This book provides a reexamination of the debates between Hu Feng, Lu Ling, and other Chinese left-wing theorists from a cultural-political perspective. The author argues that individualism should be understood within changing historical contexts and that subjectivity should be treated as class-based and derived from collective community.

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chinese Science Fiction during the Post-Mao Cultural Thaw by Hua LiShaoming DuanHua Li. Chinese Science Fiction during the Post-Mao Cultural Thaw. Toronto: University of Toronto Press, 2021. 248 pp., hardcover, $68.00. ISBN 9781487508234.Chinese Science Fiction during the Post-Mao Cultural Thaw focuses on the years after Mao Zedong's demise, from 1976 to 1983, during which China's politics and culture underwent unusual changes. Li's (...) book is a laudable scholarly endeavor that provides readers with a new interpretation of science fiction (SF) during the post-Mao era. Li connects the production of Chinese SF to a wider context, including mainstream literary perspectives, domestic political demands and predicaments, changing international relations, and Western SF traditions. From my point of view, this book contributes to existing scholarship in four different ways.First, Li offers an explanation for the launching of the "Anti-Spiritual Pollution Campaign" in 1983, and for the withering of SF in the 1980s, that is different from that of many other scholars. According to Zhan Ling, Chinese [End Page 270] officials liked art that closely connected to politics in the 1980s.1 Yet SF writers were very interested in thriller themes during this period, pursuing literary value while neglecting political significance. Science fiction deviated from reality, which went against Deng Xiaoping's idea of "seeking truth from facts," proposed in 1978. For these reasons, Zhan argues, SF was labeled as "bourgeois literature" in the Anti-Spiritual Pollution Campaign and severely criticized.2 Wu Yan offers another explanation, focusing on how, in 1983, renowned scientist Qian Xuesen published an article in People's Daily that accuses then-current SF of being "specimens of pseudoscience" and misleading teenagers.3 Qian's viewpoint caught Deng's attention; he claimed in the same year that SF was a pollution of science.4 Moreover, a growing number of books and films promoted sexual liberation and Western democracy at this time. Faced with this "crisis," Deng called on all levels of judicial and propaganda departments to thwart the spread of these ideas and works in society. This campaign lasted for three years, with approximately twenty-four thousand people being executed for "mental impurity." It dealt a heavy blow to SF as well, causing the number of SF writers as well as the social impact of SF to decline significantly.5Compared to Zhan and Wu, Li places more emphasis on the fact that Deng wanted to achieve political and ideological unity through this campaign. In the 1980s, many voices were opposing Deng at the top of the Communist Party of China (CPC). Although Deng was not the highest leader of the CPC in name, he controlled the standing of the CPC. Many high-level officials accused Deng of destroying socialist democracy. Deng launched the Anti-Spiritual Pollution Campaign under the pretext of fighting the spread of "Western-inspired liberal ideas among the Chinese Populace" (14), while aiming to purge high-level dissidents from the CPC. This campaign, like Mao's Cultural Revolution in the late 1960s and 1970s, became increasingly violent and difficult to control as it went on. Many officials in the CPC took advantage of the campaign to attack people, policies, and behavior that they disliked (15). Li's account is very convincing because it aligns with the political changes that have occurred since then. Hu Yaobang was dismissed in January 1987 due to "indulging bourgeois liberalization and weakening the Party's leadership."6 As the general secretary of the Central Committee of the CPC, Hu admired the Western political system with its separation of powers and intended to establish such a system in China to achieve democratic modernization. However, his efforts were obstructed by Deng. The establishment of a modern democratic system would have signified the end of the CPC dictatorship. [End Page 271]Further, Li points out that SF in the post-Mao era lacked a critical awareness of ethical problems. SF writers of this era tended to ignore the moral and ethical implications of the use of modern technology, or they took up modern technology without the reflectiveness and attention to detail that makes modern technology something more than a normative... (shrink)

The Zhuangzi is one of China's greatest literary and philosophical masterpieces, yet its complexities make it a challenging read. This English translation leads you confidently through the comic scenes and virtuoso writing style, introducing all the little stories Zhuangzi invented and unpicking its philosophy through close commentaries and helpful asides. In Graziani's translation, the co-founder of Daoism emerges as a remarkable thinker. It is a must-read for anyone coming to Chinese philosophy or the Zhuangzi for the first time, and (...) one that reminds us of the importance of thinking beyond our limited, everyday perspectives. (shrink)

