The article focuses on the differences between Eastern and Western art, characteristics of the representation of women's images in Eastern and Western art, and aesthetic criteria regarding women's images in Eastern and Western art. The author emphasized the need to understand the image of women in Eastern and Western visual artworks in different cultural and historical contexts and concluded that studying the image of women in visual art can help one better understand regional gender paradigm differences. To understand (...) the representation of women in Eastern and Western cultures, it is necessary to first understand the differences and similarities between these two cultures in order to gain a deeper understanding of how women are portrayed in these cultures. A few of the differences that can be found between East and West include the geographical structure, the ethno-cultural colors, the social outlooks, and the aesthetic ideals of the two regions. In addition to these factors, it is also important to consider how the visual arts of the two regions differ in their methods, materials, and religious, philosophical and philosophical perspectives. Throughout the article, the author discusses these aspects in great detail, showing specific approaches as to how the female image is represented in Eastern and Western visual art traditions. As such, the article provides valuable insight into the cultural divide between East and West and how their respective artistic styles have interacted with each other. (shrink)

This volume contains the proceedings of a conference in Meran in October 2015 on intercultural aesthetics with the addition of some external contributions. Two general papers on the topic concerned (Ram Adhar Mall, Giusi Strumiello) are followed by contributions on music (H.-C. Günther on Mahler and on Busoni, Yoon Young Serena Kim on Yun Isang), Indian and Chinese art (Ram Adhar Mall, Harro von Senger, Gabriele Kiesewetter), urban planning (Thilo Hilpert) and film (Udo Steinbach). The contributions on art and urban (...) planning are amply illustrated. The appendix contains colour reproductions of an exhibition of watercolours by the Chinese artist Hong Yi with an introduction to the artist's work and detailed explanations of the painting by Gabriele Kiesewetter. (shrink)

Philosophical reflections on journeys and crossings, homes and habitats, have appeared in all major East Asian and Western philosophies. Landscape and travelling first emerged as a key issue in ancient Chinese philosophy, quickly becoming a core concern of Daoism and Confucianism. Yet despite the eminence of such reflections, Landscape and Travelling East and West: A Philosophical Journey is the first academic study to explore these philosophical themes in detail. Individual case studies from esteemed experts consider how philosophical (...) thought about places and journeys have inspired and shaped major intellectual and cultural traditions; how such notions concretely manifested themselves in Chinese art, particularly in the genres of landscape painting and garden architecture. The studies present a philosophical dialogue between Confucianism and Daoism on issues of social space and belonging and include discussion on travel and landscape in Buddhism as well as Japanese and Tibetan contexts. Approaching the topic from an inter-cultural perspectives, particularly East Asian philosophies, and using these to enrich contemporary reflections on space, the environment, and traversing, this unique collection adds an important voice to present philosophical, political, and cultural discourses. (shrink)

Defining the meaning and spiritual use of sacred art through its symbolic content and dependence on metaphysical principles, this work is wide in scope, covering Hindu, Buddhist, Christian, Islamic, and Taoist art.

This thesis is about the creativity in the East and the West, but I will mainly focus on the view of creativity in ancient Greek philosophy and Chinese philosophy. In the first chapter, I will explore the concept of creativity, the history of creativity, and the research on creativity, including the creativity research in psychology and philosophy, which will set the stage for further disscusion. Then in the second chapter, I will start from Plato’s dialogue, Ion, and explore (...) the traditional theory of creativity in ancient Greek philosophy, and claim that their creative ability is inspired by divine being. After this, I will show people’s view on creativity has undergone a process of demystification. During this process, people gradually began to resist the divine source and explore the world individually and independently. Meanwhile, the meaning of the concept of creativity has become broader, since it is not limited to poem any more, but it can be applied to other fields, such as art, science, and education. In the third chapter, I will turn to the modern creativity theory, including the lateral thinking and emotional creativity, and explore how to be creative with lateral thinking techniques and how to improve creativity through emotion regulation. After the examination in the West, I will turn to the theory of creativity in Chinese philosophy, by focusing on classical works in Daoism and Confucianism. In the fourth chapter, I will explore the view of creativity in philosophy of Daoism. I will claim that the creativity in Daoism is natural and cosmological, and there is no external creative source, so I will claim it is self- creativity, which is distinct from the ancient Western creativity pushed by external divine power. In the fifth chapter, I will argue that the creativity in Confucianism is evolutionary, which is unlike the revolutionary creativity in the West, and I will propose the way to become creative in Confucianism based on its classics, Analects, and then will explore the creativity principle and how the agent cultivate their creative ability in Confucianism. In the conclusion, I will summarize the difference between the creativity in East and West, from the perspective of the source of creativity, nature of creativity. I will claim that the source of creativity in ancient Greek philosophy is divine being, whereas there is no divine source for creativity in Chinese philosophy, therefore, the creativity in the West traditionally is inspired creativity, while the creativity in the East traditionally is natural and cosmological creativity. In addition, the concept of creativity in the West is revolutionary, whereas the concept of creativity in the East is evolutionary and the moral function of creativity is also addressed in Chinese philosophy. (shrink)

