James Miller

How can Daoism, China's indigenous religion, give us the aesthetic, ethical, political, and spiritual tools to address the root causes of our ecological crisis and construct a sustainable future? In China's Green Religion, James Miller shows how Daoism orients individuals toward a holistic understanding of religion and nature. Explicitly connecting human flourishing to the thriving of nature, Daoism fosters a "green" subjectivity and agency that transforms what it means to live a flourishing life on earth. Through a groundbreaking reconstruction of Daoist philosophy and religion, Miller argues for four key, green insights: a vision of nature as a subjective power that informs human life; an anthropological idea of the porous body based on a sense of qi flowing through landscapes and human beings; a tradition of knowing founded on the experience of transformative power in specific landscapes and topographies; and an aesthetic and moral sensibility based on an affective sensitivity to how the world pervades the body and the body pervades the world. Environmentalists struggle to raise consciousness for their cause, Miller argues, because their activism relies on a quasi-Christian concept of "saving the earth." Instead, environmentalists should integrate nature and culture more seamlessly, cultivating through a contemporary intellectual vocabulary a compelling vision of how the earth materially and spiritually supports human flourishing.

This chapter presents the work of Peng Guoxiang and Chen Xia, two leading Chinese scholars of Confucianism and Daoism respectively, with a response by James Miller. Peng Guoxiang and Chen Xia presented drafts of their papers at the conference on Religious Diversity and Ecological Sustainability at Minzu University of China in March 2012. The chapter provides an edited version of Chen Xias paper on Daoist visions of environment and ecology. It then presents Peng Guoxiangs interpretation of the philosophy of Wang Yangming, based on a close reading of his Inquiry into the Great Learning. In short, the most distinct feature of this one-body ecological vision as a Confucian version of the concept of continuity of being can therefore be characterized as a soft-hearted ecology, while a Daoist understanding of continuity of being can be roughly called a hard-hearted ecology.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Wandering at Ease in the ZhuangziJames MillerWandering at Ease in the Zhuangzi. Edited by Roger T. Ames. Albany: State University of New York Press, 1998. Pp. viii + 239."Good grief!" exclaimed the reviewer as he greedily tore open the package from Philosophy East and West. "Not another book on Zhuangzi!"As it turns out, Wandering at Ease in the Zhuangzi, edited by Roger T. Ames, was found to be not just "another book on Zhuangzi" but, instead, a wonderful collection of creative essays that genuinely wanders on Zhuangzi's vast spirit and that should appeal to a broad academic audience. Do not be deceived by the publisher's blurb on the back cover: "an excellent balance of philological and philosophical analysis." This summary of the book's contents proves to be fortunately misleading.The common thread running through this book is that it is dedicated to Yang Yu-wei, who taught many of the contributors while they were graduate students at Taiwan Normal University. Randall P. Peerenboom hilariously describes his first encounter with Professor Yang in a coda to his essay "Living Beyond the Bounds:Henry Miller and the Quest for Daoist Realization":He darted across the busy main street, dodging traffic, all the while calling out my name in a booming voice sure to attract the attention of the wandering undead and waving his arms in whirlwind fashion, managing somehow to evoke simultaneously images of Don Quixote and Sancho Panza, Jack Nicholson in One Flew over the Cuckoo's Nest, and the Bodhidharma. Welcome, I thought, to the wonderful world of Oz.(p. 139) [End Page 125]This description sets the tone for the essays here, which concentrate on the Zhuangzi's humor, character, and personality, unafraid to stride out across the busy, one-way streets of traditional academic disciplines. While remaining rigorously within the bounds of academic probity, this volume steadfastly resists the dangerous encroachment of desiccating intellectualism upon the wit, intelligence, and charm of one of the world's greatest works of literature.All of the essays "live beyond the bounds" in some fashion or other. Chris Jochim's "Just Say No to 'No Self' in Zhuangzi" reviews recent writing on self and personhood in the Zhuangzi, and includes the treatment of Zhuangzi in the theories of flow and happiness by the noted psychologist Mihalyi Csikszentmihalyi. Daniel Coyle's study of the zhenren (authentic person), lurks tentatively in the shadows of comparative mysticism. A comparison such as "Theocentrism aside, Zhuangzi's language is Eckhart-like in that it cancels itself out, short-circuiting the intellect so as to open one up to spontaneity and the omnipresence of Heaven" deserves greater exploration than a short essay can afford. James D. Sellmann's essay on the transformative effects of humor is briefly illuminated by a reference to Milan Kundera's The Book of Laughter and Forgetting (1986),1 but this worthy literary intersection is only pursued in a footnote. The question of philosophy and literature is also raised in William Callahan's study of action and decision making in the story of Cook Ding. Callahan, again in footnotes, acknowledges the influence of Kundera, Barthes, and Derrida in his quest to understand what it means to "read" literary philosophy or philosophical literature. His essay, however, owes its chief debt to the linguistic analysis of Chad Hansen and A. C. Graham, and we can only hope that he will soon furnish us with the full fruits of his literary education.One group of essays deals with particular characters in the Zhuangzi. Kirill Ole Thompson's inventive study of fishermen in the Zhuangzi wades into the waters of Tang poetry, incorporating translations of Zhang Zhihe, Liu Zongyuan, Wang Wei, and Sikong Shu. The literary connection is only in a coda, but it is there nonetheless. A future study would perhaps do well to broaden this research to include works of art. One thinks of Wang Meng's masterpiece of around 1360, Fisherman of Huaxi or the Yuan literatus Wu Zhen's Fisherman Recluse on Lake Dongting, both in the collection of the National Palace Museum, T'aipei.2Zhuangzi's close companion, Hui Shi, is the subject of...