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1
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Quandaries between the Issues of Worldliness and the
Profoundness of Confucius – Re-visiting the
Conception of Zhuangzi’s “Knowing Confucius” from
“In the World of Men,” the Zhuangzi
This article revisits the topic “Zhuangzi
Honoring Confucius” based on investigating the chapter
“In the World of Men” from the Zhuangzi. On the
one hand, by analyzing the paragraphs whereby
“Confucius” is featured as the main character, this
paper examines the notions that Zhuangzi wishes to
explore and construct by means of the “Confucius”
imagery. On the other hand, the paper compares and
contrasts the “Confucius” imagery and Zhuangzi’s
ideas to contemplate Zhuangzi’s reasons for inserting
such imagery in his own narrative, and to discern the
ideological similarities and differences between
Zhuangzi and Confucius. There are two types of
“Confucius” imageries featured in the
Zhuangzi a person comprehending Taoism and a
person pursuing achievements. Through juxtaposing the
fictional and historical Confucius imageries, this paper
argues that the intersection of both types of imageries
represents Zhuangzi’s acceptance and transcendence of
Confucius ideology. Hence, under such conflicting
contexts, it is inadequate to claim that Zhuanzi either
“deprecates Confucius,” by repudiating all his praises
for Confusious, or “honors Confucius,” by reverting
all his criticisms about Confucius. Therefore, to
encompass both aspects of “honoring” and
“deprecating,” this paper adopts instead the position
of “comprehending Confucius.”
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Chen, Yong-han
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2
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Pursuing Promising and Satisfactory Ideal at the Yuan
Kuang Monastery: A Study of Master Benji’s Poetry
during his Early Period of Residency in Taiwan
Master Benji (1884-1968), originally named
Long Can, was born in Tongcheng, Anhui. He became a monk
in Taiwan and completed multiple works, including
The Poetry of Huaibo Mountain House (懷柏山房吟草).
In 1949, sixty-six-year-old Lung Can sojourned in Taiwan
because of the Chinese Civil War. During his stay, he
followed Master Miaoguo in the Zhongli Yuan Guang
Monastery, and entered monastic life under the Dharma name
Benji after receiving ordination from Master Nanting.
Although Master Benji traveled extensively during his
lifetime, he mainly resided at Huaibo Mountain House
(懷柏山房), Yuan Guang Monastery before 1957. Through his
constant chantings of the lines from
Promising and Satisfactory Spirit of Yaodi
(光圓藥地靈), it signals that Master Benji shared a
spiritual commitment with Monk Yaodi (Fang Yi-zhi), who
also came from Master Benji’s hometown. Thus, at the Yuan
Kuang Monastery, he formed the Kuang Yuan (promising and
satisfactory) Ideal, which intimated his yearning for the
restoration of the nation. Additionally, during his
lifetime at the Yuan Guang Monastery, Master Benji often
versed poetry with literati, such as Xue Yi-song, Yang
Yi-feng, Yu Jing-tang and Yu You-ren, who visited Taiwan.
These collaborative poems reflected the collective
sentiments of the poets. Although at the Yuan Guang
Monastery he formed an inseparable bond with Taiwan,
Master Benji, being “an Old Longmian Wanderer,” still
yearned to return to his homeland. As he continued his
monastery life to fulfill Buddhism, his pursuit of the
Kuan Yuan Ideal still awaited the promised satisfatory
completeness.
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Hsieh, Ming-yang
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3
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The Counter-Enlightenment Connection between China
and Japan: Cai Yuanpei’s Reception of Inoue
Enryō’s Works
This paper draws attention to Cai
Yuanpei’s translations of Inoue Enryō’s
(1858-1919) works, showing how Western Counter-
Enlightenment thoughts are propagated and locally
transfigured in East-Asia. Moreover, this study reflects
how Cai acts initiatively by examining his selection and
reflection processes in his transcultral translation
endeavors. From 1900 to 1906, Cai derived the dialectic
of Enlightenment from editing and translating Inoue’s
works, e.g., “Protection of Country through Buddhism,”
and Lectures on Mystery Studies. By analyzing
several aspects of Inoue’s works, including the ideas
of Protection of Country through Buddhism,
affect/intellect religion, Mystery Studies and dialetics
on rationality, and aesthetics appreciation, the paper
discusses how such concepts directly and/or potentially
inspire Cai. In addition, a comparison of Inoue’s
Mystery Studies and Cai’s idea of “Replacing Religion
with an Aesthetics Education” further reveals the
mechanisms behind Cai’s philosophical development. The
aim of this paper is to argue that Inoue’s notion of
Enlightenment in religion and Cai’s Enlightenment
Sentimentality are closely related. As such, their
relatedness represents a connection of
Counter-Enlightenment between China and Japan, from
which both figures contribute to the
re-contextualization of transcultural exchange of
thoughts in the late Qing and early Republican China.
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Yau, Kevin Ting-kit
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4
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On Zeng Tian-zong’s Critique of Husserl’s
“Intentional Correlates”
Zeng
Tian-zong (1910-2007) is one of the representatives of
Taiwanese philosophy from the period of Japanese rule.
Through his concept of “Quasi-Truth-in-itself,” which is
one of Zeng’s main contributions to philosophy, he
criticizes the basic form of idealism. In response to
Husserl's “phenomenological reduction,” he proposes the
idea of “alethiological reduction” as the main basis for
“pure philosophy” in his study of alethiology. This
paper examines Zeng’s critique of Husserl's
phenomenology, especially of Husserl's “intentional
correlates,” which are pertinent to the “sense” (Sinn)
and “object” (Gegenstand) in intentional acts. As the
discussion of “intentional correlates” has been a
classic and long-running dispute among the “Husserl
scholars,” this paper further appends the complications
of phenomenology to A. Gurwitsch’s, Dagfinn
Føllesdal’s and R. Bernet’s respective
interpretations in order to highlight Zeng Tian-zong’s
robust contribution to philosophy.
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Huang, Wen-hong
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5
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The Borderline between the Human and the Calligraphy,
and the Distinction between the Fundamentals and the
Ancillaries: Techniques and Human Limits in Zhao Yi’s
Against Cursive Calligraphy
Written during the Eastern Han period,
Against Cursive Calligraphy, being the very first
Chinese essay on calligraphy, is the earliest documented
criticism of cursive calligraphy. To affirm their
aesthetic awareness, later scholars have defended the arts
by accusing Against Cursive Calligraphy of imposing
a moral framework, which privileges practicality over
aesthetics, on cursive calligraphy. Nevertheless, this
article argues that
Against Cursive Calligraphy should not be
understood as a denounciation of calligraphy due to a lack
of aesthetic awareness. Rather, it should be interpreted
reflectively based on the examination of pan-aesthetic
cultural phenomen and the division of disciplines. In this
light, Against Cursive Calligraphy is indeed ahead
of its time due to its accentuation of the cursive’s
cultural development during the budding aesthetic
progession of calligraphy. According to
Against Cursive Calligraphy, the birth of art
originates from techniques without traces of their origin,
and the birth of techniques originates from humans who
leave their origins behind. Hence, this article argues
that the birth of art is not directly linked to human
awareness, but is connected to the absence of humanity.
Furthermore, the development of cursive calligraphy
indicates how techniques challenged the human limits and
forced people to reassess and determine their future.
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Shen, Yu-chang
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