Can we find different means of communicative visual solutions to aid societies in the development of multicultural global communities? This means not revolving only around a particular language or even human language, but rather the concept and structure of communication. This transforms any kind of sign, body gesture or visual element into a method of communication, not simple phenomena. The aim of the research is to use media art and new technology to establish a better (wide) visual (...) communicative language in multicultural societies and provide a solid bridge between east and west, through in-depth visual/technological experimentation, seeking a transcultural visual solution to the problem of visual integration. Can any perceivable phenomenon become a conveyor of meaning? While language is based very much on common agreements, the way each of us responds to a message can be entirely different. Communication therefore creates diversity from uniformity: the idea of mixing setups of humans and machines (robots, computers, etc.) that are somehow able to communicate. The communication would give rise to some sort of choreography of movements that is synchronized because of the communication but diverse because of different responses to the communication. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced (...) on May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

The famous 1893 Chicago World’s Fair celebrated the dawn of corporate capitalism and a new Machine Age with an exhibit of the world’s largest engine. Yet the noise was so great, visitors ran out of the Machinery Hall to retreat to the peace and quiet of the Japanese pavilion’s Buddhist temples and lotus ponds. Thus began over a century of the West’s turn toward an Asian aesthetic as an antidote to modern technology. From the turn-of-the-century Columbian Exhibition to the (...) latest Zen-inspired designs of Apple, Inc., R. John Williams charts the history of our embrace of Eastern ideals of beauty to counter our fear of the rise of modern technological systems. In a dazzling work of synthesis, Williams examines Asian influences on book design and department store marketing, the commercial fiction of Jack London, the poetic technique of Ezra Pound, the popularity of Charlie Chan movies, the architecture of Frank Lloyd Wright, and the design of the latest high-tech gadgets. Williams demonstrates how, rather than retreating from modernity, writers, artists, and inventors turned to traditional Eastern technê as a therapeutic means of living with—but never abandoning—Western technology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced (...) on May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

As a new trend in aesthetics appearing concurrently in the West and the East in the last ten years, the aesthetics of everyday life points to a growing diversification among existing methodologies for pursuing aesthetics, alongside the shift from art-based aesthetics. The cultural diversity manifest in global aesthetics offers common ground for the collaborative efforts of aesthetics in both the West and the East. Given the rapidly growing interest and its potential for attracting new audiences extending (...) beyond the more narrowly focused traditions of twentieth-century analytic and environmental aesthetics, it stands to command its own share of attention in the future of aesthetic studies. The aesthetics of everyday life has become a stream of thought with a global ambition. This interest has led to numerous systematic and in-depth works on this topic, some of which were conducted by the authors represented in this volume. A salient feature of this book is that it not only represents the recent developments of the aesthetics of everyday life in the West, but also highlights the interaction between scholars in the West and the East on this topic. Thus, the project is a contribution toward mutual progress in the collaboration between Western and Eastern aesthetics. What distinguishes this book from other anthologies and monographs on this topic is that it reconstructs the aesthetics of everyday life through cultural dialogue between the West and the East, with a view to building a new form of aesthetics of everyday life, as seen from a global perspective. At present, the aesthetics of everyday life as a newly emergent approach to aesthetics may encounter skepticism among aestheticians accustomed to the rigors of analytic philosophers who prefer to discuss aesthetics at the level of abstract concepts and argument, and who tolerate the particulars of experience mainly as illustrations. But, there is no reason to abandon the pursuit of the aesthetics of everyday life in the face of such objections. On the contrary, there are many benefits to gain in bringing aesthetics to bear on a wider sphere of human life, made possible through efforts to show the relevance of aesthetics to a broader range of human actions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about (...) the term "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with (...) links between Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

