This paper relocates the philosophical discourse on the Thing (das Ding) to the world of classical Daoism. In doing so, it explores the bond between the One, the Thing and its signifier before discussing how the Thing unveils itself to the world while receiving the gift of nothingness from Dao. It furthermore contends that the two most prominent discussions of the Thing in the Western tradition--those by Heidegger and Lacan--while philosophically valuable in their own right, fail to provide the degree (...) of profundity seen via a Daoist reading. What will become apparent is that the Thing qua the One serves to delineate the cosmological and human realms of reality, negating any inclination one might have of it as being anything but mystical. (shrink)

This article investigates the concept of time as it is laid forth in the Daoist text, the Zhuangzi 莊子. Arguing that authentic time lies with cosmogony and not reality as envisioned by humanity, the Zhuangzi casts off the ontology of the present-now in favor of the existentially creative negativity of Dao 道. As the pivot of Dao, nothingness not only allows us to side-step the issue of temporal directionality, it reflects the meontological nature of Daoist cosmology in general. Framing time (...) in terms of the motion of nothingness, this paper concludes that the authentic time of Dao reveals itself through the principle of creation qua rest. Experiencing such temporal self-grounding, the sage becomes existentially awakened such that temporal ekstases becomes unfathomable. (shrink)

Whether music is a catalyst for virtuous or licentious behavior, decadent or sparse thoughts, there is no doubting its importance to human civilization; but what of the sounds of Nature? For the Daoist philosopher Zhuangzi 莊子, the sounds of Nature are the epitome of what humanity calls music. Neither contrived nor laden with predispositions, they reflect the unity of things in Dao 道. Focusing on the xianchi 咸池 story in Chapter 14 of the Zhuangzi, this article argues that the true (...) value of music for Zhuangzi is not to be found in the moral or aesthetic symbolism of its notes but in its ability to return humanity to Dao. For this to happen, one must transcend the particularities of human music so as to recognize the oneness of sounds arising from Nature. Equipped with such awareness, one can then listen for the soundless music of Dao. However, music of this magnitude is so profound that conventional terminology will fail to encapsulate it, thus the xianchi story can be read as an instance of musical apophasis. (shrink)

Wei-Jin period is characterized by neo-Daoism ( xuanxue 玄學), and J I Kang lived in the midst of this philosophical exploration. Adopting the naturalism of the Zhuangzi , J i Kang expressed his socio-political concerns through the medium of music, which was previously regarded as having moral bearing and rectitude. Denying such rectitude became central for J i Kang, who claimed that music was incapable of possessing human emotion, releasing it from the chains of Confucian ritualism. His investigation into the (...) name and reality of musical expression gave music an “aesthetic turn” lacking in Qin and early Han thought, and by making use of concepts such as natural harmony and spontaneity, J i Kang was able to turn away from the negative aesthetics of earlier thinkers such as H e Yan and W ang Bi to one cherishing the naturalism espoused by Zhuangzi. (shrink)

Martin Heidegger has made uncovering the truth of being his life’s work. He ultimately came to locate this truth at the site of the clearing (lichtung), which allowed him to sweep away the traditional formulation of the question of being and begin anew with beyng. This second beginning, as Heidegger called it, stood apart from the original in that he saw fit to cloak beyng in nothingness. This paper explores Heidegger’s use of nothingness and his claim that in order to (...) overcome the divide between the two beginnings, we must leap into the abyss of the clearing. Given Heidegger’s interest in East Asian philosophy, his use of nothingness appears to resemble that of Daoism. Despite this outward similarity, however, this paper will argue that Heidegger’s doctrine of nothingness failed to grasp the cosmological significance of the clearing for he saw it only in terms of symbolizing the existential play of being. Thus while Heidegger argues that the clearing marks the unconcealement of beyng, Daoism uses the clearing to point us to the root of being in nothingness. (shrink)

Robert Neville’s three-volume set, Philosophical Theology, is a work of considerable physical heft and remarkable intellectual scope, a magnum opus that redefines how we understand religion and its place in the interconnected world of today: “Religion is human engagement of ultimacy expressed in cognitive articulations, existential responses to ultimacy that give ultimate definition to the individual and community, and patterns of life and ritual in the face of ultimacy”. This new definition is necessitated by the fact that “the ultimate reality (...) of the world consists in its being created in all its spatiotemporal complexity by an ontological act of creation”. Philosophical... (shrink)

Ji Kang’s “An Essay on Nourishing Life” has, for much of its history, been overshadowed by his more famous work “Sound is without Grief or Joy.” Be that as it may, “An Essay on Nourishing Life” is also an important text in that it delves into the interdependence of the heart-mind, spirit, and vital breath, and into how harmony between them is the key to ensuring physical longevity. In addition to investigating this aspect of his thought, this paper will also (...) discuss Ji Kang’s attention to the vicissitudes of knowledge and desire and to the need to temper them with tranquility and stillness. “An Essay on Nourishing Life” can thus be read as an extension of classical Daoist theories of self-cultivation while at the same time elaborating upon them by bringing together their disparate components into a coherently unified doctrine. (shrink)