In order to highlight the significance of the book I'm reviewing here, let me recount a recent academic experience: A conference on the Zhuangzi is hosted by a leading scholar in the field with the sponsorship of a major university in mainland China. Several prominent scholars present papers focusing on various different passages of the text. The addresses cover the mystical, the performative, the epistemological, the ethical and several other facets of Zhuangzian thought. Yet one topic is conspicuous by its (...) absence: the political. Not a single paper addresses this matter. Romain Graziani's book effectively rectifies this situation by perceptively showing how Zhuangzian thought ran counter to many of the political... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction by Jing JiangYingying HuangJing Jiang. Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction. New York: Columbia University Press, 2021. 144 pp. Paperback, ISBN 9780924304941.One of the Association of Asian Studies’ Asia Shorts series, Jing Jiang’s monograph is a delightful 130-page read including notes and a bibliography. It contributes new and cross-cultural perspectives (...) to the Chinese SF scholarship that has recently been invigorated by a plethora of translations into English, animated discussions at conference panels and themed lectures, and book-length studies such as Nathaniel Isaacson’s Celestial Empire: The Emergence of Chinese Science Fiction (2017), which focuses on China’s early twentieth century, and Hua Li’s Chinese Science Fiction during the Post-Mao Cultural Thaw (2021), which deals with works published between 1978 and 1981, to name just a couple. Jiang’s book covers both periods and the time in between with a purpose to investigate “how Chinese science fiction participates and intervenes in Chinese conceptualizations of the modern at critical junctures over the last century” (1), which Jiang achieves through comparative readings of texts brought into dialogue via translation. A shared theme of the texts studied is, as the book title suggests, the creation of a “new people,” either through edification or high-tech means such as bioengineering. Therefore, the interventions by science fiction that this study is concerned with are chiefly in debates about modern citizenry, subjectivity, and humanity in China’s twentieth century, when science fiction enjoyed its first two “booms.”This book has an introduction, four chapters, and an epilogue. The introduction offers a brief history of Chinese science fiction and announces the author’s intention to “situate Chinese science fiction within a dynamic model of world literature” (2). Jiang makes two crucial points: first, Chinese science fiction is a product of translation and transculturation, which [End Page 591] requires an intertextual and comparative study; second, contrary to its designation as a popular genre in the West, science fiction in China has been a form of elite literature and even a part of statist thinking. While this introduction may seem a bit long for a short book with “conciseness” as one of its marketing guidelines—the account of Lu Xun’s early life and turn to literature, for example, may be a little too elaborate for its purpose (10–12)—it lays a solid foundation for discussions about science fiction’s translingual dimensions and role in China’s nation-building discourse to develop through the chapters.The expansive first chapter, “Medicine for the Mind, Panacea for the Nation: How Did the Stories of Science and Fiction Become One?” is yet another historical survey, occasionally repeating points from the introduction, but this time of the background, genesis, and early growth of science fiction in China from the mid-nineteenth to the early twentieth century (i.e., the late Qing dynasty [1644–1911] and early Republican era [1912–49]). Jiang gives a detailed account of occurrences deemed important to the rise and confluence of fiction and science within China’s nation-building discourse, including literati intellectuals’ promotion of “new fiction” and the dissemination of scientific knowledge, highlighting the roles played by central figures like Liang Qichao, Lu Xun, and John Fryer. Jiang makes the illuminating observation that Fryer’s stipulation of a “new novel” for a fiction contest he organized in Shanghai in 1895 foreshadowed China’s literary realism and the vernacular movement (30), and her remarks about translation, Chinese science fiction’s inherent hybridity, and its mission to cure the nation well echo the book’s central argument about the genre’s interventions.A shorter chapter follows, entitled “Scientifically Formed or Reformed: Bioengineering and Other Fantasies about a New Species of National Subjects,” which examines early science fiction stories about manufacturing humanity and argues that these texts “gave rise to a literary vision that believed literally in the malleability or programmability of the soul” (39). During the first boom of Chinese science fiction in the 1900s, translations of and sequels to Western stories showcase the debate about science’s power of shaping the soul... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Research on the Transformation of Contemporary Chinese Science Fiction by Zhan LingShaoming DuanZhan Ling. Research on the Transformation of Contemporary Chinese Science Fiction. Beijing: China Social Sciences Press, 2022, 324 pages, softcover, ¥ 118.00 ISBN: 978-7-5203-9465-9.Research on the Transformation of Contemporary Chinese Science Fiction is a laudable scholarly endeavor that provides reader with a unique interpretation of the representative works in contemporary (...) China science fiction. Taking "transformation" as the key word, this book outlines the development process and transformation features of science fiction since the founding of the People's Republic of China (i.e., new China). Starting with the investigation of the reasons for each transformation, this book combs the changes in the creative values, scientific views, and aesthetics of science fiction in more than seventy years. The book also aims to show the literary achievements of contemporary Chinese science fiction, affirm the academic values of "transformation" from the perspective of literary development history, and points out the existing shortcomings. This book will interest global scholars in literary studies, especially those in the field of Chinese science fiction studies. The detailed studies of contemporary Chinese science fiction by Zhan Ling connect her primary sources with wider temporal and spatial contexts. Zhan Ling approaches contemporary Chinese science fiction that was mostly unknown to the scholars of the twenty-first century, some of which were underestimated and even ignored for a long time.The book has an introduction, seven chapters, and a conclusion. The introduction briefly introduces the origin of Chinese science fiction. There was no category of "science fiction" in ancient Chinese literary tradition; it actually appeared in the late Qing dynasty. At that time, the Qing government was defeated miserably by Western powers in the two [End Page 521] "Opium Wars" and was forced to sign a series of unequal treaties with Western powers, which greatly damaged China's sovereignty and territorial integrity.In order to achieve the goals of "enriching the country and strengthening the army" and "learning foreign technology to counter foreigners," the Qing government decided to carry out the "Westernization Movement" (1861–95), calling on Qing officials to learn and use Western advanced science and technology and set up modern military, industry, and civilian enterprises. Science fiction, as a kind of literature directly linked with Western science and technology, had been introduced into China. In 1872 the Chinese version of Washington Irving's Rip Van Winkle was published in Shanghai Shen Daily, which opened the exploration of science fiction in Chinese literature. In 1904 Huang Jiangdiaosou (pen name) wrote the first Chinese science fiction, The Moon Colony. The intellectuals in the late Qing dynasty regarded science fiction as the literary practice of "saving the country through science" (6). Science fiction had contributed to the establishment of modern scientific consciousness for the pedantic people in the late Qing dynasty. The decline of the Qing dynasty was marked by the invasion and encroachment of the Western powers, which marked the formation of Chinese semicolonial and semifeudal society; This, in turn, contributed to the development of science fiction in China.The main body consists of seven chapters. Zhan Ling discusses the changes and transformations in the development of science fiction in contemporary China. The founding of new China marked the full rule of the Communist Party of China. In order to distinguish from the Kuomintang rule, the Communist Party called it "contemporary" after 1949. According to this "division," "contemporary science fiction" of the title refers to the science fiction published in mainland China after 1949. Compared with the past, science fiction in contemporary China has made great progress in quality and quantity (12).Zhan Ling divides the development of science fiction in contemporary China into four stages. The first phase was from 1949 to 1966. The second phase is from 1978 to 1984. The third phase is from 1985 to 1999. The fourth phase is the twenty-first century. The book tries to integrate the development history of contemporary Chinese science fiction into the development history of Chinese science fiction for research, and even puts contemporary Chinese science fiction into the development history of world science fiction [End Page 522... (shrink)