Preview: /Commentary: Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love, 436 pages./ Richard Shusterman’s Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love is a masterpiece in a number of respects. With its focus on erotic love and the aesthetics of lovemaking, the book is to be admired for having the audacity to broach a topic that tends to be neglected – if not repressed – in contemporary academic scholarship. But Ars (...) Erotica is far from being “simply” about sex and different arts of love. In exploring classical erotic theories and ideals in Western, Chinese, Indian, Islamic and Japanese cultures, it reveals an impressive amount of knowledge and erudition when analyzing, documenting, and contextualizing the various ars erotica in their different social, cultural, political, philosophical, and religious milieus. Moreover, although Shusterman’s guiding thread is the aesthetic dimension of classic ars erotica, the book also has an important ethical and spiritual dimension, as it compellingly demonstrates how the cultivation of physical beauty and sensual pleasures was – at least in classical ancient traditions – indissociable from a wider concern with the cultivation of one’s character and virtue, that is, with an art of living in which sexual practices and attitudes were strongly embedded and from which they ultimately derived their deep symbolic meaning and relevance. (shrink)

In this article, Carter tells the weaving tale of the globalization of art and the interplay between eastern and western contemporary art. Carter sketches out the history of contemporary art in China with a keen eye towards the interplay between Chinese artists and the various western influences over time, such as the 16th century Jesuit artists, Impressionism, Cubism, Fauvism, and Dada to name a few. This history is marked by a ubiquitous tension as Chinese artists incorporated western innovations into their (...) work, while also maintaining the poetic and literary foundation of Chinese art. Coupling that with the influence of the Cultural Revolution and Soviet realism on the Chinese are world, Carter discusses the tenuous boundaries upon which Chinese art has been and continues to be produced. After considering this history, Carter goes on to analyze the effect Chinese art has on the western art world--both how it shapes the western art world and how this globalization, in turn, shapes Chinese art. In navigating this boundary, Carter explains how Chinese artists find mediate appealing to a global audience while maintaining their Chinese roots. Carter concludes this essay by considering the economic success of Chinese art in the west and drawing attention to the negotiations still taking place today between local culture/global culture, tradition/innovation and authenticity/market appeal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism (...) and postmodernism. Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

The trade-offs of “meaning-making” between East and West may be regarded as an aggiornamento for any culture in contact. But since aggiornamento entails a wide range of subjects, the essay situates the meaning-making within the scope of masterpieces in diverse formats, from the printed literary text to the painted image. Specifically, the essay offers a rethinking of the cross-cultural semiotic dialogue, paving the way for recognizing the homo significans. However, the customary framing of the Spoliarium does not seem (...) to warrant its conscious knowledge and understanding as a text and a visual art. For this reason, the essay endorses its reframing and its aggiornamento, which is induced by the rapid advancement of science and technology. (shrink)

The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. The cultural space of prominent representatives of the Russian avant-garde, including V. Kandinsky and D. Burliuk, was distinguished by a combination of artistic creativity and theoretical views, that is, a variety of synthesis of visual, verbal, (...) auditory and other texts. Accordingly, the object of the study is the creative and theoretical heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the subject is the identification of characteristic features of their cultural worlds, such as dialogicity and textuality. The scientific novelty and purpose of our research consists in the culturol analysis and method of comparing the artistic and theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk, in identifying the inseparable connection of their various texts: artistic, visual, verbal, auditory and others. It is established that the originality of the national culture is due to the history of Russia and its location between Europe and Asia. The simultaneous coexistence of cultural phenomena of the past, present and future, their continuity and competition among themselves is a non-linear process, which happens in the era of the Silver Age. This "transitional" period at the junction of the XIX-XX centuries is characterized as an "explosion" situation. The embodiment of the unity of the traditions of Russian and European arts, the interweaving of their artistic achievements and theoretical attitudes in V. Kandinsky's worldview, as well as theoretical views on art problems and the originality of D. Burliuk's artistic text with his passion for Oriental art – all this confirms the similarity of the creative attitudes of artists-thinkers. A comparison of their verbal and artistic texts leads to the conclusion that the features of the cultural worlds of V. Kandinsky and D. Burliuk are dialogic, textual and synthetic. (shrink)

The influence of eastern thought on the culture of the United States and Western Europe is now seen in the spread of Buddhism, meditation, martial arts, yoga, oriental art, and hundreds of other Asian imports. Written during World War II, this classic work correctly anticipated the clash of eastern and western ideologies which has dominated the post-war landscape.

