In this paper, we attempt to de-naturalize the prevailing economistic imaginary of work that Max Weber and later commentators described as ‘protestant work ethic,’ epitomized in the figure of homo economicus. We do so by contrasting it with the imaginary of skillful work that can be found in vignettes about artisans in the Zhuangzi. We argue that there are interesting contrasts between these views concerning 1) direct goal achievement vs. indirect goal achievement through the cultivation of skills; 2) the hierarchization (...) of mental versus physical dimensions of work; 3) the crafting of non-dominating relationships between the working subject, their object, and their instruments of work, which leads to questions about the sustainability of these relationships; and 4) the relationship between work and well-being, which the Daoist texts conceptualize in a much more holistic, but also more presentist way than Western economic rationality. We conclude by pointing out the relevance of these differences for several contemporary debates about work, by denaturalizing a dominant imaginary of work, by distinguishing different forms of work, by suggesting a different relation between work and nature, and by raising questions about the desirability of the automation of work. (shrink)

I apply the Zhuangzi 莊子 to assess the contemporary value of personal autonomy. Focusing on two concepts, wuwei 無為 and you 遊, I clarify the “wandering ideal” in the Zhuangzi to challenge the ideal of autonomy as central to a well-lived life. Drawing on Sneddon’s persuasive recent account of autonomy, the Inner Chapters of the Zhuangzi, as well as recent secondary scholarship on the text, I show that the wandering ideal suggests a stark move away from the controlled and self-reflective (...) life of the autonomous person. My goal is to draw on the Zhuangzi to contribute to dialogue on the ideal of autonomy, rather than to provide an innovative way of reading the Zhuangzi. I argue that both autonomy and wandering are higher-order ideals that can be applied to individual actions and to a person’s form of life, but at both levels, wandering and personal autonomy are in tension. The conclusion briefly reflects on the significance of the tension. (shrink)

The present article critiques standard attempts to make philosophy appear relevant to the scientific study of well-being, drawing examples in particular from works that argue for fundamental differences between different forms of wellbeing, and claims concerning the supposedly inherent normativity of wellbeing research. Specifically, it is argued that philosophers in at least some relevant cases fail to apply what is often claimed to be among their core competences: conceptual rigor—not only in dealing with the psychological construct of flow, but also (...) in relation to apparently philosophical concepts such as normativity, objectivity, or eudaimonia. Furthermore, the uncritical use of so-called thought experiments in philosophy is shown to be inappropriate for the scientific study of wellbeing. As an alternative to such philosophy-as-usual, proper attention to other philosophical traditions is argued to be promising. In particular, the philosophy of ZhuangZi appears to concord well with today’s psychological knowledge, and to contain valuable ideas for the future development of positive psychology. (shrink)

ABSTRACTThis article engages with a recent view that the Daoist Classic Zhuangzi advances an alternative to the Confucian role-ethics. According to this view, Zhuangzi opposes the Confucian idea that we should play our social roles with sincerity and instead argues that we should take the liberty to detach ourselves from the roles we play and ‘pretend’ them. It is argued in this article that Zhuangzi’s ideal of role-playing is based neither on sincerity nor on pretense. Instead, it is akin to (...) the excellence of theatre actors when they enact a role: they are able, for a limited time, to restructure their personality into a particular role, but de-structure it again when the performance is over. The prerequisite for this ability is to keep one’s self fundamentally unstructured, or, as Zhuangzi puts it, ‘empty’. This reading of Zhuangzian role-playing provides a fresh perspectives on ‘playing’ or ‘rambling’ as the central philosophical concept in the Zhuangzi. (shrink)

Why should interpretation of conceptual schemes and practices across traditions work at all? In this paper we present the following necessary conditions of possibility for interpretation in comparative and Chinese philosophy: the interpreter must presuppose that there are mutually recognizable human practices; the interpreter must presuppose that “the other” is, on the whole, sincere, consistent, and right; the interpreter must be committed to certain epistemic virtues. Some of these necessary conditions are consistent with the fact that interpretation is not thwarted (...) by the “danger” of relativism or of incommensurability. Some other conditions are suggestive of reorientations of methodologies of comparative and Chinese philosophy. (shrink)

The Zhuangzi, a 4th century BCE Chinese text, is optimistic about life unrestrained by entrenched values. This paper contributes to existing debates on Zhuangzian freedom in three ways. First, it reflects on how it is possible to enjoy the freedom envisaged in the Zhuangzi. Many discussions welcome the Zhuangzi’s picture of release from life shaped by canonical visions, without also giving thought to life without these driving visions. Consider this scenario: in a world with limitless possibilities, would it not be (...) fraught, not knowing how to interpret situations? I suggest that freedom in the Zhuangzi is possible only if one succeeds in reorienting herself to the new ‘normal’. Second, I introduce and develop the idea of working with constraints. This focuses on an agent's maximizing the fit between relevant conditions, on the one hand, and their capabilities, on the other. Finally, I propose that self-directed practice, an important expression of agency, is required for building capabilities that enable such freedom. I examine the idea of risk involved in these firsthand experiences, articulating an account of agency that sits at the heart of hard-won Zhuangzian freedom. (shrink)

