkei bis nach Zentralasien prominent vertreten. Dennoch ist unser Wissen über sein Denken sehr begrenzt, da seine Schriften lange Zeit als verschollen galten, bis in den 70er Jahren des 20. Jahrhunderts (...) sein massgebliches kalam-Werk, das Kitab at-Taw id, ediert wurde und neue Forschungen anregte.Das Theodizeeproblem ist eine zentrale und hochkomplexe Fragestellung für jede monotheistische Religion. Wie kann im angesichts eines omnipotenten und absolut guten Gottes die Existenz von Bösem erklärt werden? Die islamische Theologie hat seit ihren Anfängen Antworten auf dieses Problem gesucht, wobei auch naturwissenschaftliche Erkenntnisse und weltanschauliche Überlegungen für die Apologie bemüht wurden. Während die meisten Antworten auf eine Leugnung oder Bonisierung des Bösen in der Welt hinausliefen, ist al-Maturidis Ansatz bis heute einzigartig in der Geschichte der islamischen Theologie und wartet noch immer darauf weitergedacht zu werden: Das Böse in der Welt ist ein Hinweis auf die Existenz eben des einen, allweisen und allmächtigen Gottes."-- Back cover. (shrink)

George P. Bradford, Emerson, and the perennial philosophy of Fénelon -- Emerson, Nietzsche, and man's striving upward : the "via eminentiae" of superior people -- The perennial philosophy of Emerson and Thoreau in England : William Jesse Jupp -- Emerson, Glasgow, and John Page Hopps : the Unitarian struggle with Scottish Calvinism.

Underlying these pages is the assumption that, since we begin life as speechless bodies, the radicality of religious and poetic utterance somehow retains its relation to these origins, though in maturing we develop far from the order of reality we began with. Such expression must be rooted in man's primal essence as a speechless body, albeit there develops the technical "grace" of language . I take it that the body, as a physiological organism, is always behaving in the "specious present." (...) Though we, as "persons," may anticipate or recall, the body as such is always behaving in a certain way now. If a believer is praying, his body cannot lie. If he is offering a prayer of thanks and really means it, his body behaves in one way. If he doesn't really mean it, his body behaves in a different way, though the vocables uttered in the prayer may be the same in both cases, and they may sound much less sincere to us if we hear them uttered by a genuine believer than as uttered by an accomplished tartuffe. In that sense it is by the speechless body that the person communicates with the nature of things. Kenneth Burke develops in this essay some behavioristic speculations that first exercised him in an early volume, Permanence and Change . Those speculations are pursued further in an essay, " Motion / Action," which appears in the Summer 1978 issue of Critical Inquiry. His other contributions are "In Response to Booth: Dancing with Tears in my Eyes" , "A Critical Load, Beyond that Door; or, Before the Ultimate Confrontation; or, When Thinking of Deconstructionist Structuralists; or, A Hermeneutic Fantasy" , and "Methodological Repression and/or Strategies of Containment". (shrink)

The dark house.--The cell.--The endocrine glands.--Human types.--The brain and central nervous system.--Medical psychology.--Different paths to truth.--Consciousness.--The Vedânta.--Yoga.--Higher states of consciousness.--Religion.--Buddhism.--Christ and Buddha.--The church.--Mystical Christianity.--'If there had been a candle ... '--Bibliography (p. [251]-255).

Fredric Jameson's exacting essay, "The Symbolic Interference; or, Kenneth Burke and Ideological Analysis" Critical Inquiry 4 [Spring 1978]: 507-23) moves me to comment. I shall apply one of my charges of my title to him, he applies the other to me. The matter is further complicated by the fact that there is a distance at which they are hard to tell apart. For any expression of something implies a repression of something else, and any statement that goes only so (...) far is analyzable as serving to forestall a statement that goes farther. And I can't go as far as I think if I share with Jameson what I take to be his over-investment in the term "ideology." . . . the line between the implicit and the explicit being so wavering, there are many cases where the distinctions between conscious and unconscious become correspondingly blurred. But the kind of methodological repression that is implicit in Jameson's hermeneutic model can be wasteful beyond necessity. For it encourages him to be so precociously prompt in his "rereading" of a text that he doesn't allow his readers to read a single sentence of it. He doesn't tell them what Sinn, in its own terms, my text has on the subject of "ideology," "mystification," and the "unconscious." Instead, he cuts corners and settles for a report of the Bedeutung that it has for him. In this case the procedure is particularly wasteful because Jameson is highly intelligent, and if it weren't for the bad leads of his models he's the last man in the world who would have to be so bluntly inaccurate as he is on this occasion. I believe that he could put me through quite a trying ordeal if he could have but kept on the subject and pursued me accordingly. Kenneth Burke's previous contributions to Critical Inquiry are "Dancing with Tears in My Eyes" , "Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" , and a hermeneutic fantasy, "A Critical Load . . ." . He would like us to mention that William Willeford, the interlocutor of a section in " Motion/ Action," is a professor of English at the University of Washington. (shrink)

