Eva Man

American philosopher Zhu Dien • Ba Tele that for granted with a series of related discussion, and while there are of a fixed body of the material. Bate Le read de Beauvoir's "Second Sex" that this is not Sartre's "Being and Nothingness" women's issues or situations in the application. De Beauvoir said that consciousness exists in which a person's body, and in the cultural vein, the participation in the formation of a person's gender. Ba Tele think understanding the philosophy of Sartre's body, in many ways we can improve the appreciation of Beauvoir thought, and concluded that she is a thinker with originality

A long and scholarly piece by Eva Kitt WahMan covers the history of Chinese conventionsgoverning female “beauty” from Confuciusthrough Maoism to the present day. Classicalmanuals provide highly specific requirements forcourtesans and concubines. The shrunken, pulpyappendages produced by foot-binding practiceswere regarded as the most sexually stimulatingfeatures of the female body. In 1949, following theinauguration of the Communist regime, womenwere expected to shun ornament and make-up, tohave short hair, wear party uniforms, and to lookas much like men as possible. The ideal for thecontemporary Chinese woman is quite a lot likethe ideal for the courtesan of tradition, but the de-tails are drawn from western fashion magazines.Wah believes that such liberation, although it hasits advantages, is mainly nominal and fosters con-fusion. She writes: “Although Chinese womentoday are developing new self-confidence, they donot seem to be aware of the fact that one can be-come a slave of the fashion industry, which merelyrepeats the bodily constraints of past times in anew form” (p. 194). [review by Mary Mothersill, 2001 - Journal of Aesthetics and Art Criticism 59 (2):211-214.]

One of the common targets that contemporary feminists are critical of concerning the problem of the body is Rene Descartes' mind and body relation. Feminist scholars can identify at least three lines of investigation of the body in contemporary thought that may be regarded as legacies of the Cartesian view, which treat the body as primarily an object for: 1) the natural sciences, particularly for the life sciences, biology, and medicine; 2) as an instrument or a machine at the disposal of consciousness or allocating an animating, willful subjectivity; and 3) as a vehicle of expression of private thoughts and feelings; that is, as fundamentally passive and transparent. Recently, feminist scholars are seriously thinking of a new conceptual model that can displace Cartesian dualism and that can emancipate notions of the body from Cartesian dominant mechanistic models and metaphors. In this light, this paper turns to a Confucian theory of the body for revelation and the case of Mencius is introduced, in which the mind is regarded as the major component of the body and a coherent model is adopted. Can we then conclude to ask in what ways the reclaiming of the body in the Contemporary Western discussion may learn from the Confucian ideas of the body...?

This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.

This study analyzes Kierkegaard's theory of authorship from a comparative perspective, by using Liu Xie's 劉勰 Chinese literary criticism in Wenxin Diaolong《文心雕龍》as a comparative model. It examines the meaning of an author of literature writing, the spiritual, the aesthetic dimensions and the creative force of compositional literary writing, and finally the goal of writing, as elaborated by these two authors. In Kierkegaard's sense, the quality of writing is mainly tied up with the religious mind of a person, while to Liu, the quality of writing is related to the moral quality of a person. The following examination demonstrates how Kierkegaard and Liu complement and enrich each other in the understanding of authorship and writing

In this short autobiographical essay, I reflect upon what comparative philosophy could mean to the social existence of a female Chinese scholar like me. I argue that comparative studies have been beneficial to people like me who live in hybrid, ex-colonial spaces. Comparative philosophy has allowed me to develop, and hone, my own understanding of issues pertaining to feminist theory and aesthetics. It has also aided me in recontextualizing and reappropriating some elements of my Confucian background.

This article presents a historical account and philosophical analysis of the development of philosophical aesthetics in China in its Marxist regime, focusing on the relation between subject and object. It enters into the picture of the search for new philosophical aesthetics in Marxist China and engages the related debates and reforms. The representing four schools of aesthetics in the early decades of the new China are introduced, which were led by Gao Ertai, Cai Yi, Zhu Guangqin and Li Zehou. Each of them presents a different relationship between the subject and the object in the aesthetics process and initiates debates and controversies among themselves. In the 1990s aestheticians of the younger generation suggested a modern aesthetics system in which a new aesthetics notion was reconstructed. The article analyzes the nature and the structure of this notion “ganxing”, and demonstrated the struggles in its search for a balance and merge integration among traditional Chinese aesthetics, Contemporary Western philosophies and Marxist aesthetics. Finally, this article also points out the Deweyan influences on the notion which is popular in PRC, and demonstrates that Chinese aesthetics in the contemporary scene has more concerns to add on, which is the application of its new aesthetical thoughts to the rapidly developing art scenes and social changes in contemporary China

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.

The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary discourses of female beauty. Ideal bodies, in all their specifics, are defined by physical standards very few women can attain. These standards are accompanied by demeaning characterizations of women who fail to achieve them, and who are therefore destined to be discontent. It is now necessary for feminist theorists to examine the social and cultural roles of the body in terms of gender, power, the established patriarchy, and its oppression of women.

