Thematische Bibliographien / Chinese philosophy and aesthetics

Auswahl der wissenschaftlichen Literatur zum Thema „Chinese philosophy and aesthetics“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 7. Februar 2022

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Zeitschriftenartikel zum Thema "Chinese philosophy and aesthetics":

1

Dai, Chuang. „Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua“. Философская мысль, Nr. 12 (Dezember 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  
2

Ka-Pok-Tam, Andrew. „On the Limitations of Lao Sze Kwang’s “Trichotomy of the Self” in His Interpretation of Kierkegaard“. Kierkegaard Studies Yearbook 26, Nr. 1 (11.08.2021): 523–45. http://dx.doi.org/10.1515/kierke-2021-0022.

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Abstract In 1959, Lao Sze-Kwang (1927 – 2012), a well-known Chinese Kantian philosopher and author of the New Edition of the History of Chinese Philosophy, published On Existentialist Philosophy introducing existential philosophers to Chinese readers. This paper argues that Lao misinterpreted Kierkegaard’s ultimate philosophical quest of “how to become a Christian” as a question of ‘virtue completion,’ because he failed to recognize and acknowledge Kierkegaard’s distinction between aesthetic, moral and religious passion. By describing and clarifying Lao’s misinterpretation, the paper then argues that Lao’s trichotomy of the self fails to give due credit to the independence of religiousness from morality and aesthetics in Kierkegaard’s thought.
3

Cheng, Chung-Ying. „Beauty and Aesthetics in Chinese Philosophy“. Journal of Chinese Philosophy 47, Nr. 1-2 (03.03.2020): 3–5. http://dx.doi.org/10.1163/15406253-0470102003.

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4

CHENG, CHUNG‐YING. „PREFACE: BEAUTY AND AESTHETICS IN CHINESE PHILOSOPHY“. Journal of Chinese Philosophy 47, Nr. 1-2 (März 2020): 3–5. http://dx.doi.org/10.1111/1540-6253.12398.

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5

Park, So‐Jeong. „Musical Metaphors in Chinese Aesthetics“. Journal of Chinese Philosophy 47, Nr. 1-2 (18.06.2019): 31–48. http://dx.doi.org/10.1111/1540-6253.12350.

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6

Park, So-Jeong. „Musical Metaphors in Chinese Aesthetics“. Journal of Chinese Philosophy 47, Nr. 1-2 (03.03.2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.
7

Poškaitė, Loreta. „Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities“. Dialogue and Universalism 30, Nr. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.
8

Sernelj, Téa. „Different Approaches to Chinese Aesthetics“. Asian Studies 8, Nr. 3 (22.09.2020): 161–82. http://dx.doi.org/10.4312/as.2020.8.3.161-182.

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The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a platform for modernization of Chinese culture on the one hand, and as a way to achieve the recognition of the West for the profound value of the Chinese intellectual tradition on the other. Fang Dongmei was one of the first representatives of this movement who was trained in Western and Chinese philosophy, and hence built his own philosophical theory on the encounter of both, while Xu Fuguan was one of the first who engaged in a dialogue with the West in the field of Chinese aesthetics. The present article illuminates the profound differences in their basic methods: while Fang Dongmei’s elaboration upon Chinese art and aesthetics is based on philosophical and poetic approaches, Xu Fuguan’s comprehension is grounded on philological, historical and cultural analyses. The author argues that such mutual differences between their ideas show their reciprocal complementarity, which in turn provides a more profound and clear understanding of the specific spirit of Chinese art.
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Sernelj, Téa. „Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan“. Asian Studies 8, Nr. 1 (10.01.2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
10

Arnheim, R. „ANCIENT CHINESE AESTHETICS AND ITS MODERNITY“. British Journal of Aesthetics 37, Nr. 2 (01.04.1997): 155–57. http://dx.doi.org/10.1093/bjaesthetics/37.2.155.

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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Chinese philosophy and aesthetics":

1

Wong, Ching-ping. „The manifestation of Chinese philosophy and aesthetics in the performance of the pipa music“. Thesis, Kingston University, 1989. http://eprints.kingston.ac.uk/20532/.