In this article I analyse the extent to which there has been a shift in the cultural turn in legal scholarship and specifically from visual to what I call material jurisprudence, that is from visual to material ways of knowing law. I do so through an analysis of Desmond Manderson’s edited collection, Law and the Visual: Representations, Technologies, Critique, and Katherine Biber’s monograph, In Crime’s Archive: The Cultural Afterlife of Evidence. Inspired by the material turn in the (...) arts and humanities I apply a material lens as defined by historians of emotions working within this turn to these books. Using this lens, I analyse the extent to which the authors conceptualise and analyse their primary sources in material terms. In so doing it is my intention to encourage scholars of visual jurisprudence to consider the multisensorial nature of law by considering the material as a constitutive part or instead of the visual as has happened elsewhere in the arts, humanities and social sciences, as well as to do so with greater specificity and depth. (shrink)

Philosophers, novelists, and intercultural comparisons : Heidegger, Kundera, and Dickens /​ Richard Rorty Lifeworlds, modernity, and philosophical praxis : race, ethnicity, and critical social theory /​ Lucius Outlaw Modern China and the postmodern West /​ David L. Hall From Marxism to post-Marxism /​ Svetozar Stojanović Incommensurability and otherness revisited /​ Richard J. Bernstein Incommensurability, truth, and the conversation between Confucians and Aritotelians about the virtues /​ Alasdair MacIntyre The commensurability of Indian epistemological theories /​ Karl H. Potter Pluralism, relativism, (...) and interaction between cultures /​ Bimal K. Matilal The problem of relativism /​ Jiang Tianji. Between relativism and fundamentalism : hermeneutics as Europe’s mainstream political and moral tradition /​ Ferenc Feher Conceptual schemes and linguistic relativism in relation to Chinese /​ A.C. Graham The origins of the question : four traditional Japanese philosophies of language /​ Thomas P. Kasulis Meaning as imaging : Prolegomena to a Confucian epistemelogy /​ Roger T. Ames On the dual nature of traditional Chinese thought and its modernization /​ Li Zhilin A planetary macroethics for humankind : the need, the apparent difficulty, and the eventual possibility /​ Karl-Otto Apel Reasonable challenges and preconditions of adjudication /​ Antonio S. Cua The French Revolution and the Holocaust : can ethics be ahistorical? /​ Hilary Putnam Tradition and moral progress /​ Joel J. Kupperman The shape of artistic pasts, East and West /​ Arthur C. Danto. Surrealistic distortion of landscape and the reason of the milieu /​ Megumi Sakabe Why art changes /​ Richard Wollheim The transcendental in a comparative context /​ Frederick J. Streng Reflections on religious pluralism in the Indian context /​ Margaret Chatterjee Three enduring achievements of Islamic philosophy /​ Lenn E. Goodman Two dimensions of religion : reflections based on Indian spiritual experience and philosophical traditions /​ G.C. Pande Between nationalism and nomadism : wondering about the languages of philosophy /​ Graham Parkes The discourse of cultural authenticity : Islamist revivalism and enlightenment universalism /​ Aziz Al-Azmeh Traditional political values and ideas : an examination of their relevance to developments in contemporary African political order /​ Kwame Gyekye On the interpretation of traditional cultures /​ Maria L. Herrera. The concept of progress and cultural identity /​ Roop Rekha Verma Moses, Hsüan-tsang, and history /​ Agnes Heller Secularism : sacred and profane /​ Daya Krishna Scientific progress and content loss /​ Larry Laudan A dialectical view of scientific rationality and progress /​ Marcello Pera Scientific progress reconsidered /​ Ilkka Niiniluoto Does progress in science lead to truth? /​ Lorenz Krüger. (shrink)

A workshop sponsored by the American Academy of Arts and Sciences in 1989 brought together more than two dozen scholars in the humanities and social sciences to explore Confucian ethics as a common intellectual discourse in East Asia. The participants included specialists on the societies of China, Japan, Korea, Taiwan, Hong Kong, and Singapore as well as scholars who specialize in comparative studies. In nine intensive sessions, they probed the ways in which the Confucian ethic has shaped perceptions (...) of selfhood, dynamics of familial relations, gender construction, social organization, political authority, popular beliefs, and economic culture in East Asia. This book is a distillation of the essence of their multidisciplinary and cross-cultural examination of these issues. It seeks especially to illuminate claims that Confucian ethics have provided the necessary background and a powerful motivation in the rise of industrial East Asia, the most dynamic region of sustained economic growth and political development since World War II. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex (...) and shifting meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

The book focuses on three interrelated issues: the relationship between modernism and postmodernism; visuality and visual culture; and the relation between the East (former European socialist countries) and the West as regards aesthetics, globalization, culture, and the mechanisms of the presentation and representation of contemporary visual art. In the first part the author reflects upon some of the less noticed issues of modernism and its dominant theoretical narratives regarding art: its privileging of truth and its obfuscation (...) of some segments of European art. One of his central tenets is that recent postsocialist politicized postmodern visual art contradicts Peter Bürger's canonical theory about the avant-garde art of the previous century. The art and culture discussed throughout this volume predominantly concern the visual. For this reason, in the second part visual culture and its uneasy relationship with art and art history are an object of reflection, a topic which is then complemented with that of the embodied eye in the philosophy of Merleau-Ponty. Photography, its relation to truth, and the problematic expectation that an ontology of photography is possible or necessary is the theme of the closing chapter of this part of the book. In the third part the author offers a global view on philosophy of art, visual culture, and the institutions that disseminate them. (shrink)

Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...) world of existence, like the world of images, chaos or cosmos? Erwin Panofsky's1 great merit consists in having understood that, in spite of its confused appearance, the world of images is an ordered world and that it is possible to do the history of art as the history of images. In order to do this, he had to begin, as indeed he did, with the demonstration that classical art, in spite of the deep-rooted theoretical certitude, is also an art of the image; its forms are nothing if not images to which one tries to attribute the consistency of concepts, with the sole result of the demonstrating that even concepts are images and that the intellect is still another sector or segment of the image. · 1. See, e.g., Erwin Panofsky, Meaning in the Visual Art: Papers in and on Art History ; Studies in Iconology: Humanistic Themes in the Art of the Renaissance ; Problems in Titian, Mostly Iconographic ; Idea: Ein Beitrag zur Begriffsgeshicte der älteren Kunsttheorie [Idea: a concept in art theory, trans. Joseph J. S. Peake ]. Giulio Carlo Argan, who has seriously influenced the course of art history and criticism in postwar Italy, is professor of modern art at the University of Rome. He has written on Fra Angelico, Botticelli, Borromini, Brunelleschi, and Gropius and three volumes of critical essays on modern art. His Skira volume on Baroque art, Europe of the Capitals, is his only major work published in English. "Ideology and Iconology" originally appeared in Italian in the journal Storia dell'arte, which he edits, and in Psicon. Rebecca West, translator of this article and assistant professor of Romance Languages and Literatures at the University of Chicago, presently is collaborating on a translation of Dario Fo's theater. She has translated "Narrative Structures and Literary History" by Cesare Segre, for the Winter 1976 issue of Critical Inquiry. (shrink)

Aesthetics is not a subject usually associated with North Korea in Western scholarship, the usual tropes being autocracy, counterfeiting, drugs, human-rights abuse, famine, nuclear weapons, party-military dictatorship, Stalinism, and totalitarianism. Where the arts are concerned, they are typically seen as crude political propaganda. One British museum specialist writes that North Korean visual art is an "art under control," and one Russian historian insists that North Korean literature is devoid of the "beauty of language."1 As the short turns of (...) phrase and value judgments indicate, there has been no real attempt in English to engage the North Korean aesthetic on descriptive terms.North Korea is not a liberal .. (shrink)

Leading international scholars present analysis and case studies from different cultural settings, East and West, exploring aesthetic interest and experience in our daily lives at home, in workplaces, using everyday things, in our built and natural environments, and in our relationships and communities. A wide range of views and examples of everyday aesthetics are presented from western philosophical paradigms, from Confucian and Daoist aesthetics, and from the Japanese tradition. All indicate universal features of human aesthetic lives together with (...) their cultural variations. Comparative Everyday Aesthetics is a significant contribution to a key trend in international aesthetics for thinking beyond narrow art-centered conceptions of the aesthetic. It generates global discussions about good, aesthetic, everyday living in all its various aspects. It also promotes aesthetic education for personal, social, and environmental development and presents opportunities for global collaborative projects in philosophical aesthetics. (shrink)

For readers looking for insights into key issues linking current Eastern and Western views on the arts, aesthetics, and philosophy, Unsettled Boundaries offers fresh and insightful perspectives on current issues as seen by leading Chinese and Western scholars. Represented in the volume are previously unpublished essays of Nöel Carroll, Garry Hagberg, Richard Shusterman, and Jason Wirth alongside writings of Chinese peers Gao Jianping, Peng Feng, Liu Yuedi, Wang Chunchen and Cheng Xiangzhan. The essays in this volume draw attention to (...) evolving cultural and philosophical connections linking the cultures of East and West, while taking note of important differences in the respective cultures. These connections draw upon both traditional Confucian ideas and Chinese Marxist-Leninist aesthetics as well as western pragmatism, somaesthetics, and Wittgenstein-based analytic philosophy. Alongside these philosophical currents, are reflections on issues linking globalization to contemporary Balinese, Chinese, and Japanese arts, by Curtis Carter, Stephen Davies, Garry Hagberg, and Mary Wiseman. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text (...) but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This edited book considers the need for the continued dismantling of conceptual and cultural hegemonies of 'East' and 'West' in the humanities and social sciences. Cutting across a wide range of literature, film and art from different contexts and ages, this collection seeks out the interpenetrating dynamic between both terms. Highlighting the inherent instability of East and West as oppositional categories, it focuses on the 'crossings' between East and West and this nexus as a (...) highly-charged arena of encounter and collision. Drawing from varied literary contexts ranging from Victorian literature to Chinese literature and modern European literature, the book covers a diverse range of subject matter, including material drawn from psychoanalytic and postcolonial theory and studies related to race, religion, diaspora, and gender, and investigates topical social and political issues -including terrorism, nationalism, citizenship, the refugee crisis, xenophobia and otherness. Offering a framework to consider the salient questions of cultural, ideological and geographical change in our societies, this book is a key read for those working within world literary studies. (shrink)

