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Dissertations / Theses on the topic 'Philosophy, Confucian, in art'
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Davis, Kiersten Claire. "Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste"." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1465.
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This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.
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王云萍 and Yunping Wang. "The Confucian conception of a moral person." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31241165.
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Wang, Yunping. "The Confucian conception of a moral person /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22189440.
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Hagen, Kurtis G. "Confucian constructivism a reconstruction and application of the philosophy of Xunzi /." Thesis, University of Hawaii at Manoa, 2002. http://proquest.umi.com/pqdweb?index=0&did=765044331&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1209404499&clientId=23440.
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Arcodia, Charles. "Forming the citizen : Confucian perspectives on citizenship." Thesis, Queensland University of Technology, 2002.
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In the contemporary globalising society, citizenship has re-emerged as a key educational, social and political concept. Despite an extensive body of literature on citizenship, traditional assumptions have been called into question by
worldwide social and cultural changes. In contemporary debates, a variety of educational, social and political influences have been recognised as significant to citizenship formation. Within those discussions however, there has been scant attention to the contribution that Eastern social philosophies can make to the debates. In response to this need, this study has set out to investigate whether an analysis of key elements of Confucianism can inform current discourses on citizenship
formation and examines the role that Confucian understandings of education might fulfill in that formation. Confucianism has been selected because it long has been recognised to promote a well developed civic ideal which can be related to the worlds of education, business and government. The research has been conducted through a hermeneutic analysis of the principal Confucian texts, particularly The Analects, to identify concepts that frame the Confucian perspectives on citizenship, and then examines the extent to which they can inform and address problematic issues in the contemporary debates on
citizenship. The value of this methodology is its capacity to accommodate the characteristics of this cross-cultural and cross-temporal study and offers a method for validating its interpretative and philosophical nature. The research indicates that these Confucian concepts can make a substantial contribution to the emerging global literature about citizenship formation, and offers solutions to some of the contemporary problems of individual and organizational citizenship. Confucian responses to some of the problematics of citizenship have been discussed by focussing particularly on some of the key challenges inherent in the relationships between citizenship and individualism, citizenship and ethics, citizenship and the organisation, citizenship and democratic participation,
citizenship and multiculturalism, citizenship and globalisation. The dissertation explores how the presentation of these issues can be informed by the conceptual frames offered by Confucian perspectives on citizenship education.
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Wong, Kin Keung. "Comparison of Nicomachean ethics and the ethics of Confucius : appropriateness of moral decisions /." View abstract or full-text, 2009. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202009%20WONG.
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Tang, Kwok Hung. "The relationship of Li and Qing in the Xunzi /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20TANG.
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He, Jianjun. "The body in the politics and society of early China /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2007. http://hdl.handle.net/1794/6206.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 205-212). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Weisfogel, Jaret Wayne. "Confucians, the shih class, and the Ming imperium uses of canonical and dynastic authority in Kuan Chih-tao's (1536-1608) "Proposals for following the men of former times to safeguard customs" (Ts'ung-hsien wei-su i) /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3053348.
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Lin, Yizhi. ""Quan" guan nian de yan jiu : cong Kongzi dao Mengzi = The study of "Quan" : from Confucius to Mencius /." click here to view the abstract and table of contents, 2002. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17086942a.pdf.
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Lewis, Colin Joseph. "Lĭ li: an interpretation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4807987X.
