Tianxia system on a snail's horns     

Chishen Chang 《Inter-Asia Cultural Studies》2013,14(1):28-42

Abstract

This article aims to report the findings from some recent researches on the historical formation of the concept of tianxia and its original meanings. In the light of these findings, I would like to make some comments on the Chinese philosopher Zhao Tingyang's works on the tianxia system. I demonstrate that the concept of tianxia portrayed by Zhao is at odds with the historical concepts of tianxia in many ways, and that the challenge raised by the latter for Chinese nationalism today is unanswered. I also examine Zhao's proposal of the tianxia system and point out that this proposal as a universalist commitment to a philosophy of the world seems to have failed on both the motivational and theoretical levels. In conclusion, I make an observation about a problem which might have a profound but inimical effect on the creativity of Chinese intellectual minds, namely, the urge to make chinoiserie theories at the expense of theoretical coherence and logical consistency.  相似文献   

“中国风”音乐与台湾现代派诗歌关系探微     

饶希玲 《重庆第二师范学院学报》2011,24(4):130-132

＂中国风＂音乐与台湾现代派诗歌不仅血脉相连,而且殊途同归。历史的隔阂造就了台湾现代派诗歌特有的文化乡愁,并逐渐衍化为台湾的文化传统,＂中国风＂音乐便是对这一文化传统的继承和发扬。面对＂传统与现代＂、＂西化与民族化＂诸如此类的问题,＂中国风＂音乐和台湾现代派诗歌最终选择回归传统,并试图用古典情怀来构建现代精神家园。  相似文献   

Imperial Plots? Shugborough,Chinoiserie and Imperial Ideology in Eighteenth-Century British Gardens     

Stephen McDowall 《Cultural and Social History》2017,14(1):17-33

This article examines the place of the Chinese House (c. 1748) at Shugborough, Staffordshire, within the context of the mid-eighteenth-century craze for chinoiserie architecture in British gardens, and within the longer history of Sino-British encounters more generally. Drawing on evidence from published and archival sources, it argues that the expression of imperial ideology manifest in the garden at Shugborough represents an exceptional case for the period, during which more nuanced and ambivalent attitudes towards Britain's expanding presence in Asia generally prevailed. Attention is drawn to the need to locate the specific social settings of art objects within their wider historical contexts.  相似文献