In "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction" Yiping Wang discusses contemporary Chinese science fiction against the backdrop of the influence of world literature and the development of industrialization in China. Wang argues that two sides represented respectively by Liu Cixin and Han Song constitute the feature of contemporary Chinese science fiction. The side characterized by the works of Liu Cixin is the close connection with world science fiction (...) and the positive attitude and consistency with technological innovation and industrialization in China while the other side has Han Song as its representative, whose works, with similarities to high literature of world canons and the mainstream Chinese literature, reflect on the development of technology and industrialization focusing on individuals and disasters in the shadow of modernization. These two sides join together in the illustration of the basic image of science fiction in contemporary Chinese literature. By absorbing the essence of world literature and echoing the concerns of the nation, contemporary Chinese science fiction surmounts the hierarchy of literary genres and make its way into the active center of world literature. (shrink)

This paper looks at the tragedy of Qiao Feng in Jin Yong’s The Demi-Gods and the Semi-Devils. While it is common practice for Žižekean scholars to examine genre writing and popular culture with Lacanian theory, the martial arts genre has received little attention. In Demi-Gods, Qiao Feng experiences an ‘identity crisis’ at the peak of his career: rumour has it that though he was raised and trained in China, he was born a Khitan. Qiao Feng at first believes it is (...) a just conspiracy, and henceforth is blind-sided by the imaginary relation between his ego and small others. He mis-recognises others’ scheming as ‘the Other of the Other,’ while his supposedly deceased Khitan father occupies the corner of the Other in the schema L to orchestra the manipulation game. However, what Qiao Feng is really under prey is the desire of the father, and of the two fatherlands, one Han-Chinese, one Khitan: his tragedy lies in the split of the national Other, in the impossibility of the ethical imperative Your duty is to be loyal to your country. And yet, it is exactly because of the emptiness in the ethical call that Qiao Feng can start to act as a subject, a subject that is by definition already always split. This paper thus interprets the actions of Jin Yong’s hero according to Lacan’s schema L, and also provides variations of the schema based on the twists and turns of this martial arts tragedy. (shrink)

With only a few exceptions, the literary theme of madness has long been a domain of Western cultural studies. Much of Western writing represents madness as an inquiry into the deepest recesses of the mind, while the comparatively scarce Chinese tradition is generally defined by madness as a voice of social truth. This paper looks at five works of twentieth-century Chinese fiction that draw on socio-somatic aspects of madness to reflect upon social truths, suggesting that the inner (...) voice of subjectivity is perhaps not the only true voice of the self. (shrink)

For centuries, westerners have referred to China's numerous traditions of spiritual expression as "religious"--a word born of western thought that cannot completely characterize the passionate writing that fills the pages of this pathbreaking anthology. The first of its kind in well over thirty years, this text offers the student of Chinese ritual and cosmology the broadest range of primary sources from antiquity to the modern era. Readings are arranged chronologically and cover such concepts as Taoism, Confucianism, Buddhism, and even (...) communism. A large number of the selections concern the role of the female in Chinese religion, and are either by or about women. Through invocations, poetry, drama, philosophical texts, religious treatises, and modern fiction, students hear the voices of numerous Chinese masters expounding on the movements and traditions that inspired them: the mysterious Tao-te ching of Lao Tzu, cloaked in the mists of deepest antiquity; the Analects of stately, reverent Confucius; "Nailing a Stick into Empty Space," from The Recorded Conversations of Ch'an Master I-hsuan, and many others, including the work of Mencius, Pan Chao, Han Shan, Chang Tsai, Wang Yang-ming, Lu Hsun, and Mao Tse-tung. Fully one third of the translations are new, and each reading is preceded by an introduction that explains its importance and salient features. Complete with a helpful chronology of dynasties and list of possible video sources, this remarkable volume collects under one cover the most significant and influential works of China's dynamic spiritual tradition, making a fundamental contribution to courses in Chinese religion, literature, and history. (shrink)

