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Publié le 26 juillet 2024

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1

Indraccolo, Lisa. « Textual Criticism of the ». T’oung Pao 99, no 4-5 (2013) : 249–67. http://dx.doi.org/10.1163/15685322-9945p0001.

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The present article compares the two principal received editions of the Gongsun Longzi in the Daozang and the Shuofu collections. Exploring the considerable number of textual variants between these two editions, the analysis challenges the acknowledged status of the Daozang as the superior version. Instead, both the Daozang and the Shuofu editions are at times inferior or superior to one another. Therefore, in the interpretation of the Gongsun Longzi both editions need to be consulted in order to unravel certain obscure passages. Altogether, due to the generally high degree of coherence between the two editions, the understanding of the Gongsun Longzi is significantly affected by textual variants only in a limited number of cases. This further suggests that the Daozang and Shuofu editions do not represent two separate lines of transmission but rather two textual witnesses of a common line. Cet article compare les deux principales éditions reçues du Gongsun Longzi, recueillies respectivement dans le Daozang et dans le Shuofu. L’analyse des multiples variantes textuelles entre les deux versions conduit à remettre en question la supériorité généralement admise de celle du Daozang. En réalité, chacune des deux éditions est suivant les cas supérieure ou inférieure à l’autre. Pour interpréter le Gongsun Longzi il convient par conséquent de consulter l’une et l’autre si l’on veut éclaircir certains passages obscurs. Dans la mesure où dans l’ensemble les deux éditions présentent un degré élevé de cohérence entre elles, les cas où la compréhen­sion du texte est affectée de façon significative par les variantes restent finalement peu nombreux. Ce qui suggère que les versions du Daozang et du Shuofu représentent non pas deux lignées séparées de transmission, mais plutôt deux témoignages d’une seule et même lignée.
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Cheng, Chung-Ying. « Reinterpreting Gongsun Longzi and Critical Comments on Other Interpretations ». Journal of Chinese Philosophy 34, no 4 (19 février 2007) : 537–60. http://dx.doi.org/10.1163/15406253-03404006.

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CHENG, CHUNG-YING. « REINTERPRETING GONGSUN LONGZI AND CRITICAL COMMENTS ON OTHER INTERPRETATIONS ». Journal of Chinese Philosophy 34, no 4 (décembre 2007) : 537–60. http://dx.doi.org/10.1111/j.1540-6253.2007.00438.x.

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Dolcini, Nevia, et Carlo Penco. « Gottlob Frege and Gongsun Long in Dialogue ». Asian Studies 11, no 1 (10 janvier 2023) : 267–95. http://dx.doi.org/10.4312/as.2023.11.1.267-295.

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This work addresses the critical discussion featured in the contemporary literature about two well-known paradoxes belonging to different philosophical traditions, namely Frege’s puzzling claim that “the concept horse is not a concept” and Gongsun Long’s “white horse is not horse”. We first present the source of Frege’s paradox and its different interpretations, which span from plain rejection to critical analysis, to conclude with a more general view of the role of philosophy as a fight against the misunderstandings that come from the different uses of language (a point later developed by the “second” Wittgenstein). We then provide an overview of the ongoing discussions related to the Bai Ma Lun paradox, and we show that its major interpretations include—as in the case of Frege’s paradox—dismissive accounts that regard it as either useless or wrong, as well as attempts to interpret and repair the argument. Resting on our reading of Frege’s paradox as an example of the inescapability of language misunderstandings, we advance a similar line of interpretation for the paradox in the Bai Ma Lun: both the paradoxes, we suggest, can be regarded as different manifestations of similar concerns about language, and specifically about the difficulty of referring to concepts via language.
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Johnston, Ian. « The Gongsun Longzi : A Translation and an Analysis of its Relationship to Later Mohist Writings ». Journal of Chinese Philosophy 31, no 2 (19 février 2004) : 271–95. http://dx.doi.org/10.1163/15406253-03102007.

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Johnston, Ian. « The Gongsun Longzi : A Translation and An Analysis of Its Relationship to Later Mohist Writings ». Journal of Chinese Philosophy 31, no 2 (juin 2004) : 271–95. http://dx.doi.org/10.1111/j.1540-6253.2004.00154.x.

