{"title":"Aesthetics and Life-World in German-Chinese Dialogue","authors":"H. Feger","doi":"10.1515/yewph-2018-0002","DOIUrl":"https://doi.org/10.1515/yewph-2018-0002","url":null,"abstract":"The third volume of the Yearbook for Eastern and Western Philosophy seeks to investigate aesthetics and philosophy of art as borderline-phenomena of literature and philosophy in the classical texts of the Chinese, German, or as the case may be, European traditions, so as to bring out the different conditions of reception in the study of art and literature which have prevailed until today. The relatively new discipline of aesthetics as one of the constitutive branches of fundamental philosophy gained a reception very early on in China and was soon further developed in a comparative perspective and in reference to its own aesthetic experience. Likewise, in the opposite direction, since the opening up of China, a preoccupation with Chinese art, especially with painting and literature has quickly begun to take hold in Germany, which today in the West calls out for a sorely needed explanatory framework and confronts philosophy with new challenges. In the focus of interest stands the research of the interdisciplinary subject of literature and philosophy on the basis of classical Chinese and Germans texts. The great importance of aesthetics as a literary and mediating form of philosophy is brought out by the fact that, as Liu Gangji 劉綱紀 and Li Zehou 李澤厚 emphasized in their canonical work History of Chinese Aesthetics (Zhongguo meixue shi 中國美學史), for the Chinese “aesthetic awareness is the highest attainable consciousness in human life.” Here, however, one must proceed with caution, as to speak of a Chinese aesthetics is really a contradictio in adjecto. This is because the concept of aesthetics comes from the West, and a “theory of the beautiful” (meixue) which was so central to aesthetics since the time of Baumgarten, Burke and Kant, hardly played a role for the Chinese, as the beautiful did not exist as an independent category of thought for them. On closer","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114311904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Techné, Life-world, and Art","authors":"Wen-sheng Wang","doi":"10.1515/yewph-2018-0018","DOIUrl":"https://doi.org/10.1515/yewph-2018-0018","url":null,"abstract":"Abstract The notion of techné in Husserl’s phenomenology is related to his treatment of the three layers of the “teaching of craft” and the two layers of the science of “life-world.” The superior layer of both is of philosophical significance. Aristotle’s statement in ethics and metaphysics: techné is man-made, but can transit to spontaneity, and then to natural becoming, which manifests physis as the ultimate aim of his philosophical system, enlightens us to notice the following aspects in Husserl’s phenomenology. 1. Pure or formal ethics is of a high-level téchne in the philosophical sense. 2. The concept of life-world leads to transcendental phenomenology. 3. What Ideas II implies – as a technique the method of phenomenology tends to let the pure I and spiritual I as matters appear themselves by the natural attitude – could conduct us to understand the artistic aspect of Husserl’s philosophical theory.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115162894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Light is Space","authors":"Violetta L. Waibel","doi":"10.1515/yewph-2018-0007","DOIUrl":"https://doi.org/10.1515/yewph-2018-0007","url":null,"abstract":"Abstract The sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of daily life for those who do not have access to electricity even today. In other works he focuses on elementary phenomena such as the movement of elements in a vortex of water or air, on the properties of light, of mirrored light, or the fascinating world of kaleidoscopes. Some of these works are very popular and often include visitors such as the Weather Project in the Turbine Hall of the Tate Modern in London created in 2003. This work is said to have provoked spontaneous meetings, celebrations, and even episodes of civil protest. The work turned the museum into a kind of agora, the public square in Ancient Greek cities that was at the heart of daily life, of politics, of democratic practices.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"210 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115758529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Thinking and Poetry","authors":"Zhang Qingxiong","doi":"10.1515/yewph-2018-0012","DOIUrl":"https://doi.org/10.1515/yewph-2018-0012","url":null,"abstract":"Abstract In Heidegger, “thinking” and “poetry” are inseparable, and the interpretation of poetry is an important approach for him to express his philosophical thinking. His phenomenological approach is a path to return to the things themselves, i.e, to see the facticity and understand the meaning of existence in the lived experience of existential situations. Themes such as “anxiety”, “alien”, “soul and Earth”, “words” can reveal the existential situations in Chinese and German poems through a cross-cultural interpretation from Heidegger’s perspective.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126272168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Rhythm of Action","authors":"Mario Wenning","doi":"10.1515/yewph-2018-0011","DOIUrl":"https://doi.org/10.1515/yewph-2018-0011","url":null,"abstract":"Abstract Classical Chinese philosophy, and Daoism in particular, has emphasized the importance of rhythm for performing actions well. Drawing on this insight, the paper argues that rhythm is an essential element of nourishing life. A focus on the relationship between rhythm, action, and life becomes necessary in societies that are experiencing a crisis of temporal relationships. Modern agents are pressured to adapt to accelerating speeds that are increasingly experienced as undermining the conditions necessary for human flourishing. A critical theory of temporal relationships is committed to (1) revealing and explaining the increase of rhythmic pathologies and to (2) recovering “eurhythms” that enable exemplary action and human flourishing.