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The ever-increasing interactions between the Chinese and the Western World result in fast-paced global transitions. The series has been created to capture these developments, presenting monographs and collections on the Chinese-Western Discourse in the humanities. It features outstanding contributions reflecting current debates in philosophy, cultural theory, literature and religion. All contributions are peer reviewed.
The union of culture and politics that is so characteristic of modern Chinese history gained its first concise expression in the May Fourth Movement of 1919. The essays in this edited volume examine the exchange of ideas between China and Germany from various perspectives, illuminating how the clash between Chinese tradition and Western modernity accompanied and often inspired the movement.
We are living in a world in which the visible and invisible borders between nations are being shaken at an unprecedented pace. We are experiencing a wave of international migration, and the diversity of migrants – in terms of how they identify, their external and self-image, and their participation in society – is increasingly noticeable. After the introduction of the Reform and Opening Up policy, over 10 million migrants left China, with Europe the main destination for Chinese emigration after 1978. This volume provides multidisciplinary answers to open questions: How and to what extent do Chinese immigrants participate in their host societies? What kind of impact is the increasing number of highly qualified immigrants from China having on the development and perception of overseas Chinese communities in Europe? How is the development of Chinese identity transforming in relation to generational change? By focusing on two key European countries, Germany and France, this volume makes a topical contribution to research on (new) Chinese immigrants in Europe.
Major changes in norms and values are occurring in contemporary Germany and China, especially in younger generations. Yet intergenerational relations, experiences of time, and characteristics of aging are also in flux. Focusing on Germany and China as well as moments of societal crisis in the 20th century, this book provides an initial description and historical analysis of generational relations and their representations in art and the media.
Chinese and Greek ethics remain influential in modern philosophy, yet it is unclear how they can be compared to one another. This volume, following its predecssor 'How should one live?' (DeGruyter 2011), is a contribution to comparative ethics, loosely centered on the concepts of life and the good life. Methods of comparing ethics are treated in three introductory chapters (R.A.H.King, Ralph Weber, G.E.R. Lloyd), followed by chapters on core issues in each of the traditions: human nature (David Wong, Guo Yi), ghosts (Paul Goldin), happiness (Christoph Harbsmeier), pleasure (Michael Nylan), qi (Elisabeth Hsu & Zhang Ruqing), cosmic life and individual life (Dennis Schilling), the concept of mind (William Charlton), knowledge and happiness (Jörg Hardy), filial piety (Richard Stalley), the soul (Hua-kuei Ho), and deliberation (Thomas Buchheim). The volume closes with three essays in comparison - Mencius and the Stoics (R.A.H. King), equanimity (Lee Yearley), autonomy and the good life (Lisa Raphals). An index locorum each for Chinese and Greco-Roman authors, and a general index complete the volume.
This compilation employs interdisciplinary perspectives to explore the historical interactions between central Europe and China. It presents a comparative cultural analysis of issues related to language, literature and culture, scientific traditions, conceptions of the law, economic, social and political systems,values and philosophical foundations. These historical analyses alsodevelop perspectives for future Chinese-German collaboration.
Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: thereare affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them.