This study aims to expand the scientific and intellectual level in the Arab literary field by highlighting the significant role played by Nigerian Arabic literature in providing security and safety ...in the Dear Nigerian Homeland. The approach followed in this thesis is the descriptive-analytical approach, as it is more suitable for this study. The study dealt with the doctrines of the literati about the function of literature in society, pointing out that literature has many doctrines. Then, she talked about the literary environment of Nigeria before the colonists came to it, pointing out that it was a beautiful academic environment. She also spoke about Nigerian Arabic literature providing security and safety in Nigeria, noting that it played a considerable role in various literary fields, from poetry to speeches and writing.
The essay presents a historical narrative about the way tea and coffeehouses in post-partition, post-colonial Delhi were inhabited, embraced, used, celebrated and fought for by a couple of ...generations of migrant Hindi intellectuals in the middle decades of the last century.
Adda-like, but more public and open, the space helped them connect with the city, otherwise an alien and distant entity mired in power and busy with the agenda of nation-building. It is here that they set up networks with their like-minded others to find a virtual home away from home. It is long past its glory, but its affective appeal as a socially convivial, creatively stimulating, and politically vibrant, albeit gendered, public place is nostalgically testified in the abundant testimonials offered by its more articulate regular visitors. The space, what happens there, and to it, thus emerges as a metaphor for changing times the city has witnessed through the decades.
•Creating the context: Delhi after Independence/Partition and migration of refugees. Enthusiasm for the capital of a new India; Struggle of starting life a new.•Tea/coffeehouses emerge as a home away from home. But do they like the city and the power it wields and represents? Critiques.•Thick description of what the ‘virtuosi’ do here. A flavour of their intellectual interactions, debates, modes of socialisation and worldly exchanges. A place of hospitality, solidarity, networking, mentoring.•A gendered Space? Quite so.•A particular conjuncture in history when the place gets transformed as a hub of an urban social movement against price rise. A glimpse of the contemporary moment.
Commercialization in the Ming and Qing dynasties caused profound changes to China's conventional hierarchies in multiple respects. This article examines literati and popular writings about drinking ...between the twelfth and eighteenth centuries as competing views of good taste for alcoholic beverages emerged among scholars. Many prominent writers, officials, and connoisseurs developed a taste for alcoholic drinks, such as the distilled spirits that were often associated with the non-elite classes. Some literati even operated breweries and distilleries. By focusing on the works of connoisseurs like Yuan Mei, I argue that ordinary people's taste for food and drinks helped constitute Ming-Qing literati elites' identities and sensibilities. Contrary to historians Craig Clunas and Wu Renshu, who argue that the dichotomy of literati elegance and non-elite vulgarity preserved social hierarchies, this article presents a more contested history of taste formation in late imperial society and questions the position of literati taste in broader sociocultural transformations.
The Shenxian daohua ju of the Yuan dynasty closely relates to Daoism. However, the essence and boundary of these two concepts have not been clearly defined and delineated in the existing research, ...which leads to confusion in analyzing their relationship. This article provides methodologies for defining Shenxian daohua ju and Daoism. Based on the extant Yuan zaju texts and confined to the themes of seclusion, deliverance, and ascending to immortality, we enumerate the particular dramatic texts of Shenxian daohua ju. Then, we limit the objects of the concept of Daoism to specific Daoist sects in history and highlight that the criteria for determining whether a Shenxian Dao (Celestial Being Sect) belongs to Daoism are provided by the officially recognized Daozang (Daoist canon). According to the above understanding of these two concepts, we explore their relationship from the following perspectives. First, in terms of composition subjects, these include the frustrated Confucian literati, the vassal Kings, and the imperial literati; the Shenxian daohua ju written by frustrated literati in the Yuan dynasty is not the embodiment of Daoist doctrines as some of the researchers conclude. Second, in light of the “aesthetic distinction”, we can also take Shenxian daohua ju as pure literary works and interpret these dramas from their literary structures and rhythmical forms. Third, from the perspective of the literary tradition, although with the adoption of Daoist themes, the Shenxian daohua ju of the Yuan dynasty still belongs to the Confucian poetic tradition. Its negation of secular life and advocacy of the ideal world follow the Confucian poetic teachings of “criticizing those above”. Objectively speaking, due to the influence of Daoism, the Shenxian daohua ju with the Daoist themes breaks through the taboo topics prescribed in Confucian literary principles to a certain extent and enriches Chinese literature.
