This book begins with a reflection on dichotomies in comparative studies of Chinese and Western literature and aesthetics. Critiquing an oppositional paradigm, Ming Dong Gu argues that despite linguistic and cultural differences, the two traditions share much common ground in critical theory, aesthetic thought, metaphysical conception, and reasoning. Focusing on issues of language, writing, and linguistics; metaphor, metonymy, and poetics; mimesis and representation; and lyricism, expressionism, creativity, and aesthetics, Gu demonstrates that though ways of conception and modes of expression may differ, the two traditions have cultivated similar aesthetic feelings and critical ideas capable of fusing critical and aesthetic horizons. With a two-way dialogue, this book covers a broad spectrum of critical discourses and uncovers fascinating connections among a wide range of thinkers, theorists, scholars, and aestheticians, thereby making a significant contribution to bridging the aesthetic divide and envisioning world theory and global aesthetics.

offers a totally new view on the nature and rationale of Zen/Chan and enlightenment The book offers new insights for thinkers, scholars, artists, neuroscientists as well as those practicing Zen, Mindfulness, and psychotherapy provides an interdisciplinary perspective that embraces historical scholarship, philosophical inquiry, textual analysis, psychological studies, Chan practice, and neuroscientific research

Why, for centuries, have the West and the world continuously produced China knowledge that deviates from Chinese realities? Why, since the mid-nineteenth century, have Chinese intellectuals oscillated between commendation and condemnation of their own culture, and between fetishization and demonization of all things Western? And why have some of the world's wisest thinkers expressed opinions on Chinese culture, which are simply wrong? In order to answer these questions, this book explores the process of knowledge production about China and the Chinese civilization and in turn, provides a critique of the ways in which this knowledge is formed. Ming Dong Gu argues that the misperceptions and misinterpretations surrounding China and the Chinese civilisation do not simply come from misinformation, biases, prejudices, or political interference, but follow certain taken-for-granted principles that have evolved into a cultural unconscious. Indeed, Gu argues that the conflicting accounts in China-West studies are the inevitable outcome of this cultural unconscious which constitutes the inner logic of a comprehensive knowledge system which he terms 'Sinologism'. This book explores Sinologism's origin, development, characteristics, and inner logic, and critiques its manifestations in the writings of Chinese, Western, and non-Western thinkers and scholars, including Montesquieu, Herder, Hegel, Marx, Weber, Russell, Pound, Wang Guowei, Guo Moruo, Gu Jiegang, Wen Yiduo, and many others in diverse disciplines from arts and humanities to social sciences. In doing so, Gu demonstrates why the existing critical models are inadequate for Chinese materials and makes an attempt to construct an alternative theory to Orientalism and postcolonialism for China-West studies and cross-cultural studies. Sinologism crosses over the subjects of history, thought, literature, language, art, archaeology, religion, aesthetics and cultural theory, and will appeal to students and scholars of East-West studies with a particular focus on China, as well as those interested in cultural theory more broadly.

This book is a lexical ambassador with the dual responsibility of bridging the West and East and enhancing psychoanalytic conceptualization in the course of such an encounter. By juxtaposing the familiar with the unfamiliar, it seeks to enrich our understanding of both. Within its pages, distinguished psychoanalysts from East and West weave a fine and colorful tapestry of the ubiquitous and idiosyncratic, the plebian and profound, and the neurotically-inclined and culturally-nuanced. They provide meticulous historical accounts of the development of psychoanalysis in Japan, Korea, and China and familiarize the reader with interesting personages, quaint phrases, cultural nuances, founding of journals, and emergence of groups interested in psychoanalysis. The contributors to the book discuss the depth-psychological concepts of amae, Wa, Ajase complex, and the 'filial piety complex, ' thus underscoring the intricate interplay of drive and ego development with the powerful forces of ancestral legacies and their attendant myths and fantasies. The reverberations of these aesthetic and relational paradigms in epic love stories, martial arts, and cinema are also elucidated. In addition, the book offers insights into the psychosocial trials and tribulations of the Western immigrant populations from these countries and their offspring. Finally, the implications of all this to the conduct of psychotherapy and psychoanalysis are addressed

The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook's themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.

This book is a lexical ambassador with the dual responsibility of bridging the West and East and enhancing psychoanalytic conceptualization in the course of such an encounter. By juxtaposing the familiar with the unfamiliar, it seeks to enrich our understanding of both. Within its pages, distinguished psychoanalysts from East and West weave a fine and colorful tapestry of the ubiquitous and idiosyncratic, the plebian and profound, and the neurotically-inclined and culturally-nuanced. They provide meticulous historical accounts of the development of psychoanalysis in Japan, Korea, and China and familiarize the reader with interesting personages, quaint phrases, cultural nuances, founding of journals, and emergence of groups interested in psychoanalysis. The contributors to the book discuss the depth-psychological concepts of amae, Wa, Ajase complex, and the "filial piety complex," thus underscoring the intricate interplay of drive and ego development with the powerful forces of ancestral legacies and their attendant myths and fantasies. The reverberations of these aesthetic and relational paradigms in epic love stories, martial arts, and cinema are also elucidated. In addition, the book offers insights into the psychosocial trials and tribulations of the Western immigrant populations from these countries and their offspring. Finally, the implications of all this to the conduct of psychotherapy and psychoanalysis are addressed.