​This book gathers research and writings that reflect on traditional and current global issues related to art and aesthetics, gender perspectives, body theories, knowledge and learning. It illustrates these core dimensions, which are bringing together philosophy, tradition and cultural studies and laying the groundwork for comparative research and dialogues between aesthetics, Chinese philosophies, Western feminist studies and cross-cultural thought. Pursuing an interdisciplinary approach, the book also integrates philosophical enquiries with cultural anthropology and contextual studies. As implied in the title, the main methodologies are cross-cultural and comparative studies, which touch on performances in art and aesthetics, social existence and education, and show that philosophical enquiries, aesthetical representation and gender politics are simultaneously historical, living and contextual. The book gathers a wealth of cross-cultural reflections on philosophical aesthetics, gender existence and cultural traditions. The critical thinking within will benefit undergraduates, postgraduates and researchers in the area of comparative philosophies. It blends academic rigor with personal reflection, which is a critical practice in feminist philosophy itself.

One of the common targets that contemporary feminists are critical of concerning the problem of the body is Rene Descartes' mind and body relation. Feminist scholars can identify at least three lines of investigation of the body in contemporary thought that may be regarded as legacies of the Cartesian view, which treat the body as primarily an object for: 1) the natural sciences, particularly for the life sciences, biology, and medicine; 2) as an instrument or a machine at the disposal of consciousness or allocating an animating, willful subjectivity; and 3) as a vehicle of expression of private thoughts and feelings; that is, as fundamentally passive and transparent. Recently, feminist scholars are seriously thinking of a new conceptual model that can displace Cartesian dualism and that can emancipate notions of the body from Cartesian dominant mechanistic models and metaphors. In this light, this paper turns to a Confucian theory of the body for revelation and the case of Mencius is introduced, in which the mind is regarded as the major component of the body and a coherent model is adopted. Can we then conclude to ask in what ways the reclaiming of the body in the Contemporary Western discussion may learn from the Confucian ideas of the body...?

In his article, "The End of Aesthetic Experience" (1997) Richard Shusterman studies the contemporary fate of aesthetic experience, which has long been regarded as one of the core concepts of Western aesthetics till the last half century. It has then expanded into an umbrella concept for aesthetic notions such as the sublime and the picturesque. I agree with Shusterman that aesthetic experience has become the island of freedom, beauty, and idealistic meaning in an otherwise cold materialistic and law-determined world. My paper starts from the main dimensions of aesthetic experience in the history of Western aesthetics as concluded by Shusterman. In terms of our experiential practices in the fragmentation of modern life and the disjointed sensationalism of the media, I also agree with Shusterman that people are losing the capacity for deep experience and feeling, especially when we are undergoing various extensive series of informational revolutions. My paper is also a response to Shusterman's claim that the concept of aesthetic experience is worth recalling, not for formal definition but for art's reorientation toward values and populations that could restore its vitality and sense of purpose. I mention the recent calls for values and life concerns in art in the Anglo-American aesthetics circles, which has also turned to the possible strength of aesthetic experience, claiming that "Aesthetics is the Mother of Ethics." Amidst the discourse is the review of John Dewey's notion of "aesthetic experience," which claims to support a transcultural view and common patterns, as the relationship is structured around human needs. A basic question posed in the article is whether this Deweyan notion still remains equally influential as in the past and whether it really provides a satisfying answer to the problem of art and value? The discussion will turn then to neo-Confucian aesthetic models for reference, and to point out some meaningful comparative revelations

Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. Does Confucianism rule out the capacity of women as moral subjects and hence as aesthetic subjects? Do forms of Chinese philosophy contribute or correspond to patriarchal Confucian culture? Can Chinese philosophy provide alternative perspectives for Western feminist scholars? The first section considers theoretical and philosophical discussions of Western traditions and how the ideas offered by Confucians and Daoists can provide alternative body ontologies for critical feminist practices. The second section reviews female aesthetical representations ranging from The Book of Songs to the work of the controversial body artist He Chengyao. The third section traces changing perceptions of femininity from imperial to its current cosmopolitan era using a range of case studies including Ming dynasty literature, Hong Kong women's fashion in the 1960s, and the 2008 Summer Olympics in Beijing. Overall, this book discusses new conceptual models that feminist scholars are using to displace dualism and emancipate notions of the body from Cartesian models and metaphors.

Članek nudi kratek opis zanimive zgodovine slikarstva in slikarskih teorij v hitro razvijajočem se Hong Kongu od l. 1940 do l. 1980, tako da poudari delo in estetiko večih reprezentativnih lokalnih kitajskih slikarjev in umetniških smeri. Ta oris zgodovine prikazuje iskanje kulturne identitete in različne drže med kitajskimi slikarji, ki so bíli boj med moderniziranimi in zahodnimi vplivi v umetnosti ter svojim kitajskim izročilom. Avtorica primerja to slikarstvo z držami mlajše generacije osemdesetih let, ki odseva kapitalistične vplive pri iskanju umetniške identitete. Zaključni del vsebuje kritično primerjavo umetnosti in teorij kulture v sodobnem postkolonialnem diskurzu glede na njihovo aplikacijo na razmere v Hong Kongu.