This essay looks at the concept of AKEDAH, the essence of which is the travail of the human condition and the trust in vindication and victory, as a salient and deep metaphor for bioethics. The author first delineates the symbol, then shows its theological and ethical significance, and finally suggests its bioethical applications.The LORD said, “Go get Isaac, your only son, the one you dearly love! Take him to the land of Moriah, and I will show you a mountain where (...) you must sacrifice him to me on the fires of an altar.” So Abraham got up early the next morning and chopped wood for the fire. He put a saddle on his donkey and left with Isaac and two servants for the place where God had told him to go.Genesis 22There is silence all around. The Baptist appears, and cries: “Repent, for the Kingdom of Heaven is at hand.” Soon after that comes Jesus, and in the knowledge that He is the coming Son of Man lays hold of the wheel of the world to set it moving on that last revolution which is to bring all ordinary history to a close. It refuses to turn, and He throws Himself upon it. Then it does turn; and crushes Him. The wheel rolls onward, and the mangled body of the one immeasurably great Man, who was strong enough to think of Himself as the spiritual ruler of mankind and to bend history to His purpose, is hanging upon it still. That is His victory and His reign. (shrink)

In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer (...) possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant-garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theorization of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today. (shrink)

Der lebende Organismus stellt einen bestimmten, individuellen Teil des Universums dar, indem er seine Selbständigkeit abgetrennt von dem übrigen Universum erhält, durch den Teilungseffekt, welcher durch die Anordnung seiner Teile bestimmt wird. Es ist anerkannt, dass die Teilung nicht vollständig ist, jedoch eine beschränkte gegenseitige Beziehung zulässt. Es ist auch anerkannt, dass der Grad der Organisation in einer verwandten Reihe sich ändert von den tiefen Verwickelungen der einfachen Zelle zu den mannigfachen Abwandlungen wie sie beim Menschen auftreten. Die Auffassung von (...) effektiver Teilung ist ausserdem auch fest und substantiell auf der Tatsache begründet, die durch das Vorhandensein der Plasmamembran und Grenzflächen kolloidaler Aggregaten gegeben ist. Betont ist die dynamische Natur der charakteristischen Gleichgewichtszustände und es wird aufmerksam gemacht auf die kontinuierliche Bildung von effektiven Teilungen bei verschiedenen Gleichgewichtszuständen. Weitere Untersuchung der Bedeutung dieser Teilungen ergibt viele interessante Folgerungen. Schwierigkeiten finden sich, wenn man eine derartige Beschreibung auf geistige Phänomena ausdehnt. Zwar bestehen grundlegende Übereinstimmungen, aber es ist schwer sie genau zu definieren. Es ist klar, dass eine Synthese dieser Art notwendigerweise unvollständig ist, aber es schien wertvoll den Versuch zu machen, L'organisme vivant est présenté ici comme une partie définie et individualisée de l'univers maintenant son individualité propre au moyen de „l'effet de partition” déterminé par l'arrangement de ses parties. Il est entendu que la partition n'est pas complète mais permet encore des relations réciproques mais limitées. Il est reconnu aussi que le degré d'organisation varie dans le cours d'une série, des complexités profondes de la cellule aux innombrables modifications exhibées par l'organisme humain. Le concept de la partition effective est basé solidement sur l'évidence présentée par la membrane plasmatique et les limites de phases dans les aggrégations colloidales. De plus il est important de noter spécialement la nature dynamique des équilibres caractéristiques et l'on ne saurait manquer d'attirer l'attention sur la formation continue de partitions effectives aux différents niveaux d'équilibre. L'étude ultérieure de la signification de ces partitions présente un grand nombre d'implications intéressantes. Il est à noter que des difficultés sont rencontrées quand on essaie d'inclure en une description de ce genre les phénomènes mentaux et psychiques. Des stabilités fondamentales existent, mais elles sont difficiles à définir avec précision. Il est évident du reste au lecteur qu'une synthèse telle que celle-ci est nécessairement incomplète mais néanmoins intéressante à faire. (shrink)

