Karaoke - Japanese - Chinese - Japanese Music
Japanese Art - Chinese Art - Asia - Asian Love
To introduce this collection of research studies, which stem from the pro- grams conducted by The World Phenomenology Institute, we need say a few words about our aims and work. This will bring to light the significance of the present volume. The phenomenological philosophy is an unprejudiced study of experience in its entire range: experience being understood as yielding objects. Experi- ence, moreover, is approached in a specific way, such a way that it legitima- tizes itself naturally in immediate evidence. As such it offers a unique ground for philosophical inquiry. Its basic condition, however, is to legitimize its validity. In this way it allows a dialogue to unfold among various philosophies of different methodologies and persuasions, so that their basic assumptions and conceptions may be investigated in an objective fashion. That is, instead of comparing concepts, we may go below their differences to seek together what they are meant to grasp. We may in this way come to the things them- selves, which are the common objective of all philosophy, or what the great Chinese philosopher Wang Yang Ming called "the investigation of things".
It is in this spirit that the Institute's programs include a "cross-cultural" dialogue meant to bring about a profound communication among philosophers in their deepest concerns. Rising above artificial cultural confinements, such dialogues bring scholars, thinkers and human beings together toward a truly human community of minds. Our Institute unfolds one consistent academic program.
This wide-ranging and balanced Companion provides a vital overview of modern Chinese literature in different geopolitical areas, including mainland China, Taiwan, and other Chinese-speaking regions, from the 1840s to the present day. By reviewing major accomplishments of Chinese literary scholarship published in Chinese and English since the mid-twentieth century, this collaborative project brings attention to previously neglected areas such as late Qing literature, Sinophone literature, translated literature, ethnic minority literature, popular genres, and Internet writing.
A Companion to Modern Chinese Literature surveys topics under four categories: history and geography, genre and types, cultures and media, and issues and debates. These provide a representation of the best interdisciplinary scholarship, offering a revaluation of key issues and moving the critical discussion forward.
The international set of contributors, including leading scholars from mainland China and Hong Kong, bring insights from a broad range of disciplines covering Chinese studies, cultural studies, gender studies, literary studies, and media studies. The result is an improved understanding of the fast-developing field of modern Chinese literature as artistic projects, cultural institutions, social practices, ideological discourses, and scholarly endeavors.
Yingjin Zhang is Professor of Chinese Studies and Comparative Literature at University of California, San Diego, United States, and Visiting Chair Professor of Humanities at Shanghai Jiao Tong University, China.
From the author's INTRODUCTION.
The Chinese have the reputation of being a strange people, with a peculiar language, peculiar institutions, customs, and manners, utterly different from those of our Western countries.
Since Chinese ports were thrown open to foreigners, the influx of visitors of all kinds has continually" increased. Missionaries, diplomats, travelers - some led there by duty, others attracted by the prospect of a new field for studies, and others guided by mere curiosity - have crossed the country in all directions. From these visits has resulted a large number of books - relations of travels, descriptions of country, customs, and manners - books on any subject, all tending to acquaint Western nations with the wonderful Celestial Empire, and, principally, to point out the immense difference existing between Chinese and European ideas.
Amongst the subjects which have been treated with the least success by foreign writers, Chinese Music ranks prominently. If mentioned at all in their books, it is simply to remark that "it is detestable, noisy, monotonous; that it hopelessly outrages our Western notions of music," etc. I do not wish to create any discussions by contradicting these and many other erroneous statements found in descriptions of Chinese Music: it would take too long a time.
In the description I give here I will endeavour to point out the contrasts or similarity between Western and Chinese Music, to present abstruse theories in the least tiresome way, to add details never before published, and to give a short yet concise account of Chinese Music.
I am not pretentious enough to think that my work will be utterly irreproachable. Mistakes are so easily made; and if I have just alluded to the many mistakes which are found in books, it is merely with the intention of showing how careful we must be when writing, and, much more, how indulgent we need be towards the writings of others.
I should deem it unfair not to mention that Mr. Hippisley, one of our Commissioners of Customs, is entitled to my most sincere gratitude for his kindness in reading the manuscript and correcting the many faults which ordinarily slip from one's pen when attempting to write in any but one's own language.
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