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Demarle-Casadebaig, Monique. « Gongsun Long : le lieu philosophique du cheval blanc ». Laval théologique et philosophique 78, no 3 (24 mars 2023) : 385–404. http://dx.doi.org/10.7202/1097880ar.

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Le questionnement de la philosophie s’est traduit par des lieux communs de problèmes et d’arguments dont l’intelligence ne dépend pas de leur expression dans une langue particulière. On veut faire reconnaître par cet article un tel locus communis philosophiae dans l’argument de Gongsun Long de 公孫龍, d’après lequel « cheval blanc n’est pas cheval ». Gongsun Long, déjà assimilé à un « disputeur » en Chine, a été exilé du champ de la philosophie en Europe en tant que « sophiste ». On montre pourtant que son argument concerne un problème analogue à celui qui a conduit Aristote à faire la distinction entre prédication essentielle et accidentelle ou celui qui a conduit Husserl à parler de ce que vise l’« intuition catégoriale ». Mais la leçon proprement chinoise de son propos tient peut-être alors en son indifférence au choix entre le primat de l’être sur la conscience, selon Aristote, ou de la conscience sur l’être, selon Husserl.
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8

Vierheller, Ernstjoachim. « Object Language and Meta- Language in the Gongsun-long-zi ». Journal of Chinese Philosophy 20, no 2 (10 février 1993) : 181–209. http://dx.doi.org/10.1163/15406253-02002005.

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9

Chaehyun Chong. « A pragmatics-based interpretation of Gongsun Long and Neo-Mohists ». Sogang Journal of Philosophy 21, no ll (mai 2010) : 61–88. http://dx.doi.org/10.17325/sgjp.2010.21..61.

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VIERHELLER, ERNSTJOACHIM. « Object Language and Meta-Language in the Gongsun-long-z0069 ». Journal of Chinese Philosophy 20, no 2 (juin 1993) : 181–209. http://dx.doi.org/10.1111/j.1540-6253.1993.tb00173.x.

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김철신. « The Reasoning Method and Worldview in Gongsun Longzi Reexamined in the Context of the Ancient Chinese History of Philosophy ». JOURNAL OF ASIAN PHILOSOPHY IN KOREA ll, no 33 (juillet 2010) : 73–94. http://dx.doi.org/10.19065/japk..33.201007.73.

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Yuan, Jinmei. « Thinking through Sets : Exploring How Chinese Pictographic Language Shapes Chinese Logic ». Athens Journal of Philosophy 2, no 4 (29 novembre 2023) : 247–76. http://dx.doi.org/10.30958/ajphil.2-4-3.

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The author of this paper argues that ancient Chinese thinkers practiced an alternative logic that is significantly different from Aristotelian logic. The paper has two objectives: 1) to clarify what Chinese logic looks like; 2) to re-evaluate the wisdom in classic texts with a clear understanding of Chinese logic. The author uses two major approaches in her reasoning: an etymological approach and logic of sets. An etymological study shows that Chinese pictographic characters were created according to sets - the collections of characters. The author examines how Chinese pictographic language shapes ancient Chinese thinkers’ thinking patterns and provides evidence that the habit of thinking in sets could naturally shape a practice of a primary logic of sets. Borrowing some expressions and symbols from modern Set Theory, the author demonstrates how the logic of sets was practiced by Gongsun Longzi, Confucius, Zhuangzi, as well as Chinese mathematicians in their teachings and reasoning. A theory of sets provides help with a much better understanding about reasoning methods in ancient Chinese thinkers’ minds, so that one can evaluate their wisdom fairly. Understanding Chinese logic as it is provides a fruitful opening for new research in Comparative Philosophy. Keywords: set, etymology, membership, Chinese logic, and comparative philosophy
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13

Reding, Jean-Paul. « Gongsun Long on What Is Not : Steps toward the Deciphering of the Zhiwulun ». Philosophy East and West 52, no 2 (2002) : 190–206. http://dx.doi.org/10.1353/pew.2002.0029.

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Rošker, Jana S. « Transcultural Sublation of Concepts and Objects through the Lens of Adorno and Gongsun Long ». Yearbook for Eastern and Western Philosophy 7, no 1 (1 juin 2023) : 129–60. http://dx.doi.org/10.1515/yewph-2023-0023.