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L? ritual (禮) is one of the most distinctive features of Confucianism (r? ji?, 儒家),
but interpreters have yet to agree on the extent of its functions and whether the
Confucians provide any justification of its use. Contemporary attempts to derive
such justification have typically relied upon explaining l?'s relationship with r?n
humaneness (仁), another core concept for Confucianism that is frequently given great
prominence in Confucian ethics. Drawing upon such approaches, I propose that at
least one aspect of l?'s function is best understood as being bound-up with that of
r?n and that this function arguably justifies Confucian appeals to l? as a guide to
conduct. My approach is distinct from previous interpretations, however, in that I
argue that l? serves metaphorically as the language by which attitudes conducive to
r?n are managed and expressed, and that the successful application of l?, including
its use in symbolizing ethically significant normative statuses, contributes to the
Confucian ideal of harmony (h?, 和) on both interpersonal and intrapersonal
levels. The upshot of this interpretation is that, despite criticisms both modern and
ancient, we can clearly see how the Confucians justifiably imbue a particular
aspect of traditional mores with normative ethical force.published_or_final_version
Philosophy
Master
Master of Philosophy
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Yin, Yanfei. "Communist or Confucian? The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950s." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338318301.
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Huang, Daniel G. "Good or evil a Confucian and Christian dialogue on human nature /." Deerfield, IL : Trinity Evangelical Divinity School, 2009. http://dx.doi.org/10.2986/tren.006-1616.
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Hale, Christine Anne. "The Chinese continuum of self-cultivation: a Confucian-Deweyan learning model." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13354.
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This thesis explores a transcultural philosophy of education based on the Neo-Confucian concepts of the universal nature of self (ren xing人性), as positioned with self-in-the-world (ren 人) and humanity (ren 仁) in the co-creative process of self-cultivation (xiushen 修身). This approach to knowledge synthesis and consolidation informs and enhances the educational theories of John Dewey (1859-1952) and presents a philosophy of education which has a dynamic self interacting with and becoming in the world as an evolving process of knowledge schematization and application. The Confucian-Deweyan educational model explored herein is presented as, not only a transcultural educational approach in the changing face of globality, but also a means to encourage and foster humanitarian and communitarian values in the student to be applied in life-long learning. That is, a wholistic approach to education whereby the individual considers the other – human and natural – tantamount to the self in an increasingly shifting world. This concept is in direct opposition to the anthropocentric approach of egoistic individualism currently prevalent in post-modern societies. Hence, the model developed herein is a pragmatic response to 21st century globality, fostering cooperation, rather than competition; an anthropocosmic vision of life and living, enabling non-European indigenous values to co-exist in a global arena. The specific elements addressed for the contextual background of the thesis is the history and influence of Deweyan thought in China (Dewey lectured in China for two years – 1919-1921), the history of China’s educational systems, and the PRC’s current education reform initiatives. China, with a community-based culture and growing global presence, offers a real-world context for exploring the viability of such a Confucian-Deweyan model of education as a confluence of Western and Eastern approaches to learning, self, community, creativity and knowledge.
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Li, Wai-shing, and 李偉成. "A study of the concepts of Qing, Li, and Zhi, in pre-QinConfucianism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223084.
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Li, Wai-shing. "A thesis : a study of the concepts of Qing, Li, and Zhi, in pre-Qin Confucianism /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22089056.
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Yu, Baofeng. "Learning as a way of living Lu Xiangshan and the neo-Confucian orientation to learning /." online access from Digital Dissertation Consortium access full-text, 2006. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3245223.
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張壽安 and So-an Chang. "The development of the Hui-Chou school of Confucian philosophy in the mid-Ch'ing period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31230581.
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Mu, Jian. "Zhuzi de shi li guan ji qi yu li de guan xi zhi yan jiu : yi Zhuzi "Si shu" xue wei zhong xin /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202008%20MU.
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Riley, Mary K. "THE EMERGENT SELF: RESONATING THEMES IN CONFUCIAN AND MEADEAN CONCEPTS OF SELF." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302117989.
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Chen, Xiaosheng. "A Neo-Confucian approach to a puzzle concerning Spinoza's doctrine of the intellectual love of God." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8341/.
