English Abstracts

“Mother’s Time” and “Father’s Time”:The Origin of Philosophical Anthropology of Ethics

You Xilin

Abstract:Family is the anthropological existence of ethics. Time as the meaning structure of life, “mother’s time” and “father’s time” are philosophical anthropological abstractions of family ethics. Mother’s time, which begins with oosperm and maternal love, is the anthropological origin of the emotional meaning mode of human life, namely “emotional noumenon”. Maternal love is the emotional noumenon of human ethics.The pattern of father’s behavior towards the world relying on tools is the anthropological prototype of tool ontology. This pair of categories provides not only the deep structure of ethics and its blood-related and super-blood-related differentiation, but also a deep comparative framework for the corresponding Chinese and Western cultures and ethics.

Categories for a Materialist Criticism Terry Eagleton (Trans. by Duan Jifang, Zhang Shimin)

Abstract:In Eagleton’s literary criticism theory, General Mode of Production, Literary Mode of Production, General Ideology, Authorial Ideology, Aesthetic Ideology, Text, these factors constitute the main components of Marxist literary theory. Materialist Criticism is a process in which these theoretical components are interrelated and function. Among them AI is a special aesthetic field in GI, because it combines ethics,religion and other fields of human social and cultural life, and is the main category of Marxist materialist criticism. Marxist Materialist Criticism not only emphasizes the material basis of artistic production, but also acknowledges that art is the reality of material production. Its main task is to analyze the structural mechanism of text production and its complex historical expression, which is an important practical form of Marxist literary theory.

Splendid Turning Around: “Gaining the World with Love” (Part Ⅱ)

Pan Zhichang

Abstract:The conversion from aesthetic liberty to aesthetic redemption is the only way for Chinese aesthetics, and also the puzzle of Chinese aesthetics. It urgently awaits “fundamental transformation” of life or “pupate into butterfly”, and awakens the “unprovoked” awareness of the “marginal situation” of life. However, what we have seen in the history of Chinese aesthetics is often just blind obedience, unfettered and resistance. Therefore, turning around for love and “gaining the world with love” should be the historical choice of “crossing the boundaries of life” from aesthetic freedom to aesthetic redemption.

The Reassessment on “Aesthetics Fever” in the New Period

Tao Guoshan

Abstract:The “aesthetic current” at the beginning of the new period in early 1980s is an important and successful aesthetic preview in contemporary China, resulting in the subsequent aesthetic culture researches and the revival of aesthetics in the new century. It is generated in the national discourse of the “reform and open policy”, whose essence is the source of the theory of “human thought” from Marx’s Economic Philosophy Manuscript. It is particularly necessary to reflect and re-evaluate the aesthetic fever in the new period. On the one hand, it is necessary to face up to the rationality of the disputes between contemporary Chinese social and cultural thoughts from the aesthetic point of view and to promote the important presentation of the progress of humanistic thoughts; on the other hand, it is also an important historical reference for the further development of contemporary political discourse in the context of reform and opening-up, especially in the humanistic ideological level.

Paris Manuscript is the First Ideological Source of Practical Ontological Aesthetics:Book Review of Marx and the Revolution of Modern Aesthetics: On the Philosophical Basis of Practical Existentialism Aesthetics

Cao Qian

Abstract:Marx and the Revolution of Modern Aesthetics: On the Philosophical Basis of Practical Ontological Aesthetics is a new book which systematically expounds Zhu Liyuan’s aesthetic system of Practical Ontology. It proves once again that although Practical Ontological Aesthetics is inspired by Heidegger’s Ontology, its philosophical basis is Marxist, specifically, the thought and essence of Marx’s Paris Manuscript.The divine core plays the most important and fundamental role in constructing the basic theoretical framework of practical ontological aesthetics.

Historical Generation and Unique Innovation of Practical Ontological Aesthetics

Jiang Fei

Abstract:“Practical ontological aesthetics” is an inevitable result of following the development of contemporary Marxist aesthetics in China and conforming to the reform and innovation of Chinese practical aesthetics. It has become a new theory in the pluralistic development pattern of Chinese aesthetics in the new century. It is not only an important summary of practical aesthetics and “post-practical aesthetics” since the 1990s,but also a creative transformation of contemporary Marxist aesthetic based on problems generated in Chinese aesthetic researches. Zhu Liyuan,the builder of practical ontology aesthetics, always adheres to the basic stand of Marxism, creatively integrates Marxist theory of practice, Jiang Kongyang’s theory of practical generation with Heidegger’s later theory of existence, adheres to Marxist practical materialism, integrates ontology with practice, replaces ready-made theory with generationism, and transcends the dualistic opposition of epistemology, which opens up a new road for inheriting and developing practical aesthetics.