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133207064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Intercultural Interpretation on Heidegger’s Poet","authors":"Wei-ding Tsai","doi":"10.1515/yewph-2018-0014","DOIUrl":"https://doi.org/10.1515/yewph-2018-0014","url":null,"abstract":"Abstract For the later Heidegger, the poet is the messenger of Being, insofar as he speaks after the Saying (Sage) of Being. But only when the poet takes the risk of being mad, can he hear the message of Being and bring it out. As such, the poet does not need any human art of poetry. Heidegger calls this kind of bringing-out “techne” in its original sense – but not in the ordinary sense of human technique. This paper tries to discover how the poet in the state of madness without using any human art can still convey the message of Being. I try to answer this question at first with the help of two dialogues from Plato, i.e. Ion and Phaedrus. I then take two Chinese classical poets, Li Bai (李白) and Du Fu (杜甫), as examples to illustrate such interpretation of Heidegger’s concept of the poet.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128743378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Standard of Taste in David Hume’s Philosophy","authors":"Liu Shuren","doi":"10.1515/yewph-2018-0013","DOIUrl":"https://doi.org/10.1515/yewph-2018-0013","url":null,"abstract":"Abstract Hume is perhaps the most skeptical of all the great philosophers; and so it might reasonably have been assumed that he would have doubted the existence of a standard of taste in an area of human activity, the arts, where very many people, not ordinarily considered of a skeptical turn of mind, have doubted the existence of any standard according to his 1757 essay Of the Standard of Taste.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"257 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127539420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Cézanne’s Doubt to Ai Weiwei’s Subversive Engagement","authors":"Georg Stenger","doi":"10.1515/yewph-2018-0020","DOIUrl":"https://doi.org/10.1515/yewph-2018-0020","url":null,"abstract":"Within the large field of our conference on “Aesthetics and Life-World,” which takes on an even broader dimension in the framework of the Yearbook for Eastern and Western Philosophy – I will, in what follows, concentrate on only two main protagonists: Paul Cézanne and Ai Weiwei. This restriction not only allows a more concise focus of my analyses, more importantly, merely reflecting on art or indeed aesthetics in general would precisely give away the actual concern. By proceeding in an abstract, conceptual fashion, we would, speaking with Kant, neither see the artist’s constitutive “originality” nor the “exemplary,” let alone the talent to “give the rule to (fine) art.” Although the notion of “genius” is today as obsolete as it is unclear – and neither Paul Cézanne nor Ai Weiwei would even consider regarding themselves as geniuses – I would like to show how their artistic activity works on the lifeworld itself, which is, in turn, where they – just as all of us – originate from. Therefore, their artistic production and their very existence as artists constitutively is at issue and at stake, even if, or rather, precisely because both come from different and very distinct cultures, lifeworlds, times, and understandings of art and artistry. Thus, the title “From Cézanne’s Doubt to Ai Weiwei’s Subversive Engagement” by no means refers to some coherent art-historical trajectory. In fact, it points to the possibility of examining the relationship of “aesthetics and lifeworld” – or as I would rather say, of “aisthetics and lifeworld” –, along with its presuppositions and preconditions, from an intercultural perspective. This means that perception or experience on the one hand and lifeworld or form of life on the other hand have to be analyzed in their reciprocal conditionality and contouring. This involves also that the aesthetical – to be understood, for once,","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"205 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116386130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Das Bild als Phänomen","authors":"Wang Zhuofei","doi":"10.1515/yewph-2018-0021","DOIUrl":"https://doi.org/10.1515/yewph-2018-0021","url":null,"abstract":"Abstract This article discusses the traditional approaches to creating images in China and Europe, which basically relate to two different understandings of truth and perception. On the basis of the concept mimesis, classical European paintings concentrate on a rigorous correspondence to the visually perceived reality. In contrast, literary paintings – one of the representational forms of traditional Chinese painting – take a different approach. In order to avoid a radical differentiation between image and phenomenon, it does not strive for a precise imitation of external forms. Given the influence of the concept of change, the primary task of Chinese painters is to reveal the vitality that permeates all existence and the dynamic interaction of opposing elements. This does not mean that imitation can be completely abandoned in the artistic creation. Instead, imitation is a fundamental step towards progress.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127407018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art and Technology","authors":"Yvonne Förster","doi":"10.1515/yewph-2018-0009","DOIUrl":"https://doi.org/10.1515/yewph-2018-0009","url":null,"abstract":"Abstract The world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.","PeriodicalId":174891,"journal":{"name":"Yearbook for Eastern and Western Philosophy","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134179996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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