El presente articulo examina los discursos sobre América transmitidos en China por misioneros jesuitas entre los siglos XVI y XVIII. Este busca demostrar el modo en que misioneros y sus colaboradores ...chinos crearon sus informaciones sobre el continente con el fin de apoyar su agenda política y misional. El texto comienza con una descripción de las estrategias de la misión en China y su relación con la producción geográfica sino-jesuita, para luego analizar la conexión de las informaciones sino-jesuitas sobre América con los planes de la misión. Se concluye que las representaciones sobre la geografía, gentes e historia de América reflejan tres intereses interrelacionados: atraer la atención de los literatos chinos; resaltar el alto desarrollo de la civilización europea; y comunicar mensajes religiosos.
Universally, Postcolonial literature initiates certain disciplines and numerous subject matters which were dared to speak before. In recent times observe the change in behaviors and approaches ...towards multiplicity, spiritual beliefs, and literature. Postcolonial literature also experiences the same fate in the form of its Postcolonial waves. In Postcolonial works, Muslim literati show their presence in every form of literature that the world has ever been observed. The reason behind such intelligentsia’s existence is that Muslims exist all around the world as Islam is the fastest-growing religion in the world. In this way, Muslim Postcolonialism under the umbrella of General Postcolonialism is projected to highlight the Muslim issues and concerns. Muslim Post-colonialists are the founders of twentieth-century Modern Post-colonialism, that extends to twenty-first century; the immense literature shows distinctive existence within the body of World Literature generally and General Postcolonial, particularly. Muslim Postcolonialism attempt to show the positive face of Islam to prove that Muslims are not terrorists, rather the victims of terrorism.
Among the various plant designs that decorated Goryeo celadon, the plantain design is notable for the changes in composition, decorative techniques, and other aspects over a set period, despite the ...small number of celadon vessels actually made with plantain designs. The paper aims to discern the meaning of the plantain design and its development on Goreyo celadon, and the research outcomes are as follows. First, the cultural meaning of the plantain design was established in China. The plantain represented the Buddhist concept of impermanence, and through the Tang and Song dynasties it became the symbol of the spirit of the scholar as its meaning expanded. Such meanings were shared by the literati and intelligentsia of the mid- and later Goryeo period, and the study of literary and historical materials confirmed that the plantain design also functioned to imbue a space with special meaning. Second, in China the plantain was used as a seasonal background element in paintings from the Tang dynasty. During the Song dynasty, when direct influence on Goryeo is expected, the connection between the plantain and the literati grew even stronger. Though the plantain appears on few examples of Song or Jin dynasty ceramics, it can be found both as the main design motif, expressed pictorially, and as a subordinate design used instead of lotus leaves. Third, Goryeo celadon with plantain designs was produced in Gangjin and Buan for around two centuries, from the first quarter of the 12th century to the second quarter of the 14th century, focusing on maebyeong. This whole production period was sub-divided into three periods: the introductory period, the perfection period, and the change and repetition period. There were differences in decorative techniques and the combination of design motifs used in each period. Fourth, much importance was placed on the influence of Chinese paintings on the production of Goryeo celadon. From the start of the perfection period, however, Goryeo celadon plantain designs moved beyond Chinese influence, and the creativity of the Goryeo people was reflected in the meaning of the plantain and its expression. KCI Citation Count: 0
The Kwanyin Clan: Modern Literati Graffiti Writers Iezzi, Adriana
Annali di Ca' Foscari : Rivista della Facoltà di lingue e letterature straniere dell'Università di Venezia,
06/2019, Letnik:
55, Številka:
1
Journal Article
Recenzirano
Odprti dostop
After illustrating the varied artistic production of the Kwanyin Clan, one of the most important Chinese graffiti crews, this paper analyses six of their main artworks in detail (styles, techniques, ...aesthetic conceptions and artworks texts). In these artworks, the Kwanyin Clan tried for the first time to merge Euro-American graffiti practice with the ancient traditional arts practiced and appreciated by the Chinese literati (calligraphy, poetry, painting, seals and ceramics). Comparing the Kwanyin Clan members to ‘modern literati writers’, the present article shows how this crew succeeded in reinventing ancient Chinese art forms using Euro-American graffiti vocabulary, paving the way for a new development of graffiti art in China.