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In the last part of Ethics Spinoza introduces the doctrine of the intellectual love of God: God loves himself with an infinite intellectual love. This doctrine has raised one of the most discussed puzzles in Spinoza scholarship: How can God have intellectual love if, as Spinoza says, God is Nature itself? After examining existing.approaches to the puzzle and revealing their failures, I will propose a Neo- Confucian approach to the puzzle. I will compare Spinoza's philosophy with Neo-Confucian (especially Wan Yang-Ming's) philosophy and argue that we can develop a new approach to the puzzle by appealing to the comparison. I conclude that the intellectual love of God can be properly understood from different perspectives. From God's perspective it is understood as the creative power of God. From an individual's perspective it is understood as the essence of this very individual. Moreover, once we combine these two perspectives we can reach what I consider to be the correct interpretation of Spinoza' s view: Given that intuitive knowledge and action are one and the same the intellectual love of God should be comprehended not only as man's final fulfillment of freedom through intuitive knowledge, but also as man's self-cultivation in practice. I maintain that a free man, as Spinoza endeavors to become, is equivalent to a Neo-Confucian sage.
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Choi, Siu-man Angela, and 蔡筱雯. "The Yongzheng emperor revisited: the Confucian and legalist elements in his policies, 1723-35." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228203.
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范旭艷. "和會三教: 劉沅與晚清儒學的轉變= Integrating the three teachings: Liu Yuan and the transition of Confucianism in late Qing period /范旭艷." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/355.
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In late Qing period（1800-1911）, Confucianism confronted challenges from different aspects.Thus,the transition of Confucianism was the main concert at that time.The method of transition varied in different areas. This thesis focous on the transition of Confucianism in Sichuan province. Liu Yuan (1768-1855) ,who was called "the Confucius in western Sichuan", was a typical case to indicate the transition of Confucianism in Sichuan province.He integrated the three teachings to reestablish the orthodoxy of sagehood(sheng xue聖學正統)，which was the main feature of his intellectual thought. Specifically speaking, the following questions are the main concerns of the author. Firstly , why and how did Liu Yuan integrate the three teachings? Secondly, by integrating Taoism and Buddhism into Confucianism, what peculiarity did he transform into Confucianism? Thirdly, through the case study of Liu Yuan, what intellectual features of Sichuan scholars can we observe? There is a consensus that the integration of the three teachings is the most typical characteristic of Liu Yuan's intellectual thought. However, from different angles, different scholars came to opposite conclusions. Generally speaking, those who consider Liu Yuan as a Taoist highly evaluated him.Whereas, those who judged from the angle of Confucian philosophy consider him unrespectable. Given the opposite evaluations, this thesis proposes a syncretic perspective to establish a whole view, which brings up some basic questions to be clarified at the first place, namely the aim and the rationality of the whole syncretic system. Then, how Liu Yuan