The Zhuangzi, a 4th century BCE Chinese text, is optimistic about life unrestrained by entrenched values. This paper contributes to existing debates on Zhuangzian freedom in three ways. First, it reflects on how it is possible to enjoy the freedom envisaged in the Zhuangzi. Many discussions welcome the Zhuangzi’s picture of release from life shaped by canonical visions, without also giving thought to life without these driving visions. Consider this scenario: in a world with limitless possibilities, would it not be (...) fraught, not knowing how to interpret situations? I suggest that freedom in the Zhuangzi is possible only if one succeeds in reorienting herself to the new ‘normal’. Second, I introduce and develop the idea of working with constraints. This focuses on an agent's maximizing the fit between relevant conditions, on the one hand, and their capabilities, on the other. Finally, I propose that self-directed practice, an important expression of agency, is required for building capabilities that enable such freedom. I examine the idea of risk involved in these firsthand experiences, articulating an account of agency that sits at the heart of hard-won Zhuangzian freedom. (shrink)

The Zhuangzi, a 4th century BCE Daoist text, is sceptical about the political culture of its time. Those who debated conceptions of a good life were hostile to the views of others. They were intolerant and at times contemptuous of others who did not embody their values. In contrast to such negativity, the Zhuangzi promotes equanimity. The equanimity of the sagely person is grounded in a balance she maintains between engagement and withdrawal. Engaging critically, she problematises the lack of diversity (...) in their options for a good life. By withdrawing, she refuses to be party to the squabbles that perpetuate intolerance. The paper aims to show how equanimity is possible, thereby articulating a new angle on emotions in the Zhuangzi. (shrink)

It has often been said that the Zhuangzi 莊子 advocates political abstention, and that its putative skepticism prevents it from contributing in any meaningful way to political thinking: at best the Zhuangzi espouses a sort of anarchism, at worst it is “the night in which all cows are black,” a stance that one scholar has charged is ultimately immoral. This article tracks possible political allusions within the text, and, by reading these against details of social, political, and historical context, sheds (...) light on another strand of the Zhuangzi—one that questions prevailing normative values because it is fiercely critical of scholarly complicity with violent imperial territorial consolidation. (shrink)

This paper explores the compatibility between the Daoist art of emptying one’s heart-mind and the art of creating close relationships. The fact that a Daoist sage is characterized by an empty heart-mind makes him somewhat different from an average human being: since a full heart-mind is characteristic of the human condition, the sage transcends what makes us human. This could alienate him from others and make him incapable of developing close relationships. The research goal of this paper is to investigate (...) whether – in spite of being an unusual human being – a Daoist sage has the abilities necessary for creating close bonds with others. (shrink)

Among the many striking features of the philosophy of the Zhuāngzǐ is that it advocates a life unperturbed by emotions, including even pleasurable, positive emotions such as joy or delight. Many of us see emotions as an ineluctable part of life, and some would argue they are a crucial component of a well-developed moral sensitivity and a good life. The Zhuangist approach to emotion challenges such commonsense views so radically that it amounts to a test case for the fundamental plausibility (...) of the Daoist ethical orientation: If the Zhuangist stance on emotion is untenable, then other aspects of Daoist ethics may founder as well. In this essay, I explore what I call a Zhuangist ‘Virtuoso View’ of emotion and its connections with human agency, attempting to show that at least one version of a Zhuangist approach to emotion passes the ‘basic plausibility’ test. I begin by describing the Virtuoso View and sketching its theoretical foundation, which involves claims about human agency, the self, psychophysical hygiene, the good life, epistemology, and metaphysics. Next, I defend the Virtuoso View against three objections, namely that it abandons intentionality, that it interferes with a good life, and that it yields a schizophrenic conception of agency. I argue for three major theses. First, the Virtuoso View is easily intelligible and largely defensible. Second, it reflects a crucial insight into a fundamental dichotomy at the core of human agency: the unavoidable conflict within a self-aware human agent between an internal, engaged perspective and an external, detached one. Third, I suggest that certain problems or conflicts arising from the Virtuoso View actually reflect inherent features of the human predicament and thus are not mere conceptual defects. Hence even if we do not find the Virtuoso View wholly convincing, we can nevertheless gain much insight from it. (shrink)