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This thesis attempts to identify the philosophical and aesthetic concepts of pipa music. The discussion is approached from a performer's point of view and is supported by the author's demonstrations on the pipa, in conjunction with the discussion of artistic theories of other Chinese traditional arts. The introductory chapter involves an examination of thehistorical perspective of the pipa, a discussion of the problems of pipa notation and an explanation of the approach of this thesis. Part I (Chapters 1-6) concentrates on the discussion of theoretical matters. An investigation of the various meanings and the evolution of the concepts qi and yun is the first step to approaching Chinese philosophy and aesthetics. The “three levels of qi” involve playing technique, aesthetic and philosophical considerations. The capturing of “qi of intentional effort” is determined by “combined technique” and breathing methods. The articulation of timbre and “slide” are the essence of “yun”. The manipulation of “qi-yun” deals with the art of performance, interpretation and re-creation, as well as major aesthetic concepts and philosophical ideas of other traditional arts. The final approach of Part I (Chapter 6) probes in to the relationship of poetry and music. Pipa music shares a similar artistic appreciation of consummate beauty to that of Chinese poetry. The focus of Part II (Chapters 7 & 8) attempts to present a detailed analytical study of pipa right-hand “combined technique” and left-hand “slide” skills, accompanied by the study of their historical context. Apart from these matters, Part II acts as a support for the aesthetic and philosophical concepts of Part I.
2

LI, HAO. „A COMPARATIVE STUDY OF EIGHTEENTH CENTURY ENGLISH AND ANCIENT CHINESE GARDEN DESIGN“. University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin975339478.

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3

Ho, King Tong. „The poetics of making a new cross-cultural aesthetics of art making in digital art through the creative integration of Western digital ink jet printmaking technology with Chinese traditional art substrates : this exegesis is submitted to AUT University in partial fulfillment of the degree of Doctor of Philosophy“. Click here to access this resource online, 2007. http://hdl.handle.net/10292/333.

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4

Chiu, Chun-Chao. „A cross cultural study of Chinese yi jing aesthetic theory and Ch'an philosophy applied to contemporary art : bright moon tender wind“. Thesis, University of Newcastle Upon Tyne, 2005. http://hdl.handle.net/10443/516.

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This thesis examines a spects of the relationship between Eastern and Western art, and philosophy, specifically through the analysis and application of traditional Chinese yijing aesthetic theory and Chan philosophy,with particular reference to contemporary environmental installation practice. I am particular interested in the relationships between the artist, the audience the artwork and the engagement o f all of these with the space.I wished to see whether yijing theory and Chan philosophy might be provide a framework for the development and direction of my own installation practice and to discover whether my resulting artwork could in turn produce a direct interpretation of yijing and Chan. All of this research has been written up in Chapter 1- 4 with an examination of essential background information on the aspects of Chinese art and aesthetic theory known as yi fing. Further such research was undertaken in the area of Chan Buddhism and its relationship to art and the artistic process. This was followed by an investigation of the characteristics of Chinese and Japanese garden design and how they can be seen to exemplify aspects of yijing and Chan. I then considered the history and development of East-West cultural interaction, aspects of environmental and installation practice and certain works by Turrell, Long and Teshigahara in order to provide an historical and theoretical context for my practical work. I Chapter 5 provides a detailed account of 10 practical projects, featuring the process of initiation, development, realisation, appraisal and documentation. Each project has been created and organised according to specific aims and objectives with appraisal and reflection of each project contributing to the particular focus of the practical work that followed. The conclusion of the thesis culminates in the final project, "Bright Moon Tender Wind', which sought to provide a conclusive statement in relation to the research themes. There is extensived ocumentation including images on a CD ROM for all my projects relating to the thesis.
5

Shi, Wen. „Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire »“. Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2020/document.