This paper examines a series of texts produced in the immediate aftermath of the executions of a highly controversial Ming general Mao Wenlong. Considered representative works of a unique genre, “shishi xiaoshuo”, these works were written and published at a remarkable speed and are characterized by a distinctive nature of generic hybridity as well as a strong urge for political intervention. This article discusses the sociopolitical implications of shishi xiaoshuo by examining how such works sought to participate in contemporary debates (...) about controversial political figures or events and, ultimately, shape public opinion on them. In addition, it also demonstrates the interplay between fictional writings on contemporary issues and commercial publishing. By examining the textual features of the various works on Mao Wenlong and the intertextual relationships between them, and by situating them in one of the most complicated periods in Chinese history, this article explores the practice of fiction writing on contemporary events and its interplay with the sociopolitical environment in the early seventeenth century. (shrink)

Essai général sur le philosophe et prosateur chinois Tchouang-Tseu dont l'oeuvre se situe à l'origine du taoïsme philosophique et religieux. Ses leçons métaphysiques, son ironie contre toute forme d'autorité s'épanouissent sous forme de dialogues, fables et historiettes que l'auteur interprète et commente pour en dégager les enjeux.

It was a common practice of the Chinese official historiographers to employ pseudo-historical, semi-fictional source materials alongside the factual, ascertainable data in their narratives for prescribed political or didactic purposes despite their commitment to the time-honored principles of truth and objectivity in the Confucian-oriented traditional historiography. The intrusion of these non-historical elements in the imperial historical records illustrates, therefore, the adaptability of the source materials representing the popular tradition of the masses for the uses of the great tradition, and (...) the propensity of the reciprocal exchanges between the expressions of the Confucian literati and the less cultured populace in historical compositions. Drawing on a textual analysis of the T'ai-tsu shih-lu, the reign chronicle of the Ming founder Chu Yüan-chang, who rose from a humble peasant to the imperial throne in 1368, this essay examines the historical circumstances and historiographical devices by which the factual records were commingled with the non-historical materials in the accounts of the dynasty founding. It shows how the historiographers synthesized the pseudo-historical expressions in the popular tradition with the deliberately fabricated falsehoods of their own doing to conjure up an inflated portrait of the Ming founder, transforming him from an illiterate, beggar mendicant monk and rebel leader into the topoi of a righteous hero, dynasty founder and exemplar ruler in traditional official historiography. It also shows that apart from the historiographers' penchant for conformity to the established conventions, the exaggerated portrait of the Ming founder in the T'ai-tsu shih-lu was a product of a historiographical revision undertaken on order of the third emperor Yung-lo, fourth son of T'ai-tsu, aiming at legitimizing his usurpation of the throne from his nephew the imperial successor Chien-wen in a palace rebellion of 1402. Lastly, it shows how the early Ming revision of the records of the rise of T'ai-tsu inspired a cycle of bizarre legends about the early years of the dynasty founding in later official and private writings, and how a case study of such historiographical process may add to our understanding of the continuous interactions between the expressions of the élite and mass heritages in the making of the Chinese intellectual and cultural traditions. (shrink)

"The essence of literature may be compared to the various plants and trees," Liu Hseih writes, "alike in the fact that they are rooted in the soil, yet different in their flavor and their fragrance, their exposure to the sun."1 The character of each work is manifest in its unique savor and in its scent. In other works, the uniqueness of a work can be savored: texts may echo other works, but the personality of any work is instantaneously verified by (...) what Liu Hseih calls wei, flavor, and hsiu, fragrance. It is this uniqueness that persists and survives innumerable bad imitations, shifts in circumstances, lost phonetics, and changing styles. It is what remains fresh in the classics and enables the contemporary reader to feel a sense of discovery and newness. Liu Hseih says that of these lasting works that their "roots are deep, their foliage luxuriant, their expression succinct yet rich; the things described were familiar, but their ramifications are far-reaching: so, although they were written in the past, they have a lasting savor that remains fresh."2 · 1. Liu Hseih, Wen-hsin tiao-lung chu, ed. Fan Wen-lan , p. 519; Shih, The Literary Mind and the Carving of the Dragons , p. 232.· 2. Liu Hseih, p. 22; Shih, p. 24. Although the same Chinese word wei is used in this passage, I have translated it as "savor" to stress the combination of qualities inherent in a work rather than restrict these qualities to a single "flavor." Eugene Eoyang is an associate professor of comparative literature and of East Asian languages and literatures at Indiana State University. He has contributed over fifty translations to Sunflower Splendor: Three Thousand Years of Chinese Poetry and is the author of an anthology of Chinese fiction, Links in the Chain. (shrink)