interpreted self-cultivation, the core of his integration, and how his interpretation influenced Confucianism are the following questions .The first and last chapters are the instruction and conclusion, which raises research questions and summarizes the arguments of the thesis respectively. Chapter two and three focus on the reason and rationality of integration. The juxtaposition of Confucianism, Taoism and Buddhism was to distinguish the orthodoxy from heterodoxy, rather than to assimilate the three teachings indiscriminately. Liu Yuan challenged the criticism of the unreasonability and superficiality of integration, which is one of the contributions of Liu Yuan in intellectual history. To prove the rationality of integration, Liu Yuan interpreted the images of sages (Kongzi and Laozi) as a fuse of Taoist and Confucian characters. Besides, he maintained the traditional notion that Kongzi learnt from Laozi. Based on the foundation of the previous two chapters, chapter four to seven focus on the spread of self-cultivation (Gongfu 功夫), the core of Liu Yuan's integration. Rethinking the way of self-cultivation arose by Neo-Confucianism, Liu Yuan argued that the knowledge of sages was not limited to Confucianism, let alone Neo-Confucianism, so was the pathway of self-cultivation. Furthermore, his reinterpretation of the way of restoring human nature (復性) combined Confucian and Taoist methods. The three teachings were integrated into his new construction, which resulted in the transformation of exegetical strategy of Confucian cannon and the method of self-cultivation, the most important topics of Confucianism. Confucian cannon was viewed as an allegory, whose meaning can never be attained by philological or philosophical approaches. As for self-cultivation, traditional methods of Confucianism such as accomplishing human nature (Jin Xing盡性)and performing ritual responsibility (Dun Lun敦倫)were both reinterpreted. To sum up, Liu Yuan was a practitioner of Confucianism in Sichuan province.By interpreting Confucian classics in a pragmatic fashion, he reestablished the sage orthodoxy ,which was integrated by Confucianism, Taoism and Buddihism. Through the case study of Liu Yuan, we can come to a conclusion that mysterious but not empty was the main feature of Confucianism in Sichuan province = 晚清時期（1800-1911），儒學的傳統價值體系面臨著巨大的挑戰。如何改寫舊傳統，以形塑新傳統，是儒學轉型時期的核心命題。其中，在不同的地域，表現出不同的轉型路徑。本文以劉沅爲研究對象，聚焦於晚清時期的四川儒學。劉沅（1768-1855）被稱作「川西夫子」，其思想可作為四川儒學的典型代表。本文將揭示其重建「聖學正統」的學術關懷，從學術思想史的角度，把握其和會三教思想的特色。本論文將完成以下預期目標：第一，從三教交涉視角出發，定位劉沅的學術思想。其在儒學史上的重要意義在於功夫論的重鑄。第二，探討劉沅「和會三教」思想，對儒家解經方法與修養方法的轉變。第三，從劉沅「和會三教」思想中，把握蜀地「玄而不虛」的學風。「和會三教」是劉沅學術思想的最突出的特徵，學界對此持一致的看法。然而，現代學者從三教中儒家或道教的角度出發，對劉沅的評價眾說紛紜。從儒家視角出發，劉沅被指責在理論上並無大的推進。從道教視角出發，則認為劉沅創立劉門教，是相當重要的宗教家。針對此現狀，本文認為由於劉沅提倡「和會三教」，單一的儒學或者道教視角並不能把握劉沅思想的全貌。因此，本文從三教交涉視角出發，研究劉沅學術思想，及其中所反映出來的晚清儒學的轉變。從和會三教視角出發，首先回應劉沅為什麼要提出「和會三教」，以及怎樣證明三教間可和會的合理性這兩個問題。此爲劉沅建構新思想體系的平台。繼而，劉沅之和會三教，對傳統儒學命題帶來什麼轉變？此爲劉沅思想的獨特之處。「和會三教」既是本文的視角，也是貫穿全文的思想脈絡。本文除第一章緒論與最後一章結論外，正文部分共分為六章。第二、三章先對劉沅和會三教的動機以及其合理性加以申論說明，此爲劉沅所建構的新思想體系平台。文章開宗明義地指出，劉沅提倡「和會三教」的出發點是重建三教融會的聖學正統。和會三教，並非把三教不加分辨地融合爲一體，而是從中辨明正統與異端的界限。爲了論證聖學正統的合理性，劉沅從文獻記載中老孔間的師承關係出發，通過儒家、道家雙方的各自展述，而使得儒道兩家聖人融為一體。第四至七章，從劉沅「和會三教」的核心之處----功夫論出發，探討劉沅如何重鑄功夫論，及其對儒學傳統的內涵所帶來的轉變。對宋明理學功夫的反思，是重鑄功夫論的思想背景。在此基礎上，劉沅融合儒道思想而重鑄復性功夫。其所重鑄之功夫論在解經方法、修養方法兩方面改變了儒學的傳統內涵。解經方法方面，訓詁、義理的方法都不足以得到聖人真義，而提出實踐聖人之事的「身心實功」的解經方法。修養方法方面，論證劉沅對儒學的轉變。儒家的內在心性、外在的倫常秩序，都被改變。擴而言之，從修養方法中，還可以看出儒道、儒佛間的會通與界限。通過對劉沅儒學思想的分析與定位，從中可以看到晚清儒學在四川這一特定地域中展現的獨特性。和會三教思想中體現出劉沅重建聖學正統的學術關懷。他以「身心實功」爲解經方法，重整儒道釋三教的思想資源，尤重盡性、敦倫兩方面的實踐，是一位通過詮釋儒家經典，在川地推行儒家道德倫常的實踐者.