Acupuncture, the traditional Chinese practice of needling to alleviate pain, offers a striking case where scientific accounts in two cultures, East and West, diverge sharply. Yet the Chinese comfortably embrace the apparent ontological incommensurability. Their pragmatic posture resonates with the New Experimentalism in the West--but with some provocative differences. The development of acupuncture in China (and not in the West) further suggests general research strategies in the context of discovery. My analysis also exemplifies how one might (...) fruitfully pursue a comparative philosophy of science that explores how other cultures investigate and validate their conclusions about the natural world. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, (...) east and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

Xu Bing ranks among the most recognized contemporary Chinese artists in the world today. His lifelong interest in word and image paired with his experiences as part of the Chinese diaspora have made him the subject of numerous publications dedicated to exploring culture and communication. With Xu Bing and Contemporary Chinese Art, editors Hsingyuan Tsao and Roger T. Ames bring a welcome addition to this corpus. Compiling seven essays from scholars of art history and philosophy, this volume in the SUNY (...) series in Chinese Philosophy and Culture offers a remarkable range of approaches for thinking about not only Xu Bing's work but also contemporary art and culture at large.In their introduction, the editors foreground .. (shrink)

Our environment is saturated in the English language due to globalisation; yet accompanying western philosophical concepts can be contested, even resisted, in different cultural contexts. The philosophical ideas associated with the Anglosphere are rooted in the cultural, economic, religious and social traditions of broader Anglo-European, or “western” culture and are decontested ideologically within that culture. The contestation of western ideology is beneficial for global culture, but this aspect of cross-cultural dialogue is often neglected in South Asia where English language learning (...) occurs in a post-colonial context and is often accompanied by the attempted internalisation of Anglo-European culture and norms. This paper contrasts the philosophical underpinnings of ethics in South Asia and the west. The metaphysical and cultural frameworks underlying these systems can result in conceptual misunderstandings that can only be resolved by dialogue. The aim of this theoretical paper is to examine ethical theories and show how English language can be instrumental in creating this cross-cultural dialogue. (shrink)

Work on the counterculture of the 1960s era usually doesn't do a lot with the art that accompanied and enriched the cultural upheaval of the time. The counterculture was spectacularly visual, what with the flamboyant clothing and exultation of the body that were everywhere, and yes, there were some notable artists such as the whimsical Peter Max, but the great creativity that was so much the engine and product of the counterculture has rarely received its due. At the same (...) time, the fact that the rise of countercultural art had more than a little to do with moving the American art scene westward from New York has hardly been noted until now. As the editors write in their introduction, "The unfortunate fate of the... (shrink)

The book discusses some general methodological problems pertaining to the Meeting of East and West, Confucianism and Kantian moral philosophy, Heidegger, ...

This co-edited volume compares Chinese and Western experiences of engineering, technology, and development. In doing so, it builds a bridge between the East and West and advances a dialogue in the philosophy of engineering. Divided into three parts, the book starts with studies on epistemological and ontological issues, with a special focus on engineering design, creativity, management, feasibility, and sustainability. Part II considers relationships between the history and philosophy of engineering, and includes a general argument for the necessity (...) of dialogue between history and philosophy. It continues with a general introduction to traditional Chinese attitudes toward engineering and technology, and philosophical case studies of the Chinese steel industry, railroads, and cybernetics in the Soviet Union. Part III focuses on engineering, ethics, and society, with chapters on engineering education and practice in China and the West. The book’s analyses of the interactions of science, engineering, ethics, politics, and policy in different societal contexts are of special interest. The volume as a whole marks a new stage in the emergence of the philosophy of engineering as a new regionalization of philosophy. This carefully edited interdisciplinary volume grew out of an international conference on the philosophy of engineering hosted by the University of the Chinese Academy of Sciences in Beijing. It includes 30 contributions by leading philosophers, social scientists, and engineers from Australia, China, Europe, and the United States. (shrink)

The basic concepts we use to frame metaphysical discussions – our tools of metaphysics – profoundly influence how those discussions proceed. Much recent work in anglophone metaphysics has centred on a set of hyperintensional such tools: grounding, dependence, fundamentality, and essence. This topical collection will provide new perspectives on these debates by bringing them into contact with Asian metaphysical traditions.