Events that violate the laws of nature are, by definition, impossible, but recent research suggests that people view some violations as “more impossible” than others. When evaluating the difficulty of magic spells, American adults are influenced by causal considerations that should be irrelevant given the spell’s primary causal violation, judging, for instance, that it would be more difficult to levitate a bowling ball than a basketball even though weight should no longer be a consideration if contact is no longer necessary (...) for support. In the present study, we sought to test the generalizability of these effects in a non-Western context – China – where magical events are represented differently in popular fiction and where reasoning styles are often more holistic than analytic. Across several studies, Chinese adults showed the same tendency as American adults to honor implicit causal constraints when evaluating the plausibility of magical events. These findings suggest that graded notions of impossibility are shared across cultures, possibly because they are a byproduct of causal knowledge. (shrink)

From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen's fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators' inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this francophone-Chinese writer (1961-) also reveal larger concerns about dominant discourses, the limitations of social realities, survival, and (...) the relationship between beings, all framed within an aesthetics of non-belonging. Intriguingly, the author achieves this by consciously distancing her works, from 1998 onwards, from any categorisation by ethnicity. This engaging study considers Chen's writing from the contemporary perspective of the breakdown of traditional spatiotemporal experiences, the homogenization of places, the erasure of cultural differences, and the resulting tendency towards universalism. Rosalind Silvester is Senior Lecturer in French Studies and Director of Education in the School of Arts, English and Languages at Queen's University Belfast. (shrink)

In comparison with the creation of language, translation from one language to another offers greater challenges for those working with languages, be the text for translation concerned with philosophy, literature or law, all of which are arguably highly professional domains. When it comes to the translation of legal fiction, a highly interdisciplinary genre, even experienced practicing translators tend to fall short of being well equipped with sufficient legal knowledge and terminologies, not to mention the capacity to detect the subtleties (...) that are inherent in a legal term. All of the problems above account for the often less-than-satisfactory quality of legal fiction in translation, misleading or confusing the potential target audience. After making the prior theoretical investigations, this paper attempts to analyze some problems in the current Chinese translation of such legal novels as Franz Kafka’s Der Prozess and Charles Dickens’s Bleak House, and then take a corrective stance, hoping to arouse the translators’ awareness of the importance of this genre, as well as their awareness of the essential professional skills they still need to acquire, so that they can reach equivalent accuracy in legal technicalities, as well as subtlety and nuance that reflect the legal spirit. (shrink)

The classical Chinese philosophical tradition (ca. 6th to 3rd centuries BCE) contains rich discussion of skill and expertise. Various texts exalt skilled exemplars (whether historical persons or fictional figures) who guide and inspire those seeking virtuosity within a particular dao (guiding teaching or way of life). These texts share a preoccupation with flourishing, or uncovering and articulating the constituents of an exemplary life. Some core features thought requisite to leading such a life included spontaneity, naturalness, and effortless ease. However, (...) there was also significant disagreement during this ‘Warring States’ or ‘Hundred Schools’ period on which skills were valuable, how one should cultivate them, and who exactly ought to serve as exemplars. In this chapter, I discuss two prominent types of expertise and their attendant skills. The first is expertise at a particular craft, occupation, or dao, which finds its most poignant celebration in the early Daoist anthology Zhuangzi. Interest in crafts or skilled occupations was likely motivated by a perceived (or implied) analogy with living a good life more generally. The second concerns ethical expertise, a prominent and widely held ideal within the Ruist (Confucian) and Mohist schools. Both maintain that ethical expertise consists of an ability to apply past models or precedents to current cases, though they diverge on what those models are and how to properly apply them. The aim is to provide non-specialists an overview of this literature in Daoism, Confucianism, and Mohism, while also providing suggestions about further research. (shrink)

"Perfect Worlds offers an extensive historical analysis of utopian narratives in the Chinese and Euro-American traditions.