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Abstract The purpose of this chapter is to demonstrate a new approach to transcultural postcomparative philosophy, which may be tentatively called “the method of sublation,” using the example of Adorno and Gong Sunlong’s respective views on the relationship between concepts and objects. The term sublation is a neologism commonly used to translate Hegel’s idea of Aufhebung. It is derived from the Latin term sublatio, for its original meaning covered all three crucial connotations of Hegel’s Aufhebung – to lift up, to preserve and to eliminate. The method thus encompasses all three of these three notions that are crucial to any process of creating something new from the interactions between two or more distinct discourses. In this philosophical sense, it has the three meanings of producing, eliminating, and preserving arguments, propositions, or ideas. Moreover, unlike “synthesis” the term “sublation” refers to a process rather than a stage. The sublation method aims to develop new forms of transcultural philosophizing and to overcome the impasses of traditional comparative approaches through procedures of “conceptual comparison” rather than relying only on the “comparison of concepts”. It starts from similarities and differences identified in the basic paradigms of different culturally and semantically defined frames of reference, and uses the method of discursive translation to transfer meanings across different languages and ideational traditions. Through a contrastive analysis of the similarities and differences between Adorno’s and Gongsun Longs conceptions of concepts and objects (or names and realities, respectively), the paper demonstrates the importance of considering different culturally conditioned paradigms and frames of reference in order to gain new, more complex, and more pluralistic philosophical insights.
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15

Chong, Chaehyun. « Xunzi’s Sanhuo (Three Types Of Cognitive Delusions) ». Journal of Chinese Philosophy 39, no 3 (1 mars 2012) : 424–35. http://dx.doi.org/10.1163/15406253-03903008.

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This article explicates Xunzi’s three types of cognitive delusions in Xunzi’s Zhengming Pian. The followings are my conclusions: first, general names such as “a white horse,” “a horse,” “a thief,” and “a man” are thought of as proper nouns because the classic Chinese theory of language concerned pragmatics rather than semantics. Second, classic Chinese epistemology does not address conceptual (logical) knowledge or knowledge based on argumentation distinguished from the art of description.Third, Gongsun Long believes in an extreme form of one-name-one-thingism. Fourth, Neo-Moists’ theory of inference is based on intensional contexts. Fifth, Hui Shi’s position presupposes the art of knowing objects before any verbal expression and suggests the arbitrariness in the expressions of known objects. Sixth, Xunzi’s logic and semantics are extensional.
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16

Cheng, Chung-Ying. « Philosophical Significance of Gongsun Long : A New Interpretation of Theory of Zhi as Meaning and Reference ». Journal of Chinese Philosophy 24, no 2 (10 février 1997) : 139–77. http://dx.doi.org/10.1163/15406253-02402001.

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CHENG, CHUNG-YING. « PHILOSOPHICAL SIGNIFICANCE OF GONGSUN LONG : A NEW INTERPRETATION OF THEORY OF ZHI AS MEANING AND REFERENCE ». Journal of Chinese Philosophy 24, no 2 (juin 1997) : 139–77. http://dx.doi.org/10.1111/j.1540-6253.1997.tb00202.x.

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18

Vrhovski, Jan. « From Mohism to the school of names, from pragmatism to materialist dialectics : Chinese interpretations of Gongsun Longzi as a text and source of Chinese logic, 1919–1937 ». International Communication of Chinese Culture 7, no 4 (17 novembre 2020) : 511–38. http://dx.doi.org/10.1007/s40636-020-00202-0.

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19

Trauzettel, Rolf. « A Sophism by the Ancient Philosopher Gongsun Long : Jest, Satire, Irony - or is There a Deepeh Significance ? » Journal of Chinese Philosophy 26, no 1 (1 février 1999) : 21–35. http://dx.doi.org/10.1163/15406253-02601002.

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TRAUZETTEL, ROLF. « A SOPHlSM BY THE ANCIENT PHILOSOPHER GONGSUN LONG : JEST, SATIRE, IRONY - OR IS THERE A DEEPEH SIGNIFICANCE ? » Journal of Chinese Philosophy 26, no 1 (mars 1999) : 21–36. http://dx.doi.org/10.1111/j.1540-6253.1999.tb00530.x.