Genesis 1:26 announces that God made us in His image and likeness. The paper examines the connection between the divine image and likeness. The love that exists between the Father, Son, and Holy Spirit must be in the image. However, we cannot understand the Trinity so we make use of the divine likeness as a road to the divine image. The dual nature of Christ makes this pilgrimage possible. Christ as God is the divine image whereas Christ as man teaches (...) us how the divine likeness leads to the Father. The love inscribed in the human heart connects the finite to the infinite. The divine Persons exist in relationships. Salvation takes place through a person-making process in the likeness of divine relations. Salvation is the output of relationships taking place at the level of a social self, an environmental self, and an inner self. These processes function as gateway to the structure of the divine image. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kandinsky, Kant, and a Modern MandalaKenneth BerryWhat gods are there, what gods have there ever been, that were not from man's imagination?—Joseph Campbell, "The Way of the Myth"Michele Roberts has written of the "joy of the human imagination, without which we would be unable to understand one another, and would thus wither and perish."1 This is the baseline for my discursive analysis of imagination and beauty in art as (...) it relates to the work of Kant and Kandinsky. While both accepted the forward movement of cognition in art and aesthetics, my concern is that some cognitively minded individuals neglect the part played by imaginative intuition in the creative process. Much recent art is lacking in both imagination and beauty. Although it may be rich in concept, according to Kant creative intuition is also necessary. Postmodernists' focused emphasis on the oblique, fleeting, transient, and ephemeral—short-lived, fugitive fashions or superficial trends in art and aesthetics—confuses the fleeting and moving present, rushing us forward into the future when we might do better to look back historically and constructively at the more enduring influence of Kant and Kandinsky. Of course, it might in one sense be in the "apparently unremarkable and evanescent that our lives sometimes find their greatest meaning,"2 but this does not imply that we cannot also learn from the past.Imaginative Representation in Kant and KandinskyIn his painting of 1926, Several Circles, Kandinsky depicts a group of overlapping, partially transparent discs that appear to drift freely against a black background. Will Grohmann has described this abstract scenario as a "cosmic metaphor" that points symbolically to a "limited infinite."3 Clearly, Kandinsky is concerned here with some transcendent meaning. Jung has remarked on the poetic association of the avian contour at the lower left of the painting—perhaps this is a metaphor for flight or spiritual freedom.4 The picture, he says, seems to represent a state of universalized equilibrium and harmony. This picture constitutes, to my mind, the expression, in a Kantian sense, of aesthetic ideas,5 mediating as it does between concepts and intuitions [End Page 105] and concerned as it is with the expression of artistic ideas in an imaginative, aesthetically harmonious form. On this topic Kandinsky has said: "If your imagination is not powerful enough to develop visions which are truly your own, and which, reduced to the state of ideas, can be translated into images, then go back to the study of nature"6Nature, we are told, Kant elevated above fine art in the sense that the beauty of nature's handiwork is the sole basis of the immediate interest that is taken in it7—it is untainted by desire or any concept of perfection or use (the merely agreeable), it is pleasurably imbued with "purposiveness without purpose" in the teleological implication of the "kingdom of ends." The dynamical and morally sublime, however, implied genius. Had Kant been living in our modern age, though he still might not have been a great art lover as such, he would surely not have dismissed Kandinsky's abstract compositions—as El Lissitzky did—as being mere wallpaper patterning, decorative arabesques, and the like; Kant would surely have recognized the symbolic power of these images as art!The Gestalt TheoryAccording to Immanuel Kant (1724-1804), aesthetic ideas are representations of the imagination. Following Rudolf Arnheim, a "representation" may be understood as either a man-made image or external figuration or, in another sense, as a "mental image."8 These ideas suggest that representation, through art, involves both the internal and the external. Representation in science is the means by which we generate images of the object "out there"—the basis of an objectivist epistemology. A scientific "representation" of the Giant's Causeway, supposedly built by Finn MacCool, might involve a computer simulation of columnar polygonal fractures in topographical detail. Kant, however, was concerned with representations of ideas, specifically aesthetic ideas as distinct from rational ideas. These were based on the animating principle of the soul, or Geist. In at least one language, Icelandic, which is an aesthetically pleasing language and very visual in language terms—abstract words... (shrink)