How do Eastern and Western perceptions of “tricky” or ethically ambiguous negotiation tactics differ? We address this question by comparing 161 Chinese and 146 Australian participants’ ratings of the appropriateness of different types of negotiation tactics. We predict that their differing cultural values (e.g., individualism/collectivism, importance of face) as well as their different implicit theories of how negotiation ought to be conducted (i.e., mental models, such as captured in The Secret Art of War: The 36 Stratagems) will be salient in (...) their perceptions of tactics. Examining 24 tactics falling into eight categories, we found that overall the Chinese respondents saw these tactics as more appropriate than did the Australian respondents. There were, however, differences across categories of tactics. Chinese participants rated tactics related to the 36 stratagems as significantly more appropriate than did Australian participants, including diverting attention, misrepresenting information and making false promises. In some cases, the Chinese also saw feigning positive feelings/emotions as more appropriate than did the Australian participants, while an Australian preference for feigning negative feelings/emotions was partially supported. The implications of these findings for practitioners are discussed, along with opportunities for future research. (shrink)

Explicates the mutually fundamental commonalities between the methods and practices of Western psychotherapies, especially those whose bases are social, interpersonal, and communicational, and the disciplines of Buddhism, Vedanta, Yoga, and Taoism.

Relates Eastern concepts to Western religion, art, and modern science, and suggests their relevance to the reader.