It is hardly a novel claim that the work of Ursula K. Le Guin (1929–2018) contains influences from philosophical Daoism, but I argue that this influence has yet to be fully understood. Several scholars criticize Le Guin for misrepresenting Daoist ideas as they appear in ancient Chinese philosophical texts, particularly the Dao De Jing and the Zhuangzi. While I have sympathy for this charge, especially as it relates to Le Guin’s translation of the Dao De Jing, I argue that (...) it fails to understand the extent to which her fiction contains her own philosophical development of Daoist ideas. Looking at some of her most influential works (e.g., The Left Hand of Darkness, The Dispossessed, The Lathe of Heaven, A Wizard of Earthsea, etc.), I suggest that Le Guin’s fiction is better seen as a refocusing of Daoist concepts such as complementary contrasts and non-action (wu wei) in the contexts of modern feminism, modern anarchism, science fiction, and fantasy. Le Guin was not trying to represent ancient Daoism as a scholar. Rather, she was trying to reimagine Daoism as a creative artist and philosopher in her own right. This way of viewing Le Guin’s work does not fully exorcise the specter of the possibility of Orientalist cultural appropriation, but it does make the issue more complex in a way that can deepen further conversations. To what extent can an artist be guilty of misrepresentation if representation was not, strictly speaking, her goal? I end with a brief reflection on what is perhaps the deepest philosophical lesson of Le Guin’s work: everything is more complicated than it first appears. On that note, the present article is an attempt not just to do philosophy about Le Guin, but to do philosophy in a Le Guinian fashion, which requires rethinking the metaphor of combat that guides much academic philosophy today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theorizing Chinese Masculinity: Society and Gender in ChinaKwai-Cheung LoTheorizing Chinese Masculinity: Society and Gender in China. By Kam Louie. Cam-bridge: Cambridge University Press, 2002. Pp. 239. Hardcover U.S. $60.00.In Theorizing Chinese Masculinity: Society and Gender in China Kam Louie offers us a very clear and concise analysis of the cultural models of Chinese masculinity from ancient imperial times to the present age of transnational (...) contact. Although academic works on Chinese masculinity are not totally absent, systematic and thorough historical surveys of this topic are still rare. While gender studies of China are predominantly on femininity or other women-related issues, man as a gendered category has long escaped serious academic attention. Louie's book could be considered a pioneering effort to provide a rather comprehensive study of this subject. Besides describing in detail the historical development of the male image from premodern to contemporary times, Louie also focuses on the ways in which Chinese men have been represented under the Western gaze and how these representations have negotiated with the dominant Western culture.The fundamental structure of masculinity in China, according to Louie, operates according to the two poles of wen (literary attainment, cultural knowledge, the mental) and wu (martial valor, martial arts, the physical), which are far more complementary than antagonistic, although the wen polarity has always been prioritized over wu in the conventional Chinese mindset. wen maleness is exemplified by Confucius, the sage of the gentleman-scholar type, whereas Guan Yu, the God of War, represents the wu masculine ideal. These two archetypes of Chinese masculinity [End Page 497] converge in the stern observance of moral demands, self-restraint, and a resistance or even a misogynistic attitude to the faults associated with femininity (i.e., sexual pleasure, comfort, and loss of virility) in order to pursue lofty forms of justice and homosocial binding. The recent popularity of Hong Kong martial arts films in the West may help Western readers become accustomed to the traditional Chinese idea that the ideal balance of wen and wu places emphasis on strategy and learning as a means of avoiding the use of violence. Louie repeatedly asserts that, in the Chinese cultural context, all men by definition have some wen and/or some wu, thus negating a simplified dichotomy.The highest ideal of Chinese maleness is that of a single individual who can demonstrate at the highest level the cultural credentials and physical skills of wen and wu. That is to say, the great man who can hold a brush in his right hand and a sword or some other weapon in his left, demonstrating prowess in both kinds of effort. But in terms of their sex appeal, it is always the softer, cerebral, scholarly men of wen who are more attractive to Chinese women than their macho, brawny opposite. Other than analyzing the heterosexual relationships of Chinese manhood, Louie also provocatively suggests that brotherhood and passions between men are never simply homosocial but can have sexual implications. He supports this claim by making reference to many classical texts that depict men sleeping together, leading to strong emotional attachments and jealousy, as if they were in a romantic or erotic liaison. What distinguishes Louie's wen/wu duality from the conventional yin/yang binary opposition (which is also an artificial difference that defines the Chinese male in relation to Western men and reinforces the stereotype of a feminized Chinese masculinity) is that he believes his dyad of Chinese masculinity to be more resilient, flexible, and adaptable to historical change, hybridizing with Western culture while simultaneously exerting its own global influence on non-Chinese cultures.Covering a vast range of historical and contemporary materials and a variety of genres, from classical philosophy to traditional vernacular fiction (e.g., The Romance of the Three Kingdoms and The Water Margin), through Lao She's early twentieth-century novel The Two Mas, the subversive portrayals of men by modern Chinese women writers, to contemporary Hong Kong action cinema—all in a relatively slim volume—Louie is at his best, for example, when observing and depicting character, but he is not so good at analyzing his texts on a... (shrink)

This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of (...) casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction. (shrink)

The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, which eventually made the reinvention of (...) the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized education. (shrink)

Lu Xun is considered by many scholars the most influential modern Chinese writer, likened to Tolstoy, Shakespeare and Goethe in both scope and cultural impact, to the extent that Lu Xun scholarship has earned its own formal appellative: ‘Luxunology’. This impact is due not only to the initial impact of Lu Xun's fiction, but also greatly to Mao Zedong's use of Lu Xun during the Cultural Revolution. The history of Lu Xun's early fiction is analogous to the (...) various historical manifestations, and original ‘spirit’, of Marxism. Through close readings of Lu Xun's early fiction, and then detailing the relationship between Mao Zedong's use of Lu Xun in the Cultural Revolution, I will explore Jacques Derrida's 1993 work Specters of Marx, especially focusing on Derrida's distinction between the ‘spirit’ and the ‘spectre’. (shrink)

In June 2009, the Chinese mediasphere was abuzz with the announcement that the octogenarian writer Jin Yong (Louis Cha) was slated to join the Chinese Writers' Association (Zhongguo zuojia xiehui, CWA). Jin Yong is a beloved martial arts fiction writer who made his career in the freewheeling ex-British colony of Hong Kong in the 1950s and 1960s.1 His joining the association known for its stodgy conformism struck many as ironic, or at least as blog-worthy. Indeed, just a (...) few years ago, the playwright Sha Yexin had quipped: “How can you ask a writer like Louis Cha to write martial arts…. (shrink)