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Lafferty, Michael Gerald. "Arthur Danto's philosophy of art." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/42211/.
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The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art.
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Gustafsson, Daniel. "A philosophy of Christian art." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8052/.
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This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. Above all, Christian art is made, received and loved as part of our calling to grow in the divine likeness. In presenting this vision, the thesis breaks new ground, and not only makes significant contributions to analytic and theological aesthetics, but also offers material with implications for philosophy and theology more widely.
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Thompson, Seth Aaron. "Art Unfettered: Bergson and a Fluid Conception of Art." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.
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This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.
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Wetherell, Ann Elizabeth. "Reading birds : Confucian imagery in the bird paintings of Shen Zhou, 1427-1509 /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192182601&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 275-290). Also available for download via the World Wide Web; free to University of Oregon users.
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Brown, Joshua R. "Incorporating Xiao: Exploring Christ's Filial Obedience Through Hans Urs von Balthasar and Early Confucian Philosophy." University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1465306370.
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Lu, Yinghua. "The Heart Has Its Own Order: The Phenomenology of Value and Feeling in Confucian Philosophy." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/959.
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This dissertation proposes a phenomenological investigation into value and feeling in classical and "neo-" Confucianism, particularly in the works of Mencius and Wang Yangming, in light of the German phenomenologist Max Scheler's clarification of human experience and theory of value. The phenomenological method and attitude, which seek essence by resorting to concrete personal and interpersonal experience rather than relying on the presuppositions of conceptual systems, offers a fresh and insightful perspective from which to examine the experiential pattern of morals in Confucian tradition. In order to illustrate how moral feelings and values establish each other, I examine the feeling-value correlations of love, sympathy and ren, shame and righteousness, respect and ritual propriety, and approval and wisdom, developed from Mencius' discussion on four initial moral emotions. This work not only clarifies the optimal experience of moral feelings, but also points out the concrete contents of what Wang Yangming calls the pure knowing of Heavenly principle. This phenomenological presentation of Confucian values, especially as mediated by Wang with some clarification through Scheler's thought, opposes both the dogmatic and relativist conceptions of principle (li) and the abstract interpretations of "pure knowing" (liang zhi) as having no concrete content, and thus it is relevantly applicable in directing our moral lives. The clarification of experience in different traditions is significant for research in both phenomenology and Chinese philosophy, and the experiential analysis made possible by this approach offers greater possibilities for mutual understanding among various cultures in the world.
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Ren, Feng. "Nan Song ru jia jing zhi zhi xue de xing qi : lun Xue Jixuan he Tang Zhongyou de jing shi si xiang /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20REN.
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Silius, Vytis. "Contemporary philosophical controversy on the nature of early Confucian ethics." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140701_110329-51922.