In lieu of an abstract, here is a brief excerpt of the content:CALL FOR PROPOSALS TRAUMA AND HEALING 12TH EAST-WEST PHILOSOPHER’S CONFERENCE MAY 24-31, 2024 The 12th East-West Philosopher’s Conference will explore the many dimensions of trauma and healing. While trauma can be physical, it can also be psychological, social, political, economic, and cultural—encompassing the immediate effects of global pandemics, the ongoing impacts of ethnic and gender bias, the intergenerational legacies of colonization and geopolitical strife, and (...) the planetary ramifications of anthropogenic climate disruption. Ours is an era in which differences of histories, cultures, and identities are engaged as sources of insight, but also one of retrenchment—a period of relational appreciation, but also one of schism. The global scientific community’s response to the COVID-19 pandemic was a stunning example of human potential for empathetic collaboration in the face of global personal and public health trauma. Yet, the economic trauma of the pandemic has resulted in crumbling international alliances, deepening trade wars, and an unfortunate collective reinvestment in zero-sum endgame framings of geopolitics against which there is no vaccination and through which the terms of healing have become delinked from the restoration of global wholeness. These traumas do not stop shaping our lives when the immediate danger comes to an end. Traumatic pain remains stored in the memories of peoples and individuals, it populates their imagination and shapes horizons of possibility. Thus a philosophical exploration of trauma and healing is not only diagnostic of current problems but also a form of genealogy. We invite participants to reflect upon the relational complexity of both trauma and healing, critically and historically engaging concrete occurrences of trauma while also drawing out theoretical insights regarding healing that strengthens and empowers and resists the forms of personal and social amnesia that make the repetition of trauma so tragically common. Of special interest are panels and papers that explore the trauma and healing at all scales from the interpersonal, to the relational traumas experienced by nations at war and cultures in conflict, thus addressing the interplay of the private and public spheres, of ethics and economics, of the human and the natural sciences, and among disciplines, classes, genders, and generations. Panel and paper proposals are encouraged that explore trauma and healing during the ongoing COVID-19 pandemic, the trauma of refugees, displaced and colonized peoples, trauma and healing in personal relationships, climate change as a form of trauma to the planet and its people, trauma and healing related to issues of gender and sexuality, and how philosophers of all traditions, ancient and modern, cross-culturally deal with trauma and healing. KEYNOTE PRESENTERS: Jin Y. Park, Chair of Philosophy and Religion at American University, Washington DC, “Translating Violence.” Ato Quayson, Jean G. and Morris M. Doyle Professor of Interdisciplinary Studies at Stanford University, CA, “The Ethnography of the Private Sphere: Trauma, Domesticity, and Healing in the Work of Toni Morrison.” We invite proposals for individual papers and panels. Please submit a 250-300 word abstract to the Conference organizers via: [email protected]. Submission Timeline: November 1, 2023 Notifications of acceptance for abstracts and panel proposals received by November 1 will be sent out by December 15, 2023. We have established an early submission timeline to facilitate faculty applying to their own institutions for travel funding. Abstracts received after November 1, 2023, will be vetted as received, taking into consideration the late submission. The absolute deadline for abstract submissions is March 15, 2024. After this, we will not be able to accommodate additional proposals. Final Papers Due: April 15, 2024 CONFERENCE REGISTRATION AND LOGISTICS: Hosted in keeping with the Hawaiian Islands’ spirit of aloha, breakfast and lunch will be provided for all registered presenters, as well as an opening reception and final dinner. The Conference does not provide lodging or travel support, but economical lodgings of various kinds are readily available in Honolulu. ABOUT THE EAST-WEST PHILOSOPHER’S CONFERENCE: The East-West Philosophers’ Conference series is the premier forum for convening philosophers from across the academy who are committed to cross-cultural inquiry. The Conference is the oldest continuous international gathering in Hawai‘i and has been a model of productive collaboration between the University of Hawai‘i at... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 335-358 [Access article in PDF] Between East and West: Hegel and the Origins of the Russian Dilemma Ana Siljak Nikolai Berdiaev, the eminent twentieth-century Russian philosopher, wrote that the "problem of East and West" was an "eternal" one for Russia. 1 Attempting to make sense of the violent upheavals that shook Russia in 1917, Berdiaev believed that (...) the source of Russian troubles lay in the "inconsistency of the Russian spirit" due to the "conflict of the Eastern and Western elements in her." 2 Russia, he argued, always contained within its wide territory an invisible and shifting border between two continents, and thus Russian society was forever torn between two cultures. Berdiaev insisted that Russia could not discover its true calling or its place in the world until it resolved its internal conflict between East and West. 3Berdiaev was contemplating the course of the nineteenth century, when Russia's geographical destiny had deeply troubled Russian intellectuals. In the late 1830s Russian thinkers began their minute analyses of cultural and historical sources, hoping to determine the essential character of their nation and believing that their research would enable them to predict Russia's future. Often, diverse questions of progress and stagnation, tradition and innovation, and the individual and society were all framed within this overarching problem of East versus West.It is tempting to see this Russian dilemma as longstanding and natural, given Russia's position between two continents. Indeed, many recent scholars have argued that Russian encounters with Asia, taking place within the framework of Russia's territorial expansion eastward, forced Russians to examine their relationships [End Page 335] with the Eastern, Asian world. 4 It is true that European geographers and historians have debated the location of the border between Asia and Europe since the Middle Ages. But before the nineteenth century this ambiguity hardly troubled Russian minds. The Muscovite state of the fifteenth and sixteenth centuries, for example, was well acquainted with cultures and lands to its East, engaging in trade and diplomatic relations with Muslim Tatars and others. Yet there is little evidence to suggest that Muscovy was concerned about its position between Eastern and Western countries. 5 Even Peter the Great, whom historians have credited for bringing European customs into Russia, was little concerned with the European/Asian divide in Russian culture. For him the most important geographical question was Russia's place among the northern states, and he was particularly obsessed with Sweden as Russia's primary military rival. 6After Peter's reign, educated Russians, as they became increasingly acquainted with Western European culture, experienced their first pangs of envy and self-doubt in the face of perceived European superiority. Nonetheless, throughout the eighteenth century few cultured Russians had trouble embracing a diverse historical legacy and national character--German, Slavic, Asian. After all, Europeans themselves were proud of their barbarian past. Peter the Great's chief historian, V. N. Tatishchev, wrote with full confidence and little concern that the Russian empire was located "in both Europe and Asia," noting that though more Russian people lived in Europe, Russia had more territory in Asia. In passing he mentioned that "where the border between these two large and most important cultures is located, no one has as yet determined for certain." 7 According to him, the Slavic people as a whole could be divided into Asian and European branches, thus both cultures were of importance in Russian history. 8The first of the great nineteenth-century Russian historians, Nikolai Karamzin, was proud of Russia's diverse heritage. Russia, he wrote, [End Page 336] raising its head between the Asiatic and European kingdoms, represented within its civic life the characteristics of these two parts of the world: a mixture of old Eastern customs, brought by the Slavs into Europe and renewed, so to speak, by our long connection with the Mongols; Byzantine customs borrowed by the Russians along with the Christian religion, and some German customs imparted by the Varangians.... 9This cultural "mixture... (shrink)