The Life Denotation of Practical Ontology Aesthetics

Zhang Baogui

Abstract:Practical ontological aesthetics originates from the context of modern life in contemporary China and is an answer to its problems. As a solution, practical ontological aesthetics first reverses the essentialist way of thinking of traditional epistemological aesthetics in theory, denoting to the reality of human life instead of the abstract system. Secondly, by explaining Marx’s category of “practice” and “existence”,aesthetics returns from the abstract entity of traditional epistemology to the generative life itself. Therefore, it expounds its life denotation, while,by virtue of the spiritual transcendence of aesthetic activity, it tries to provide some ideas to the problems caused by material desires in modern society.

An Overview of the Early Evolution of Chinese Water Myth

Bi Xuling

Abstract:Water myth is one of the earliest myths in creation myth, which originated from the natural worship of primitive ancestors. There is an obvious trend in the evolution of early Chinese water mythology, that is, the decline of the status of water god. In the process of the evolution of the form and the change of status of the water god, the family of the water god is also expanding, and finally a relatively complete water god system is formed. This process is closely related to the formation of the Chinese nation, the establishment of the state power and its development.The development of Chinese water myth is also closely related to the progress of water control technology of the ancestors. The development of water resources technology not only brings up many water gods, but also leads to the decline of the status of water gods.

Who is Nie Chizanpu?

Zhang Xuehai

Abstract:Nie Chizanpu is regarded as the first Zanpu of Xibuye, the Yalong tribe in Shannan, Tibet, which was the predecessor of the Tubo Dynasty. Starting with the analysis of Nie Chizanpu’s records in Tibetan historical books, this paper reveals the characteristics of Nie Chizanpu’s myths and legends, and uses the method of mythological prototype criticism to interpret the rich cultural phenomena of sun worship in prehistoric Tibet. The paper points out the characteristics of collective unconsciousness of Tibetan ancestors, and points out that Nie Chizanpu is the ancestor of the Tibetan legend of Yang prototype by analyzing the details of Nie Chizanpu’s historical records.

Stamps in Late Qing Dynasty and Republic of China: An Aesthetic Style of “banknotes”——Also on Stamps’ Design in Modern Chinese Graphic Design History

Zhou Ren

Abstract:As a typical type of plane design, the stamp becomes an encyclopedia of the country’s culture and art with its more pluralistic artistic expression and aesthetic style. Although the historical development of the stamp is almost completely synchronized with the history of Chinese graphic design, the stamp’s aesthetic style deviates from that of the graphic design. Modern (Late Qing Dynasty and Republic of China)stamps are almost unaffected by modern design styles such as newspaper advertisements, book decoration, posters and so on. Their aesthetic characteristics are similar to “banknote”. The narrow theme, the restrained design style, the symmetrical layout and the complex decorative patterns under the influence of the political concept, and the engraved printing process and the single color become the main representation of the stamps at this time.

On Ah Q’s Braid: Intertextual Verification in the Interpretation of Literary Classics

Yu Zhaoping

Abstract:Braid is a common image in Lu Xun’s works with an overlapping and changing connotation from Chinese common braid to Ah Q’s braid. The detailed description of Ah Q’s “braids on a bamboo chopstick plate” shows Ah Q’s speculation in the revolution, which is almost classified into the list of “red crowns with human blood”. Ah Q, who has personality splitting symptoms and wants to kill and plunder for the purpose of “revolution”, is a typical image of vagrants. Lu Xun has a critical attitude towards Ah Q. The intertextual confirmation of the braid image can help us get a clearer understanding of Lu Xun’s intention of his creating Ah Q.

Three Pedestrians of Red Mansion: Wang Guowei, Cai Yuanpei and Mao Zedong (Part Ⅰ)

Shan Shilian

Abstract:Among the comments on A Dream in Red Mansions in the 20thcentury, Wang Guowei, Cai Yuanpei and Mao Zedong are always thought as important figures. Although none of them are Red Scientists in professional sense, they exert a great influence on the study of Red Sciences, literary studies and cultural thoughts, covering theories and texts, China and the West, literature and politics, etc. This paper analyzes in what sense A Dream in Red Mansions is interpreted by different theories, meanwhile, it also explains how a novel enters modern cultural life.

The Paradigm of Conceptual History and the Third Way of Art History Writing: Book Review of History of Artistic Concepts in Pre-Qin and Han Dynasties by Liu Chengji

Xi Ge

Abstract:The history of works of art and the history of art theory are two main paradigms to question history from artistic dimension.Professor Liu Chengji’s History of Artistic Concepts in the Pre-Qin and Han Dynasties re-questions the history through a local transformation of artistic concepts, reflection of artistic historical concepts and the application of the “triple evidence method”, which not only broadens research methods of artistic history, illuminates some aspects and contents which were once covered, but also further restores and presents the historical truth, and provides methodological experiences in the writing of aesthetic history and literary history.