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The dissertation deals with the controversy between two contemporary Western philosophical interpretations of early Confucian ethics: Confucian virtue ethics and Confucian role ethics. The dissertation not only discusses the different presentations of what constitutes the core characteristics of early Confucian ethics, but also critically reconstructs and analysis the changing Western reception of early Confucian ethics. The two interpretations are compared in order to critically assess the ongoing controversy and to evaluate the prospects of the newly suggested alternative reading of early Confucian ethics as Confucian role ethics. This dissertation aims at demonstrating that Confucian role ethics interpretation places the relational concept of the human as the totality of one’s lived roles and relations at the centre of its explication of early Confucian ethics, and thus tackles both major pitfalls that weaken the now dominant Confucian virtue ethics interpretation: the incommensurability challenge and the marginalization of relational aspect in early Confucian thought. Confucian role ethics interpretation merits further research and development in order to fully reveal its implications; that is, the importance (and the limitations) of relationality as well as the familial and communal roles not only for early Confucianism, but also for contemporary Western philosophical discussions on the scope and nature of ethics and the notion of the human being.Disertacijos tyrimo objektas – dabartinis nesutarimas tarp dviejų filosofinių ankstyvosios konfucinės etikos interpretacijų Vakaruose: konfucinės dorybių etikos ir konfucinės vaidmenų etikos. Disertacijoje tiriami skirtingi aiškinimai kas laikytina ankstyvosios konfucinės etikos svarbiausiais bruožais. Tuo pačiu, disertacijoje rekonstruojama bei kritiškai analizuojama kintanti vakarietiškoji ankstyvojo konfucianizmo recepcija. Pasirinktos interpretacijos disertacijoje lyginamos siekiant kritiškai pasverti tarp jų šalininkų tebeegzistuojančius nesutarimus bei įvertinti naujai pasiūlytos alternatyvios ankstyvojo konfucianizmo interpretacijos – konfucinės vaidmenų etikos – plėtojimo perspektyvas. Disertacijoje įrodinėjama, jog alternatyvi konfucinė vaidmenų etikos interpretacija ankstyvojo konfucianizmo etinių idėjų ašimi laikydama reliacinę žmogaus sampratą, žmogų aiškinančią kaip jo gyvenamų sąryšių ir vaidmenų visumą, sprendžia abi pagrindines nūdienoje dominuojančią konfucinę dorybių etikos interpretaciją silpninančias problemas: nebendramatiškumo iššūkį bei sąryšingumo svarbos ankstyvajame konfucianizme marginalizavimą. Todėl konfucinė vaidmenų etikos interpretacija turi būti plėtojama toliau, siekiant pilnai atskleisti ir suvokti sąryšingumo ir šeiminių bei bendruomeninių vaidmenų svarbą (bei jų ribas) ne tik ankstyvajai konfucinei etikai, bet ir šiuolaikinių Vakarų diskusijoms apie etikos sritį ar filosofinę žmogaus sampratą.
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Peters, Julia Helene. "Art and philosophy in Hegel's system." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/18022/.
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My thesis addresses a puzzle concerning Hegel's notion of the value of beauty. On the one hand, the contemplation of beauty, in particular artistic beauty, has the same status for Hegel as philosophical knowledge, since through both, we come to grasp the absolute truth: the unity of spirit and nature, or of the human individual and the world it lives in. On the other hand, Hegel thinks that the aesthetic unity of spirit and nature is in some way deficient, when compared to the unity we come to grasp through philosophical knowledge. Thus Hegel claims that philosophy and art have the same content, while philosophy is higher than art. I suggest that this puzzle can be dissolved if we consider that beautiful art, for Hegel, is associated with a form of life, in which the aesthetic unity of spirit and nature becomes social and political reality: the ancient Greek polis. Since the social and political structure of the polis inevitably leads to tragic collisions, Hegel concludes that the value of beauty provides no ground for establishing an ultimate unity of the human individual and the world it lives in. In Hegel's view, it is only philosophical reflection, and the social and political institutions which emerge from such reflection, which can provide an adequate ground for ultimate reconciliation. Nevertheless, I argue, the contemplation of beauty remains a perfectly adequate way of grasping, if not establishing, this unity. Hence according to the interpretation I propose, philosophy is higher than art in a twofold sense for Hegel. On the one hand, it serves a critical function with respect to the value of beauty: it points out the limits of beauty, in particular the fact that beauty is incapable of making the unity of spirit and nature concrete and real, by turning it into social and political reality. On the other hand, philosophy redeems the promise which is left unfulfilled by beauty: to establish an ultimate unity of spirit and nature, of human individual and the world it lives in.
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Hanson, Louise Mary. "Conceptual art : what is it?" Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e.