I'm now in my forties, but my teacher is still alive and well; so I'm still one of the junior generation. When I was a graduate student, my teacher told me that I didn't have enough background in Chinese traditional studies, and in a burst of energy I went off and read my way, albeit in a rather random fashion, through everything from the Four Books to the Cheng brothers [Cheng Hao and Cheng Yi, Confucian scholars of the Song (...) dynasty] and Zhu Xi. My studies had started off with fiction, and the Four Books came afterwards; I had started off as an "educated youth," and became a student later. Doing things that way round, one can expect to have problems; but even so, when I read the ancient classics, I still feel some singular emotions, which I cherish purely because they are my own. When I finished reading the Analects and closed my eyes to think about it, I felt that to utter those great truths so often and so earnestly Confucius must have been a very sweet and naive old man. His students were always hanging on his every word and, in his concern for them, he said that A could do this, or B could do that, like an old lady listing the characteristics of her grandchildren. Sometimes the old gentleman had a furtive side to him, as in the chapter "The Master went to see Nanzi" [See Analects VI. 28; Nanzi was the wife of Duke Ling of Wei]. When he emerged, he insisted that he had committed no "impropriety." In a nutshell, I liked him, and if I had been born during the Spring and Autumn period [722-481 b.c.e.], I would have gone and studied under him, because the atmosphere round him was like that of the Pickwick Club. His ideas were actually pretty ordinary, and there is nothing special about them to win our admiration. The ceremonial on which he laid such particular emphasis was in my view much the same as the rituals performed during the Cultural Revolution—I've been through all those morning requests for instructions and evening reports myself and it wasn't very interesting. It may be indispensable for the very young, but for educated adults it is a burden. However, if I'd gone along to be taught by Confucius, I would have gone for the atmosphere, and I would not have expected to learn much. (shrink)

This article looks at the problematic witnessing envisioned in Chinese American writer Ken Liu’s speculative fiction “The Man Who Ended History – A Documentary,” in which the back-to-the-past virtu...

The royalist nationalist propaganda writings of King Vajiravudh Rama VI—acclaimed author of the infamous Jews of the Orient, published originally in Thai since 1914—represent some of the finest examples of Anti-Chinese propaganda penned by major nationalist leaders of Thailand in the 20th century. Vajiravudh was a prolific author who produced more than a thousand fictional and non-fictional pieces within his lifetime literary oeuvre. A significant portion of these works was intended as political propaganda, many of which could be justifiably (...) categorized as anti-Chinese pieces. As much of Vajiravudh’s writings also serve as the core texts in much of Thailand’s nationalist propaganda campaigns through much of the early-20th century, it has also come to define the problematic relationship between the Thai conservative ruling class and their ethnic Chinese financial patrons. This makes for very complex national emotions—despise of ethnic Chinese capitalists while venerating royalist conservative political leaders, most of whom, in fact, are of Chinese descent. This also unavoidably bleeds into the realm of everyday social values and relations between ethnic Chinese and non-Chinese commoners in Thai society, their own interpretation of nationalist propaganda, and their own adapted emotions toward each other. This article provides a textual and historical analysis of such writings. (shrink)

The royalist nationalist propaganda writings of King Vajiravudh Rama VI—acclaimed author of the infamous Jews of the Orient, published originally in Thai since 1914—represent some of the finest examples of Anti-Chinese propaganda penned by major nationalist leaders of Thailand in the 20th century. Vajiravudh was a prolific author who produced more than a thousand fictional and non-fictional pieces within his lifetime literary oeuvre. A significant portion of these works was intended as political propaganda, many of which could be justifiably (...) categorized as anti-Chinese pieces. As much of Vajiravudh’s writings also serve as the core texts in much of Thailand’s nationalist propaganda campaigns through much of the early-20th century, it has also come to define the problematic relationship between the Thai conservative ruling class and their ethnic Chinese financial patrons. This makes for very complex national emotions—despise of ethnic Chinese capitalists while venerating royalist conservative political leaders, most of whom, in fact, are of Chinese descent. This also unavoidably bleeds into the realm of everyday social values and relations between ethnic Chinese and non-Chinese commoners in Thai society, their own interpretation of nationalist propaganda, and their own adapted emotions toward each other. This article provides a textual and historical analysis of such writings. (shrink)

The royalist nationalist propaganda writings of King Vajiravudh Rama VI—acclaimed author of the infamous Jews of the Orient, published originally in Thai since 1914—represent some of the finest examples of Anti-Chinese propaganda penned by major nationalist leaders of Thailand in the 20th century. Vajiravudh was a prolific author who produced more than a thousand fictional and non-fictional pieces within his lifetime literary oeuvre. A significant portion of these works was intended as political propaganda, many of which could be justifiably (...) categorized as anti-Chinese pieces. As much of Vajiravudh’s writings also serve as the core texts in much of Thailand’s nationalist propaganda campaigns through much of the early-20th century, it has also come to define the problematic relationship between the Thai conservative ruling class and their ethnic Chinese financial patrons. This makes for very complex national emotions—despise of ethnic Chinese capitalists while venerating royalist conservative political leaders, most of whom, in fact, are of Chinese descent. This also unavoidably bleeds into the realm of everyday social values and relations between ethnic Chinese and non-Chinese commoners in Thai society, their own interpretation of nationalist propaganda, and their own adapted emotions toward each other. This article provides a textual and historical analysis of such writings. (shrink)

