Mind and Body in Early China critiques Orientalist accounts of early China as a radical "holistic" other, which saw no qualitative difference between mind and body. Drawing on knowledge and techniques from the sciences and digital humanities, Edward Slingerland demonstrates that seeing a difference between mind and body is a psychological universal, and that human sociality would be fundamentally impossible without it. This book has implications for anyone interested in comparative religion, early China, cultural studies, digital humanities, or science-humanities integration.

It is widely claimed that notions of gods and religious beliefs are irrelevant or inconsequential to early Chinese (“Confucian”) moral and political thought. Rejecting the claim that religious practice plays a minimal philosophical role, Kelly James Clark and Justin Winslett offer a textual study that maps the religious terrain of early Chinese texts. They analyze the pantheon of extrahumans, from high gods to ancestor spirits, discussing their various representations, as well as examining conceptions of the afterlife and religious ritual. Demonstrating that religious beliefs in early China are both textually endorsed and ritually embodied, this book goes on to show how gods, ancestors and afterlife are philosophically salient. The summative chapter on the role of religious ritual in moral formation shows how religion forms a complex philosophical system capable of informing moral, social, and political conditions.

Examining early Chinese ritual discourse during the Warring States and early Western Han Periods, this book reveals how performance became a fundamental feature of ritual and politics in early China. Through a dramaturgical lens, Thomas Radice explores the extent to which performer/spectator relationships influenced all aspects of early Chinese religious, ethical, and political discourse. Arguing that the Confucians conceived ritual as primarily a dramaturgical matter, this book demonstrates not only that theatricality was necessary for expression and deception in a community of spectators, but also how a theatrical 'presence' ultimately became essential to all forms of public life in early China. Thomas Radice illuminates previously unexplored connections between early Chinese texts, aesthetics, and traditions.

"Chapter One lays out the dominant views of self, agency, and moral responsibility in early Chinese Philosophy. The reason for this is that these views inform the ways early Chinese thinkers approach mental illness, as well as the role they see it playing in self-cultivation as a whole (whether they view it as problematic or beneficial, for example). In this chapter I offer a view of a number of dominant conceptions of mind, body, and agency in early Chinese thought, through a number of philosophical and medical texts"--

Are human tendencies toward religious and spiritual thoughts, feelings, and actions outcomes of “natural” cognition? This volume revisits the “naturalness theory of religious cognition” through discussion of new qualitative and quantitative studies examining the psychological foundations of religious and spiritual expression in historical and contemporary China. Naturalness theory has been challenged on the grounds that little of its supporting developmental and experimental research has drawn on participants from predominantly secular cultural environments. Given China’s official secularity, its large proportion of atheists, and its alleged long history of dominant, nonreligious philosophies, can any broad claim for religion’s psychological “naturalness” be plausible? Addressing this empirical gap, the studies discussed in this volume support core naturalness theory predictions for human reasoning about supernatural agency, intelligent design, the efficacy of rituals, and vitalistic causality. And yet each study elucidates, expands upon, or even challenges outright the logical assumptions of the naturalness theory. Written for a non-specialist audience, this volume introduces the naturalness theory and frames the significance of these new findings for students and scholars of cultural psychology, the psychology of religion, the anthropology of religion, and Chinese Studies.

This book presents the foundations of classical Chinese aesthetic discourse - roughly from the Bronze Age to the early Middle Ages - with the following animating questions: What is art? Why do we produce it? How do we judge it? The arts that garnered the most theoretical attention during this time period were music, poetry, calligraphy, and painting, and this book considers the reasons why these four were privileged. Whereas modern artists most likely consider themselves musicians or poets or calligraphers or painters or sculptors or architects, the pre-modern authors who produced the literature that established Chinese aesthetics prided themselves on being wenren, “cultured people,” conversant with all forms of art and learning. Other comparisons with Western theories and works of art are presented at due junctures. Key Features Addresses Chinese aesthetic discourse on its own terms Provides comparisons of key concepts and theories with examples from Western sources Includes more coverage of primary sources than any other English-language book on the subject Each chapter opens with a helpful summary, highlighting the chapter’s key themes

"This volume is the result of a three-year collaboration (funded by the American Council of Learned Societies and the British Academy) between scholars of early China and of ancient/Hellenistic Greece to investigate the emergent discourses of emotions in philosophy, medicine, and literature from around the fifth century BCE to the second century CE. It brings together scholars working on the history and philosophy of emotions in the two ancient traditions, and with different areas of expertise, to investigate the emotions and their conceptualization at a crucial period in the cultural and intellectual development of both cultures. The project was motivated by a desire to make an intervention in the existing scholarship on emotions in both fields, which stands to benefit from a greater methodological self-awareness about the category of emotions and the kinds of commitments it entails. The volume aims to explore how the tools of cross-cultural and cross-disciplinary investigation might be deployed to advance our understanding of the emotions in the two ancient societies and to use that understanding as a contribution to current research on the emotions more generally"--

The Bloomsbury Research Handbook of Chinese Philosophy Methodologies presents a new understanding of the changing methods used to study Chinese philosophy. By identifying the various different approaches and discussing the role, and significance of philosophical methods in the Chinese tradition, this collection identifies difficulties and exciting developments for scholars of Asian philosophy. Divided into four parts, the nature of Chinese philosophical thought is illuminated by discussing historical developments, current concerns and methodological challenges. Surveying recent methodological trends, this research companion explores and evaluates the methodologies that have been applied to Chinese philosophy. From these diverse angles, an international team of experts reflect on the considerations that enter their methodological choices and indicate new research directions. The Bloomsbury Research Handbook of Chinese Philosophy Methodologies is an important contribution to the education of the next generation of Chinese philosophers.

This book is a study of the methodological, metaphysical, and epistemological work of the Eastern Han Dynasty period scholar Wang Chong. It presents Wang’s philosophical thought as a unique and syncretic culmination of a number of ideas developed in earlier Han and Warring States philosophy. Wang’s philosophical methodology and his theories of truth, knowledge, and will and determinism offer solutions to a number of problems in the early Chinese tradition. His views also have much to offer contemporary philosophy, suggesting new ways of thinking about familiar problems. While Wang is best known as a critic and skeptic, Alexus McLeod argues that these aspects of his thought form only a part of a larger positive project, aimed at discerning truth in a variety of senses.

This book examines the formation of the Chinese empire through its reorganization and reinterpretation of its basic spatial units: the human body, the household, the city, the region, and the world. The central theme of the book is the way all these forms of ordered space were reshaped by the project of unification and how, at the same time, that unification was constrained and limited by the necessary survival of the units on which it was based. Consequently, as Mark Edward Lewis shows, each level of spatial organization could achieve order and meaning only within an encompassing, superior whole: the body within the household, the household within the lineage and state, the city within the region, and the region within the world empire, while each level still contained within itself the smaller units from which it was formed. The unity that was the empire's highest goal avoided collapse back into the original chaos of nondistinction only by preserving within itself the very divisions on the basis of family or region that it claimed to transcend.