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Conceptual Art (henceforth CA) has the peculiar status of being at once a neglected topic in philosophical aesthetics, and one on which a degree of philosophical weight disproportionate to the attention it has received is placed. On the one hand it is frequently mentioned by philosophers as a problematic case, one that general theories of art have difficulty dealing with, but on the other, there is a notable lack of philosophical research taking CA as its focus. It is largely taken as a given that CA is radically different from other art in various ways and thus poses problems for some of the general statements about art that philosophers tend to make. But it is striking that these claims are not, for the most part, grounded in a thorough investigation into the nature of CA. The purpose of my research is to conduct such an investigation; to address the question of what CA is, and what makes it different from other art, in order to come to a clearer view of what particular philosophical issues or difficulties CA raises for the philosophy of art. In existing literature on CA, it is standard to take CA’s distinctiveness to have something to do with the importance of ‘ideas’. I investigate what could be meant here by ‘idea’, and identify two broad schools of thought as to what form this emphasis on ideas in CA takes: Priority Accounts, which claim that in CA ideas are the most important aspect of the work and Constitution Accounts, which claim that works of CA are ideas. I identify serious problems for Constitution Accounts, in general, and for some kinds of Priority Account. I then put forward a new kind of Priority account which I think overcomes the problems faced by its rivals.
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Millsop, Rebecca Victoria. "Precisifying art pluralism." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/107093.
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Thesis: Ph. D., Massachusetts Institute of Technology, Department of Linguistics and Philosophy, 2016.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 105-110).
This dissertation explores the legitimacy of art pluralism-the thesis that there are multiple, valid accounts of art. In 2011 Mag Uidhir and Magnus introduced the idea of art pluralism to revive the debate over the definition of art. This discussion has been pushed aside over the past half a century because all proposed accounts prove fallible under scrutiny. The overarching goal of this dissertation is to determine how this new approach-art pluralism-might prove useful in obtaining a satisfactory theory of art. In the first chapter, I introduce art pluralism with the aid of species pluralism the thesis that there are multiple, legitimate species accounts. I go on to criticize the arguments for art pluralism provided by Mag Uidhir and Magnus and go on to provide a stronger, direct argument for art pluralism. In the second chapter, I consider the nature of pluralism in depth by introducing the notion of a complex kind. I claim that all pluralistic kinds are complex kinds and that there are multiple ways a kind can be complex. A kind is complex if and only if more than one account is required to explain its unification and working out the nature of this unification results in the precisification of that complex kind. I go on to precisify species pluralism as an example of this process. In the third and fourth chapters, I demonstrate how each of the relevant art accounts-institutional, historical, and aesthetic-succeed and fail in providing the satisfactory account of art on their own. Instead we must understand these accounts as structurally dependent on one another. I describe the result of this particular structural dependence focal-looping pluralism. In the conclusion, I acknowledge the importance of pluralism throughout the narrative of this dissertation but I am forced to question whether or not the thesis I end up arguing for is really best understood as pluralistic. I argue that art is best understood as a complex, not a pluralistic, kind and that the monist/pluralist dichotomy should be understood as less informative than the simple/complex kind distinction more generally.
by Rebecca Victoria Millsop.
Ph. D.
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Farrelly-Jackson, Steven. "Universalism, morality, and art." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333323.
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Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.
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Cline, Erin May Baird Robert M. "Kongzi, Rawls, and the sense of justice in the Analects." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4212.
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McGuiggan, James Camien. "This is art : a defence of R.G. Collingwood's philosophy of art." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/407958/.
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Al-Obaid, Hanan. "Philosophy of Islamic ornament in Islamic art." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55634/.