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21

Qian, Shuang. « Wang, Hongyin 王宏印, The White Horse Is Not a Horse : A Critical Analysis of the Gongsun Longzi from Logical, Philosophical, and Linguistic Perspectives 白馬非馬 : 《公孫龍子》的智慧——邏輯學、語言學、哲學三維解析 ». Dao 19, no 1 (21 janvier 2020) : 165–70. http://dx.doi.org/10.1007/s11712-019-09714-y.

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22

Huang, Qiao. « 《公孫龍子 : 重釋與重譯》 (Gongsun Long Zi : Chongshi yu Chongyi). By 劉利民 (LiuLimin). (Chengdu : Sichuan Daxue Chubanshe, 2015. xviii+ii, Pp. 298. Paperback. ISBN 978‐7‐5614‐9146‐1) ». Journal of Chinese Philosophy 47, no 3-4 (septembre 2020) : 328–32. http://dx.doi.org/10.1111/1540-6253.12416.

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Huang, Qiao. « 《公孫龍子 : 重釋與重譯》(Gongsun Long Zi : Chongshi yu Chongyi). By 劉利民(Liu Limin). (Chengdu : Sichuan Daxue Chubanshe, 2015. xviii+ii, Pp. 298. Paperback. ISBN 978-7-5614-9146-1) ». Journal of Chinese Philosophy 47, no 3-4 (3 mars 2020) : 328–32. http://dx.doi.org/10.1163/15406253-0470304017.

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Huang, Qiao. « The State of the Field Report XII : Contemporary Chinese Studies of the Philosophy of Language in the Gongsun Longzi ». Dao, 16 mars 2024. http://dx.doi.org/10.1007/s11712-024-09935-w.