Abstract
This paper investigates the poetry of Qu Xuanying, a literatus who remained in the city of Beiping (now Beijing) following its occupation by the Japanese in 1937. Through historical ...allusions in his poetry, Qu communicated with friends about the ethical dilemmas that he faced under occupation, and reflected upon the choices that literati in earlier eras had made when facing dynastic transitions and foreign conquest. Qu’s ‘esoteric writing’ during the occupation contained a complex set of historical allusions which referenced various points in the Chinese past. Since Qu served in the collaborationist north China regime, he has often been perceived as a ‘traitor’ or a ‘collaborator’. Through this in-depth analysis of his literary works, however, this paper seeks to reveal the special exegetical strategies adopted by literati such as Qu under occupation.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The Cultivation of Blandness Heubel, Fabian
Synthesis philosophica,
01/2021, Letnik:
36, Številka:
2
Journal Article
Recenzirano
Odprti dostop
U ovome članku, istražujem motiv »blagosti« (píngdàn 平淡) povezujući ga s raspravom o tvrdoći i mekoći te udaljenosti i blizini, kako je razmatrano u djelu Duh kineske umjetnosti modernog kineskog ...filozofa Xúa Fùguāna 徐復觀. Nadam se da ću na taj način proučiti značenje blagosti u kineskom slikarstvu učenjaka. U slikarstvu se učenjaka prakticira estetski granični doživljaj vezan za promjenjiva stanja energije daha i disanja. Uzdržava se od načina kreativnosti koji jednostrano teži intenzitetu, šoku i provokaciji. Ovdje se pod pojmom »blagosti« podrazumijeva filozofijski i estetski koncept koji se odnosi na kultiviranje sposobnosti slobodnog ostavljanja neiskorištenih mogućnosti. Ovo zvuči apsurdno ako se pretpostavi da estetika blagosti pripada konformističkom mišljenju imanencije. Nasuprot tome, predlažem shvaćanje blagosti kao područja u kojem imanencija i transcendencija, konačno i beskonačno paradoksno komuniciraju jedno s drugim.
Dans cet article, j’explore le motif de la « fadeur » (píngdàn 平淡) en le reliant à la discussion sur la dureté et la douceur, la distance et la proximité, telle qu’elle est abordée dans le livre L’esprit de l’art chinois du philosophe chinois moderne Xú Fùguān 徐復觀. De cette façon, j’espère de me pencher sur la signification de la fadeur dans la peinture des lettrés chinois. Dans la peinture lettrée, on pratique une expérience limite esthétique, qui est liée aux états changeants de souffle-énergie et de respiration. Elle s’abstient d’un mode de créativité qui vise unilatéralement l’intensité, le choc et la provocation. Ici, la « fadeur » est comprise comme un concept philosophique et esthétique qui fait référence à la culture de la capacité de laisser des possibilités inutilisées par liberté. Cela peut sembler absurde si l’on suppose que l’esthétique de la fadeur fait partie de la conformisme d’une pensée de l’immanence. En revanche, je propose une compréhension de la fadeur comme une sphère dans laquelle l’immanence et la transcendance, le fini et l’infini communiquent paradoxalement entre eux.
Dieser Beitrag ist dem Motiv der „Fadheit“ (píngdàn 平淡) gewidmet. Ich erörtere es, indem ich es mit der Diskussion von Härte und Weichheit, Ferne und Nähe in Verbindung bringe, die im Buch Der Geist der chinesischen Kunst des modernen chinesischen Philosophen Xú Fùguān 徐復觀 entfaltet wird. Auf diese Weise möchte ich der Bedeutung von Fadheit in der chinesischen Literatenmalerei nachgehen. In dieser wird damit eine ästhetische Grenzerfahrung eingeübt, die mit wechselnden Zuständen von Atem-Energie und Atmung zu tun hat. Sie verzichtet auf eine Art der Kreativität, die einseitig nach Intensität, Schock und Provokation strebt. Im Folgenden wird „Fadheit“ als ein philosophischer und ästhetischer Begriff verstanden, der sich auf die Kultivierung der Fähigkeit bezieht, Möglichkeiten aus Freiheit ungenutzt zu lassen. Das mag absurd klingen, solange unterstellt wird, dass die Ästhetik der Fadheit zum Konformismus eines Denkens der Immanenz gehört. Im Gegensatz dazu schlage ich ein Verständnis von Fadheit als einem Bereich vor, in dem Immanenz und Transzendenz, das Endliche und das Unendliche auf paradoxe Weise miteinander kommunizieren.
In this paper, I explore the motif of “blandness” (píngdàn 平淡) by relating it to the discussion of hardness and softness, farness and nearness, as discussed in the book The Spirit of Chinese Art by the modern Chinese philosopher Xú Fùguān 徐復觀. In this way, I hope to look into the significance of blandness in Chinese literati painting. In literati painting, an aesthetic limit-experience is practiced, which has to do with changing states of breath-energy and breathing. It refrains from a mode of creativity that one-sidedly strives for intensity, shock, and provocation. Here “blandness” is understood as a philosophical and aesthetic concept that refers to the cultivation of the ability to leave possibilities unused out of freedom. This sounds absurd if it is assumed that the aesthetics of blandness belongs to the follow-the-current thinking of immanence. In contrast, I propose an understanding of blandness as a realm in which immanence and transcendence, the finite and the infinite paradoxically communicate with each other.
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