In this paper I investigate a reprint of a Meiji anthology titled Meiren qiantai shi 美人千態詩 by Shang- hai shuju in 1914. This is the first time that this anthology has received critical attention. I examine the poems collected by the anthologist, contextualize the anthology in relation to traditions and trends in Japan and China, and analyze the significance of the poetic tradition centered on images of women for understanding border-crossing literati culture from the seventeenth to the early twentieth centuries. (...) My study revises both Japanese and Chinese literary history. I show that the practice of kanshi composition was sustained by major Japanese men of letters through the late Meiji era. With the rise of modern Japanese literature, especially in the genre of fiction, it is generally held that there was a rupture between Edo and Meiji-Taisho literature. Within the discursive space carved out by the beauty anthology, however, we see a continuity that unified the Edo and Meiji eras. Furthermore, the Japanese poets’ particular engagement with the subgenre on beautiful women and related sentiments was concurrent with developments among the Chinese literati from the seventeenth to the early twentieth century. (shrink)

In 2020, Yiwen Wang published an article about gender-switching videos, a Chinese gender subculture in the digital media environment. Different from Wang, who identified gender-switching videos as an example of the slash subgenre, through a more comprehensive investigation of this subgenre this study found that gender-switching videos—which can be divided into two categories of complete and selective—involve homoerotic, heteroerotic and queer narratives. This article starts by demonstrating the multi-gender/sexual orientation narrative in gender-switching videos, and further analyses their social and (...) cultural functions as a gender subculture in reconstructing gendered relationships in traditional Chinese aesthetics and narratives. The theory of feminist utopian narratives is further introduced to better understand how Chinese women intervene in the grand historical narrative as an important force to influence the development of history and story plots via fiction content creation in the digital media environment. (shrink)

ABSTRACT This essay is motivated by the seeming contradiction that Korean unification is sought after by most Koreans yet speculations about the social and cultural changes it might bring are almost absent. This may be because Korean unification denotes a series of differences contrasted to the present—because it is a potent “master symbol” with one foot in utopian speculation and the other in policy studies. In this essay, I outline some of the complexities, starting with an examination of illustrations of (...) unification in textbooks for the tensions and contradictions they introduce. I then turn to fiction and film, sketching not only what some South Koreans hope will happen after unification with the North but, indeed, the limits of their imagination regarding what the future will hold for South Korea. In the end, I concur with Grinker that representations of unification are “utopian,” but I object to the association of “utopia” with a socially engineered straitjacket. On the contrary, the utopias projected here suggest stepping off a precipice into worlds unknown, futures defined by their radical difference from today. The end of the essay locates these more imaginative dimensions of Korean unification in the “hope” of Ernst Bloch. (shrink)

1912年到2014年，這一百年間的華人哲學思想，包含了佛學、新儒學、新小說、美學、新史學，以及原創性的概念系統創造。在本書之中，介紹了數十位相關領域的作者，表現出華人在這一個世紀裡勇於創造的精神。 在近百年的過程中，華人面對的創作環境，不管在時代上、環境上，乃至於文字的運用上，都有著極大的困難與挑戰，這使得華人世界的百年哲學很難有良好的創作環境，嚴格說來，必須等到1980年代以後才有稍微完整的創 作條件。然而，公元兩千年以後，晚期資本主義又對人文環境帶來了巨大的摧殘作用，使得哲學創作者生存更加不易，凡是能被收集在本書之中的思想家，或能作為被我們討論的任何一位作者，都值得致敬。 第一章、從晚清經世派之實用傾向與工具理性哲學觀念 到中體西用的洋務運動途程 第二章、跨世紀轉型時期的宏大哲學思想論述者 ──從嚴復到魯迅 第三章、胡適、顧頡剛、錢穆、傅斯年、陳寅恪、郭沫若、 洪業等新時代史學家在哲學上的貢獻 第四章、當代哲學家的方法論反省 ──六種當代中國哲學創造轉化代表性型態的分析 第五章、德西達的「解構」與歐崇敬的「新解構」 ──二十一世紀的新原創性思想 第六章、馬森存在主義小說的哲學分析 第七章、傅偉勳的哲學思想 第八章、陳映真前期作品解析 ──以〈我的弟弟康雄〉、〈鄉村的教師〉、〈故鄉〉、〈蘋 果樹〉、〈悽慘的無言的嘴〉、〈兀自照耀著的太陽〉為 討論核心 第九章、「異鄉的存在」與「物化之虛無」的〈山路〉左翼政治思想 第十章、從解構主義的觀點看陳映真中後期作品解析 第十一章、虛無主義對抗傳統主義 ──論宋澤萊〈弱小民族〉的哲學思想.