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張, 高評. « 杜甫詩史與六義之比興———兼論叙事歌行與《春秋》筆削 ». 人文中國學報, 1 juillet 2022, 113–60. http://dx.doi.org/10.24112/sinohumanitas.342269.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 晉杜預，爲杜甫十三世祖，著《春秋經傳集解》，其《序》文特提微、婉、顯、晦之法，懲惡勸善之義。揭示叙事傳統無數法門，爲《春秋》學之一大功臣。杜甫三十歲時，曾作《祭遠祖當陽君文》，宣稱不敢忘本，不敢違仁。於是《春秋》與詩，同爲杜氏家學。杜甫流離隴蜀，所作敍事歌行，世號“詩史”，《本事詩》所謂“推見至隱，殆無遺事”者。叙事傳人之際，遂多《春秋》書法之體現。諸如屬辭比事，筆削顯義；據事直書，美惡自見；微婉顯晦，推見至隱；以小該大，因彼見此；偏載略取，舉輕明重；直斥不宜，曲筆諱飾；彼此相形、前後相絜，行屬辭比事之法；詳略、異同、重輕、忽謹，指義見乎筆削，其大者焉。杜甫於安史之亂前後所作敍事歌行，如《麗人行》、《哀江頭》、《贈花卿》、《戲作花卿歌》、《丹青引贈曹將軍霸》、《韋諷録事宅觀曹將畫馬圖歌》、《觀公孫大娘弟子舞劍器行》諸什，除轉化《春秋》書法爲詩史之外，且多寓抒情於叙事之中。正杜甫稱元結《舂陵行》，所謂“比興體制”；章學誠所稱：“必通六義比興之旨，而後可以講春王正月之書。”叙事傳統，可以兼涵抒情傳統，由杜甫詩史，“比興發於真機，美刺該夫衆體”，可見一斑。 Du Yu (222-285) of the Jin Dynasty was the great, great-grandfather of Du Fu (712-770) by thirteen generations. In the “Introduction” to his Variorum of the Spring and Autumn Annals with Zuo’s Commentaries, Du Yu described four devices of the classics, namely “subtlety,” “euphemism,” “manifestation,” and “ambiguity”; as well as the significance of punishing the evil and commending the virtuous. He illustrated countless devices of the narrative tradition and became a great contributor to the study of Spring and Autumn Annals. Du Fu wrote “A Funeral Oration for My Remote Ancestor, Lord of Dangyang” when he was thirty years old, in which he claims that he does not dare to forget his origin nor go against the principle of benevolence. Therefore, both the Spring and Autumn Annals and poetry became the legacy of the Du family. When Du Fu wandered to the Long and Shu regions in southwestern China, he wrote poems in the form of narrative ballad, which won him the sobriquet of “poet-historian.” Meng Qi (jinshi 875) in his Benshi shi praised him for “inferring the most obscure content without missing anything.” Du Fu employs devices of the Spring and Autumn Annals in writing narratives and biographical accounts. These devices include combining diction and enumeration of allusions, revealing meaning in refined wording; providing a faithful account of events to unveil the good and bad; inferring the most obscure content in subtle, indirect, manifesting, and ambiguous ways; including the whole picture with one small part and realizing one thing by means of another; recording minor and abridged details and illuminating the important through the minor; directly condemning the indecent and writing euphemistically to hide it if necessary; contrasting one part with another and establishing the foreground and background; deploying diction and allusions; and the most important points concern how the acts of recording and deletion reflect one’s choice between giving details or simplifying, disagreement and agreement, stressing and ignoring, and neglecting and taking seriously. During the An Lushan Rebellion, Du Fu wrote some narrative poems in ballad form, such as “The Beautiful Ladies,” “Lament by the Riverside,” “To Minister Hua,” “A Song on Minister Hua Written Playfully,” “Song of Painting, a Gift Poem for General Cao Ba,” “Viewing a Painting of a Horse By General Cao at Secretary Wei’s Residence,” and “Watching a Sword Dancing Performed by the Disciples of Madam Gongsun.” In these poems, Du Fu not only adapts the writing style of the Spring and Autumn Annals to that of a poet-historian, he also lodges his own sentiments in the narrative content. This practice is a realization of “a mode of analogy and metaphor,” a comment he makes on Yuan Jie’s (723-772) “On Chongling.” They also fit Zhang Xuecheng’s (1738-1801) comment: “One must first become proficient in the main ideas of analogy and metaphor and the Six Principles before one can talk about the Spring and Autumn Annals.” The tradition of narration can be compatible with the tradition of lyricism. This can be seen in the works of poet-historian Du Fu: “analogy and metaphor are made by genuine thought and praise and criticism can be found in his poems in various forms.”