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Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « ternaires » ou « tripolaires », avec le rôle d’un Tiers, d’un « milieu ». La problématique ainsi retenue est la suivante :Quelles sont les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » ?Au niveau historique, pour chaque culture, deux périodes jugées « significatives » dans le cadre de la philosophie de l’éducation esthétique/artistique ont été retenues. La première période correspond à l’Antiquité. Pour la chine, il s’agit de l’époque des Printemps et Automnes (771 à 476 av. J.-C.), pendant laquelle sont nés les courants philosophiques du confucianismeet du taoïsme. Pour l’Occident, il s’agit de la pensée grecque telle qu’elle est soulignée par Platon et Aristote. La seconde période, ne correspond pas à une synchronie entre la Chine et l’Occident. En revanche, elle se traduit dans un cas comme dans l’autre, par une profonde réforme des valeurs éducatives des arts. Cette réforme correspond pour l’Occident aux Lumières, notamment allemandes, par exemple avec la naissance, au XVIIIe siècle, de l’esthétique sous la plume de Baumgarten. Si la Chine était restée en phase avec la tradition de l’époque des Printemps et Automnes, il fallut attendre l’époque républicaine, à partir de 1919, pour que cette réforme se produise, précisément sous l’influence d’intellectuels chinois qui introduisirent de nouvelles conceptions très influencées par les Lumières européennes.Tel est le parcours historique que propose cette thèse, pour revenir finalement à la question de sa démarche comparative sur la base du « binaire » ou du « ternaire », base sur laquelle oscille l’ensemble du corpus présenté, tant en Chine qu’en Occident. Cette double configuration, repérée au centre des axiologies ici présentées, se prête ainsi, au-delà des valeurs éducatives des arts, à articuler un opérateur comparatif « transculturel » dont la proposition et l’essai constituent l’originalité de cette thèse au regard des approches sino-occidentales
This thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches
6

Browne, Paul Leduc. „Lukacs's aesthetics and ontology, 1908-23“. Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339014.

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This thesis examines the development of Georg Lukacs's early philosophy, and specifically of his concept of the subject-object dialectic, from the History of Development of Modern Drama (1908) to History and Class Consciousness (1923). Between 1908 and 1918, Lukacs came to see as the only possible philosophical options either Hegel's ontology or a resolutely anti-ontological Neo-Kantian value-philosophy inspired by Lask, combined with a quasi-religious metaphysic inspired by Fichte, Kierkegaard and Dostoevsky. In the Heidelberg Aesthetics (1916-1918), the programme of Hegel's metaphysics (the phenomenology of the identical subject-object) is presented as only realizable within a resolutely non-metaphysical aesthetic, as one sphere of validity within a Neo-Kantian framework. History and Class Consciousness transposes the logical structure of this aesthetic theory into the ontological domain, articulating a Marxist critique of Neo-Kantianism which rediscovers in the proletariat the phenomenology of the identical subject-object as the logic of being, i.e. as ontology. This thesis is the first study in English to bring to light fully this dialectic, because it is the first to analyze Lukacs's Philosophy of Art (1912-1914) and Heidelberg Aesthetics (1916-1918), and their relation to History and Class Consciousness. It contributes not only to a new understanding of Lukacs's transition to Marxism, but also sheds light on the genesis of his later philosophy. Its detailed critique of History and Class Consciousness from a point of view inspired by the dialectics of labour in Lukacs's later Ontology of Social Being, lays new emphasis on the latter's relevance to contemporary social theory.
7

朱翹瑋 und Kiu-wai Chu. „Constructing ruins: new urban aesthetics in Chinese art and cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209609.

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Chu, Kiu-wai. „Constructing ruins new urban aesthetics in Chinese art and cinema /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43209609.

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9

Rowe, M. W. „Philosophy, psychology, criticism : A defence of traditional aesthetics“. Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377287.

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Razumovskaya, Maria. „Heinrich Neuhaus : aesthetics and philosophy of an interpretation“. Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.
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Bücher zum Thema "Chinese philosophy and aesthetics":

1

Liu, Kang. Aesthetics and Marxism: Chinese aesthetic Marxists and their Western contemporaries. Durham, N.C: Duke University Press, 2000.

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Wu, Haiqing. Chuanshan mei xue si xiang yan jiu. 8. Aufl. Zhengzhou Shi: Henan ren min chu ban she, 2004.

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Li, Changshu. Yi jing de zhe xue ji chu: Cong Wang Bi dao Huineng de mei xue kao cha = The philosophic basis of yijing : an aesthetic investigation from Wangbi to Huineng. 8. Aufl. Beijing Shi: She hui ke xue wen xian chu ban she, 2008.

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Zehou, Li. Zou wo zi ji di lu. 8. Aufl. Taibei Shi: Feng yun shi dai chu ban gong si, 1990.

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Jullien, François. Dan zhi song: Lun Zhongguo si xiang yu mei xue = Eloge de la fadeur : apartir de la pensée et de l'esthétique de la Chine. 8. Aufl. Taibei Xian Xindian Shi: Gui guan tu shu gu fen you xian gong si, 2006.