Traditional Chinese philosophy, if engaged at all, is often regarded as an object of antiquated curiosity and dismissed as unimportant in the current age of globalization. Written by a team of internationally renowned scholars, this book, however, challenges this judgement and offers an in-depth study of pre-modern Chinese philosophy from an interdisciplinary perspective. Exploring the relevance of traditional Chinese philosophy for the global age, it takes a comparative approach, analysing ancient Chinese philosophy in its relation to Western ideas and contemporary postmodernist theories. The conversation extends over a broad spectrum of philosophical areas and themes, ranging from metaphysics, hermeneutics, political theory, religion and aesthetics to specific philosophical schools including Confucianism, Daoism, and Buddhism. By engaging many time-honoured philosophical issues from a comparative perspective, this book bridges the gap between Eastern and Western thought and emphasises the need for a newly fortified global humanism and a deeper appreciation of different philosophical and religious values in an age gripped by large-scale crises. Arguing that traditional Chinese philosophy has immediate relevance to the many challenges of modern life, this book will be useful to students and scholars of Asian Philosophy and Asian Studies in general.

This book begins with a reflection on dichotomies in comparative studies of Chinese and Western literature and aesthetics. Critiquing an oppositional paradigm, Ming Dong Gu argues that despite linguistic and cultural differences, the two traditions share much common ground in critical theory, aesthetic thought, metaphysical conception, and reasoning. Focusing on issues of language, writing, and linguistics; metaphor, metonymy, and poetics; mimesis and representation; and lyricism, expressionism, creativity, and aesthetics, Gu demonstrates that though ways of conception and modes of expression may differ, the two traditions have cultivated similar aesthetic feelings and critical ideas capable of fusing critical and aesthetic horizons. With a two-way dialogue, this book covers a broad spectrum of critical discourses and uncovers fascinating connections among a wide range of thinkers, theorists, scholars, and aestheticians, thereby making a significant contribution to bridging the aesthetic divide and envisioning world theory and global aesthetics.

The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook's themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.

Why, for centuries, have the West and the world continuously produced China knowledge that deviates from Chinese realities? Why, since the mid-nineteenth century, have Chinese intellectuals oscillated between commendation and condemnation of their own culture, and between fetishization and demonization of all things Western? And why have some of the world's wisest thinkers expressed opinions on Chinese culture, which are simply wrong? In order to answer these questions, this book explores the process of knowledge production about China and the Chinese civilization and in turn, provides a critique of the ways in which this knowledge is formed. Ming Dong Gu argues that the misperceptions and misinterpretations surrounding China and the Chinese civilisation do not simply come from misinformation, biases, prejudices, or political interference, but follow certain taken-for-granted principles that have evolved into a cultural unconscious. Indeed, Gu argues that the conflicting accounts in China-West studies are the inevitable outcome of this cultural unconscious which constitutes the inner logic of a comprehensive knowledge system which he terms 'Sinologism'. This book explores Sinologism's origin, development, characteristics, and inner logic, and critiques its manifestations in the writings of Chinese, Western, and non-Western thinkers and scholars, including Montesquieu, Herder, Hegel, Marx, Weber, Russell, Pound, Wang Guowei, Guo Moruo, Gu Jiegang, Wen Yiduo, and many others in diverse disciplines from arts and humanities to social sciences. In doing so, Gu demonstrates why the existing critical models are inadequate for Chinese materials and makes an attempt to construct an alternative theory to Orientalism and postcolonialism for China-West studies and cross-cultural studies. Sinologism crosses over the subjects of history, thought, literature, language, art, archaeology, religion, aesthetics and cultural theory, and will appeal to students and scholars of East-West studies with a particular focus on China, as well as those interested in cultural theory more broadly.

This ambitious work provides a systematic study of Chinese theories of reading and writing in intellectual thought and critical practice. The author maintains that there are two major hermeneutic traditions in Chinese literature, the politico-moralistic mainstream and the metaphysico-aesthetical undercurrent. In exploring the interaction between the two. Ming Dong Gu finds a movement toward interpretive openness. In this, the Chinese practice anticipates modern and Western theories of interpretation, especially literary openness and open poetics. Classic Chinese works are examined, including the "Zbouyi (the "I Ching or Book of Changes), the "Shijing (the "Book of Songs or Book of poetry), and selected poetry; along with the philosophical backgound of the hermeneutic theories. Ultimately, Gu relates the Chinese practices of reading to Western hermeneutics offering a cross-cultural conceptual model for the comparative study of reading and writing in general.

In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory. He argues that because Chinese fiction, or