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李, 豐楙. « 暴力修行：道教謫凡神話與水滸的忠義敘述 ». 人文中國學報, 1 octobre 2013, 147–80. http://dx.doi.org/10.24112/sinohumanitas.192182.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 對於《忠義水滸傳》可以采取宗教文學的現代讀法，就是從“暴力修行”的角度切入解讀，所采用的即是“出身修行”的奇傳文體，在三教與小説的關係中，只有從道教文化才能深入理解其創作旨趣。從《宣和遺事》所保存的古本到後來的百回定本，兩本之間的敘述儘管繁簡的差異極大，但是在宗教文化的淵源上仍可見其間存在的内在關聯，其一即是天書母題（motif）：從一卷到三卷，都反映道教與民間的九天玄女信仰，相信其秘授兵符與王朝的開國創業神話有關；其二爲謫凡母題：從下凡到謫凡乃是在凡間的修行，這種思想既爲小説戲劇夙所傳承，也是全真道與净明忠孝道的教内思想；其三則是一僧一道母題：代表佛教之眼與道教之眼，從出現魯智深與公孫龍之名到繁本的詳細敘述，都各以高僧與高道的身份預示宋江的未來命運。從遺事本到定本的敘述者都依據道教文化改造巨盜宋江，使其成爲星主宋江，其形成的時期應該在金元統治下的華北地區，反映漢軍世家在北方持久抗金、抗元的忠義意識，連同華北的漢人都曾基於民族認同，借用傳述宋江及其兄弟的“忠義”事迹，寓托其同情忠義軍首領所遭遇的命運，類似的事例就如邵青、李全等其人其事。歷來的索隱派均指陳水滸好漢曾被用於影射忠義軍的領袖，而小説敘述形成的關鍵，則是借用謫凡神話夸説其人物的“非常化”，在小説中將其“出身”星君化，使之具有“神煞并存”的性格與能力，故需在暴力中完成其凡間的“修行”。從天罡院、伏魔殿的罡煞隱喻，到聚散過程中以殺止煞的暴力表現，既可使水滸人物高度的隱喻化，也方便用於影射歷史事件中的忠義軍首領。在小説敘述中所完成的這種虚構性的想像世界，證明敘述者能够成功運用“非常化”的藝術手法，方便將所有的人物悉數納入36、72的聖數中，因而創造了謫凡神話的敘述模式。在明清小説中從此建立形式結構統一的文學譜系，在明代萬曆中葉以後也啓發了系列出身、修行志傳體的寫作風尚。由此可見水滸敘述在中國小説史上的非凡成就。 This essay is a new attempt to read the Zhongyi shuihu zhuan (Allegiance and Righteousness in Water Margin) from a contemporary perspective of religious literature. The methodology includes: (1) interpreting the text by conceiving a theme of “religious conversion through violence”; and (2) assigning the novel under the genre of sagas on “the heroes’ origin and their religious conversion.” While the novel has relationships with the Three Teachings (i.e., Confucianism, Buddhism, and Taoism), the author’s intent can only be fully apprehended by means of Taoist culture. Although there are significant discrepancies in length and details between the relevant narratives in the early version of the Memorabilia from the Xuanhe Reign-period and those in the one-hundred chapter version of Water Margin, the two texts are intrinsically related because they both derive from a common religious culture and contain shared elements, which give rise to three motifs. The first concerns the divine books. Chapters one to three reflect some Taoist and popular beliefs in the Mysterious Goddess of the Nine Heavens, whose esoteric bestowal of military tallies is believed to be prophetic for the founding of the dynasty. The second motif is about transcendents being banished to the mortal world. In fiction and drama, there are two kinds of such visitations, namely: the transcendent (1) descending to the mortal world and (2) being banished to the mortal world. They make two kinds of religious practices and represent a creed about allegiance and filial piety maintained by the Quanzhen and Jingming Taoist Schools. The third motif is the side-by-side appearance of a Buddhist monk and a Taoist adept. These two characters each represent the visions of their respective teachings. From the first mention of Lu Zhishen’s and Gongsun Long’s names in early sources to the expanded version (Water Margin), the eminent monks and Taoist adepts play the role of harbingers of Song Jiang’s fate. Taoist culture was a common intellectual foundation for both the Memorabilia and Water Margin. Only by means of this foundation may Song Jiang be transformed from a brigand to an astral spirit. This kind of thinking probably took place during the Jin and Yuan Dynasties in northern China, as it reflects the Han troops’ continuous resistance which allied with the sense of ethnic identity of the Han people in the north against the Jin and Yuan invaders. Through recounting the deeds and allegiance of Song Jiang and his sworn brothers, the authors explicitly express their sympathy for the fate of the loyal army leaders. Parallels respectively include the episodes on Shao Qing and Li Quan. Allegorists have long treated the heroes from Water Margin as a reflection of the loyal army leaders. However, it was a crucial point when the story was first formed, because the anonymous author(s) deified the protagonists and created their “supernatural” nature by means of the concept of “transcendents being banished to the mortal world.” The protagonists were therefore imparted with “both divine and daemonic” characteristics and abilities. As such, they would need to accomplish their “religious conversion” through violence. Highly allegorical reading may work in the understanding of the evil spirits in the Court of the Big Dipper and the Basilica of Subduing Demons, as well as the agglomeration-dissipation process of stopping evil through violence. These may be understood as a metaphor for the characters in Water Margin, and for the loyal army leaders in history. The creation of a fictive, imaginary world in the novel proves the narrator’s success in the artistic technique of “supernaturalization,” whereby the protagonists are assigned to the divine numbers of 36 and 72, and hence a narrative mode of myths of “transcendents being banished to the mortal world” is created. This marked the establishment of a literary genealogy of the unified formal structure in Ming-Qing fiction and inspired a trend in the writing of hagiographic novels on religious conversion since the middle of the Wanli reign-period (1573-1620) of the Ming Dynasty. This hallmark and influence reflect the remarkable achievements of the Water Margin in the history of Chinese fiction.
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