Interpretation of theAgamemnonin general and of its first choral sequence in particular has tended to proceed on two assumptions: first, that Aeschylus could have given an answer to the question, ‘Was Agamemnon free to choose whether or not to sacrifice his daughter?’; and secondly, that he composed the play in such a way that if we try hard enough we can discover his answer. I submit in this paper an interpretation which replaces both these assumptions with an alternative trio of (...) hypotheses for which, I think, a case can be made: first, that Aeschylus was well aware that in real life we cannot know the extent to which an agent was able to choose whether or not to commit a particular act; secondly, that inAg.104–257 he has portrayed realistically the manner in which people respond to the commission of an extraordinary and disagreeable act by a respected agent; and thirdly, that the aspect of Agamemnon's predicament which made the most powerful impression on Aeschylus and his audience is an aspect to which modern interpreters of the play have seldom alluded even by implication. I would not be so rash as to assert that Aeschylus never concerned himself with the question of responsibility, nor that his concepts of justice and retribution are of small interest, but I am not satisfied that ‘with all the powers of his mind’, as Professor Lesky puts it, ‘he wrestled with the problem arising from the conflict between human existence and divine rule’, nor do I take the view that a dramatist passionately involved in metaphysics and theology is a wiser and greater man than one who devotes the powers of his mind to concrete problems of poetic and theatrical technique. The scale of values adopted by interpreters of early Greek tragedy has certainly been affected, and has perhaps been somewhat distorted, by the dominant position of philosophy in European culture and education. (shrink)

I argue that Husserl’s manuscripts on intersubjectivity discover a decisive role for self-movement in the constitution of the shared world. I explore two complementary constitutive functions. The first enables empathetic apperception by closing the divergence in sense between the original ego, which does not find itself at a location, and the alter ego, which is found over there. By traversing distances with its organically articulated Leibkörper, the original ego establishes an analogy between self-movement and thing-movement that guides the recognition of (...) another ego in space. The second accounts for the exchangeability of perspectives between differently located subjects. The restricted motility of the Leibkörper is discovered against the background of ideal but motivated possibilities of going to any distant perspective. These possibilities are rooted in the purely kinaesthetic potential of the Leib. To inhabit another perspective need not involve changing the world. This evidence underlies the Weltanschauung according to which what appears from the other’s perspective is a possible appearance for me. Taken together, these two constitutive functions show how self-movement discloses a definite but accidental location from which the ego shares the world. (shrink)

This chapter contains sections titled: Ancient Portraits Socratic Narratives and Other Ancient Images Summary Postantique Images Socrates as Wise Man Moralizing Tales The Death of Socrates Socrates and the Erotic Conclusion.

In this paper, I offer both a brief study of Collingwood's conception of historical explanation and epistemological historicity, and an examination of the influence of Collingwood's work on the historical methodology of Quentin Skinner and on Gadamer's hermeneutic philosophy. Collingwood's work on the philosophy of history manifests a tension between the realist implications of the doctrine of reenactment and the logic of question and answer on the one hand, and, on the other, the constructionist tendency of the rest of his (...) work on the logic of historical inquiry and on the hermeneutic character of his more general conception of human historicity. This tension is displayed in the divergent interpretations of Collingwood by Quentin Skinner and Hans-Georg Gadamer, and in the inherent difficulties of each man's philosophy of history. I argue that the weaknesses of Skinner's methodological historicism are present already in his reading of Collingwood and reflect the difficulties inherent in understanding Collingwood as offering primarily a methodology of history. I also claim that Gadamer's hermeneutic philosophy, while presenting a more plausible reading of Collingwood, suffers from tensions similar to those within Collingwood's work between the logic of explanation and the logic of practical recommendation, and between the character of historical explanation and the character of philosophical understanding. (shrink)

It has been argued repeatedly that the modern study of social and cultural evolution took its inspiration and form from Charles Darwin's Origin of Species and Descent of Man. In 1920, Robert H. Lowie observed that it was after evolutionary principles had been accepted in biology that they were applied to social phenomena, and that Lewis Henry Morgan was among the first to make the application. Sir James George Frazer, at about the same time, dated the birth of anthropology from (...) the promulgation of the evolution theory of Darwin and Wallace in 1859 and maintained that “this conception of evolution … supplies a basis for the modern science of anthropology.” Harry Elmer Barnes similarly traced the development of anthropology from the theory of organic evolution and advised the student that he “need not concern himself with the history of method in sociology before the entry of Darwinian concepts.”. (shrink)

The patient was a 19-year-old man who was the victim of an accidental head injury. The attending neurosurgeon felt that, due to uncontrollable and repeated elevated intracranial pressures, the patient would die within 48 hours. The patient's mother requested that the neurosurgeon contact a urologist to collect the patient's sperm for implantation into the patient's girlfriend. The neurosurgeon felt that the situation raised a number of ethical issues and requested that the hospital's bioethics committee consider the case.