Stories in the Zhuangzi detailing expert artisans and other extraordinary people are often read as celebrations of “skills” or “knacks.” In this paper, I will argue that they would be more accurately understood as “coping” stories. Taken as a celebration of one’s “skill” or “knack” they transform the Zhuangzi into an implicit advocate of conforming to, or even identifying with, one’s social roles. I will argue that the stories of artisans and extraordinarily skilled people are less about cultivating one’s talents (...) so as to “find one’s calling,” better fulfill social expectations, or achieve oneness with Dao, than they are concerned with developing strategies for coping with natural and social contingencies. Read in this way, there is much to learn from the Zhuangzi when reflecting on contemporary social and political issues, especially those related to meritocratic hubris. (shrink)

This article explores how aspects of traditional Chinese thought regarding creativity can influence and enrich contemporary thought about related topics: specifically, how creativity can be construed as an epistemic or intellectual virtue, and the benefits of considering it as such. It proceeds in three parts. First, I review a conception of creativity suggested by aspects of the Zhuangzi that centrally involves forms of spontaneity and adaptivity engendered by embracing you 遊, or “wandering”, contrasting it with more conventional conceptions of creativity (...) that emphasize novelty or originality. Second, I explain how this conception of creativity illuminates how creativity can be an epistemic virtue of a surprising sort: one that concerns a disposition to—borrowing an expression from Chris Fraser—“ride along with things”. This “riding along” is ironically engendered by letting go of what David Wong has characterized as “the obsession with being right”, about which the Zhuangzi expresses concern. I argue that, while this conception of creativity eschews fixed goals, including epistemically-oriented goals like apprehending truth or developing knowledge, there are nevertheless good reasons to count creativity (so understood) as an epistemic virtue. Third, I connect these explorations with current conversations (begun by Matthew Kieran and C. Thi Nguyen) that already treat creativity or, relatedly, play as an epistemic or intellectual virtue, and explore how engaging the Zhuangzi in the manner outlined promises to help extend them. (shrink)

Drawing from cross-cultural work on creativity undertaken within philosophical psychology, as well as contemporary commentaries on the philosophy of the Zhuangzi, this article motivates a conception of creativity that emphasizes spontaneity and adaptivity—rather than novelty or originality—engendered by embracing you 遊 (“wandering”). It argues that this approach to creativity can enable us to understand certain forms of religious experiences, especially those related to grief and bereavement, as creative in a sense that is compatible with both: i) views that emphasize the (...) capacity of religious experiences to connect us with something supernatural, immaterial, or non-physical and, ii) views that emphasize the capacity of religious experiences to connect us with something natural, material, or physical. Additionally, it elaborates how these reflections might pave the way for further cross-cultural inquiries—empirical and otherwise—into the nature and value of religious experience. (shrink)

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)

Contemporary discussions of _xing_ are often inspired by the Confucian tradition, but recent studies have brought the _Zhuangzi_ 莊子 to the table as a viable alternative. In this essay, I present three different accounts of _xing_ 性 in the Outer Chapters: (1) the primitivists who emphasize body vitality and simple life, (2) the Huang-Lao 黃老 school that emphasizes the balance among different things and the overall cosmological order, and (3) skill stories that look at individual skill masters rather than people (...) in general or the role of the human species in the cosmos, entertain only the descriptive dimension of _xing_, and cast doubt on the normative status of _xing_. These three accounts can be read as responding to each other, and each shares certain themes with the Inner Chapters in different ways. Together, they demonstrate the complexity of the _Zhuangzi_’s view on _xing_ and complicate attempts of cross-textual comparison. (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)

Why should interpretation of conceptual schemes and practices across traditions work at all? In this paper we present the following necessary conditions of possibility for interpretation in comparative and Chinese philosophy: the interpreter must presuppose that there are mutually recognizable human practices; the interpreter must presuppose that “the other” is, on the whole, sincere, consistent, and right; the interpreter must be committed to certain epistemic virtues. Some of these necessary conditions are consistent with the fact that interpretation is not thwarted (...) by the “danger” of relativism or of incommensurability. Some other conditions are suggestive of reorientations of methodologies of comparative and Chinese philosophy. (shrink)

The Zhuangist ideal of wandering is characterized by the navigation of the plurality of daos in response to changing circumstances. In practice, this is achieved through a series of flows in skilled activities that have goals built into them, which are prescribed by objective constraints of the circumstances in relation to the agent’s own desires. Since flow cannot go on without interruption, detached reflection is called for when challenges interrupt an episode of flow. The emotion essential to moments of detachment (...) is wonder—a cognitive emotion that prompts creative engagement with the novel, peculiar, and strange. (shrink)