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The view of Islamic art as a minor art and its various ornaments as without any purpose or meaning is questionable since such a perspective ignores the great influence of the Islamic religion on it. This study investigates in close detail the philosophy of ornament in Islamic art. Clearly, Islamic ornamentation plays a central role in Islamic art and architecture. It is divided into four main elements: Arabic calligraphy, vegetal and geometric ornament, and human and animal figural representation. Due to the significance of Islamic ornamentation, this study will examine its origins, development and impacts on the art and architecture of other cultures as well as the influence of other cultures on the development of Islamic ornamentation. It will also examine the rich historical and cultural background from which the art of Islamic ornament emerged in order to identify the characteristics of Islamic ornament in the context of history, its development, its aesthetic values and its underlying philosophy and forms of expression. In this study the historical survey method is employed to examine the development of Islamic ornamental elements. This study also explores the various Islamic ornamental methods and techniques that artists used to create beautiful Islamic ornaments as well as the meanings of Islamic ornamental symbols in both Islamic art and architecture. This study identifies the most important factors contributing to the beauty of Islamic ornamentation. The nature of the relationship between Islamic artists and spectators and their roles in the context of Islamic art also is examined. The thesis concludes that Islamic ornamentations are based on a divine philosophy that stimulates contemplation of God's Majesty and transcendence through wonder at the cosmos He has created. Another important characteristic of Islamic culture is its acceptance of cultural variations which it absorbed and then used to develop its own unique character and identity. Finally, the study identifies two types of Islamic ornamentation, namely, secular ornamentation and pure Islamic ornamentation, and offers a contrastive definition of both.
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Engstrom, Timothy Hildreth. "Pragmatic rhetoric and the art of philosophy." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/18866.
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Rampley, Matthew. "Dialectics of contingency : Nietzsche's philosophy of art." Thesis, University of St Andrews, 1993. http://hdl.handle.net/10023/14775.
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This thesis examines the function of art in Nietzsche's philosophy. Its primary concern is with Nietzsche's turn to art as the means to counter what he terms metaphysics. Metaphysics is a metonym for the system of beliefs sustaining our culture whereby human judgements about the world are perceived as uncovering an objective truth antecedent to those judgements, with an implicit faith in the possibility of exhausting the totality of these antecedent truths. This thesis consequently has two principal strands. The first is to analyse Nietzsche's criticism of metaphysics. The second is to explore the way in which, using a specific understanding of art, Nietzsche attempts to reconcile extreme scepticism towards all forms of human knowledge with a continued belief in their necessity. The thesis argues that Nietzsche lays an importance on art as providing an aesthetic education to replace the misguided theoretical orientation of metaphysics. Nietzsche criticises metaphysics for its inability to recognise that its interpretations are mere interpretations, that logic and the rational serve as means to make the world meaningful from the human perspective. My thesis explores how he sees art, and in particular the tragic, as constituting a mode of world interpretation which declares its status as such. I argue that for Nietzsche this is crucial inasmuch as a failure to recognise the contingency of our interpretations results in a refusal to give value in any interpretations. For Nietzsche the advent of the Modern age heralds the danger of such refusal, and hence I argue that his turn to art is a response to the specifically Modern temptation to descend into mere cynical Nihilism.
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Nickels, Zachary. "The Art of Loneliness." Kent State University Honors College / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462549085.
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Torgerson, Richard C. Jr. "Relational Learning in the Analects of Confucius: Exploring the Foundations, Practices and Purposes of Classical Confucian Learning." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1500583837350483.
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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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Chan, Yuen-ying Annie, and 陳婉瑩. "The development of Confucianism in the mid- and late Tangperiod." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222304.
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Clancy, Catherine. "Poiesis and obstruction in art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7842/.
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This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting.
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Bresnahan, Aili. "Dance As Art: A Studio-Based Account." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.
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PhilosophyPh.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
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Chi, Alexander I. "A presuppositional critique of Wang Yang-Ming's philosophy of liang-chi." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Walsh, Dale. "Art and secular spirituality." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33946.
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Despite the numerous examples throughout history, the study of secular spirituality in art was mostly ignored until recently by contemporary writers, critics, historians, philosophers and educators. In my thesis, through the examination of selected images and writings, I determine how a differentiation between doctrinal and secular spirituality can be established. The importance of a rooted cosmopolitan outlook with respect to cross-cultural artistic manifestations is explored with the aim of synthesizing spiritual elements that transcend all cultures. The political, social and educational implications of ignoring spirituality are examined. A proposal to incorporate spirituality into education is introduced using art as a means to self-knowledge and understanding the implications of interconnectedness.