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Huang, Shuji. Zhongguo yi shu zhe xue shi. 8. Aufl. Taibei Shi: Hong ye wen hua shi ye you xian gong si, 2006.

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Jullien, François. Eloge de la fadeur: À partir de la pensée et de l'esthétique de la Chine. Arles: P. Picquier, 1991.

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Wang, Yun. Tang dai mei xue fan chou yan jiu. 8. Aufl. Shanghai Shi: Xue lin chu ban she, 2005.

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Zehou, Li. Four essays on aesthetics: Toward a global view. Lanham, MD: Lexington Books, 2006.

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Zehou, Li. Four essays on aesthetics: Toward a global view. Lanham, MD: Lexington Books, 2006.

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Buchteile zum Thema "Chinese philosophy and aesthetics":

1

Wang, Keping. „The Rise of Modern Chinese Aesthetics“. In Beauty and Human Existence in Chinese Philosophy, 251–79. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_11.

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Zhirong, Zhu. „Aesthetic traits“. In Philosophy of Chinese Art, 149–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-4.

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Man, Eva Kit Wah. „Chinese Bodies in Philosophy, Aesthetics, Gender and Politics: Methodologies and Practices“. In Chinese Contemporary Art Series, 131–44. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_11.

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Park, So Jeong. „The Aesthetics of Musical Emotion in Ji Kang’s “Music has in It Neither Grief nor Joy”“. In Dao Companions to Chinese Philosophy, 251–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49228-1_13.

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Zhu, Baowei. „Aesthetic Factors in Engineering Technical Activities“. In Chinese Philosophy of Technology, 93–111. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1952-9_7.

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Fung, C. Victor. „Aesthetic Education: Classic Chinese Perspectives“. In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-287-532-7_680-1.

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Lee, Su-san. „In Defense of Chinese Sensibility: Confucian Aesthetics in the 20th Century“. In Dao Companion to Contemporary Confucian Philosophy, 513–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56475-9_23.

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Goldberg, Stephen J. „Chinese Aesthetics“. In A Companion to World Philosophies, 225–34. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164566.ch15.

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Zhiyuan, Chen. „Chinese Aesthetics“. In Handbook of Phenomenological Aesthetics, 49–52. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_9.

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Romero, Gustavo E. „Aesthetics“. In Scientific Philosophy, 81–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97631-0_6.

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Konferenzberichte zum Thema "Chinese philosophy and aesthetics":

1

He, Shuqing. „Beauty and Art in the Oriental Philosophy. An Aesthetic Study in the Traditional Chinese Philosophy“. In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.20.

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Polmeer, Gareth. „Sublating Time: Hegel’s speculative philosophy and digital aesthetics“. In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.

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3

Chudoba, Eva. „JOHN DEWEYS AESTHETICS OF EVERY DAY LIFE“. In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.100.

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Yu, Xufeng. „Philosophy Education and the Innovation of Contemporary Chinese Philosophy“. In Proceedings of the 2018 2nd International Conference on Economic Development and Education Management (ICEDEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icedem-18.2018.14.

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Xu, Wei. „Study of Chinese Teaching Based on Aesthetics“. In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.79.

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Wang, Tong. „Image Aesthetics Characteristics of Chinese Piano Music“. In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.34.

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Li, Pingfei. „Poetic Aesthetics in Chinese Contemporary Jewellery Design“. In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.098.

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Wan, Wenwen. „The Life Spirit of Traditional Chinese Medicine and Chinese Aesthetics“. In Proceedings of the 2nd International Conference on Humanities Education and Social Sciences (ICHESS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ichess-19.2019.51.

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Zhu, Lin, und Donglei Guo. „Vindication of Chinese Traditional Legal Philosophy“. In 2015 International Conference on Social Science, Education Management and Sports Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ssemse-15.2015.462.

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HE, Shaoyao, Duo LI und Ouyang DUO. „Exploration of Chinese Ecological and Environmental Philosophy“. In International Conference on Biological Engineering and Pharmacy 2016 (BEP 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/bep-16.2017.50.

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Berichte der Organisationen zum Thema "Chinese philosophy and aesthetics":

1

Chinese Philosophy: Lessons for Western Leaders. IEDP Ideas for Leaders, Januar 2013. http://dx.doi.org/10.13007/065.

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