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    25 March 2019, Volume 39 Issue 2 Previous Issue    Next Issue
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    Research on the Discourse System of Literary Discourse with Chinese Characteristics
    The Inheritance and Innovation of Chinese Creation Culture
    Guan Ning
    2019, 39 (2):  1-12. 
    Abstract ( 317 )   PDF (1394KB) ( 167 )  
    As an integral part of human civilization relative to spiritual culture; creation culture plays an important role in national image building. With profound heritages and distinct features; Chinese traditional creation culture; with its outstanding creation wisdom; has exerted a deep and great influence on the history of world civilization. In modern times; with the accelerated development of Western industrial revolution and industrialization; Chinese creation culture was gradually surpassed by Western countries because China missed the opportunities offered by the new industrial revolution and the transformation of civilization forms. Since the reform and opening-up; China has accelerated industrialization and modernization; bringing about an overall recovery and revitalization of its manufacturing industry; and has thus rapidly caught up with the world's advanced level of creation and transformed step by step from "Made in China" to "Created in China". To revitalize Chinese creation culture and restore its glory on the Silk Road of the 21st century and even in the whole world; China must inherit the essence of its excellent traditional creation culture and spiritual culture as well as draw on foreign creation cultures. China needs also closely follow the development of new technologies; new materials and new techniques in contemporary times; in order to break through boundaries of creation and scientifically transform the innovative results to upgrade Chinese creation culture to a new level. At the same time; China should also tell good Chinese stories with Chinese creations; create strong Chinese brands; and develop Chinese values and soft power based on national cultural development.
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    Issue in Focus: The Centenary of the May Fourth Movement Literature
    Where Did the Souls Go?: Revisiting the Chinese Art from the Xinhai Revolution to the May Fourth Movement
    Wang Yichuan
    2019, 39 (2):  13-24. 
    Abstract ( 265 )   PDF (3615KB) ( 185 )  
    It is necessary to link the May Fourth literature with the Xinhai literature and to expand them into the May Fourth art for analysis. With the fundamental change of the political system from traditional monarchy to modern republic, modern Chinese art began its own modern transformation. For example, Xu Zhenya's pain of soul breaking, Su Manshu's mourning of soullessness, Wu Changshuo's endless growth of strong spirit, Lu Xun's madness of wounded soul, and Hu Shi's vernacular Utopia, have successively become the spotlights of Chinese art from the Xinhai Revolution to the May Fourth Movement. They shared the common objective to seek and construct new souls for modern Chinese art in the era when people lost souls and spirits, although where the souls went remained an intractable problem to be solved.
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    Two Historiographical Approaches to Evaluate Qi Baishi: The Myth of the "People's Painter" and Its Counterargument
    Xia Zhongyi
    2019, 39 (2):  25-36. 
    Abstract ( 240 )   PDF (4125KB) ( 181 )  
    Two approaches, one explicit and one implicit, exist in the past seventy years of art history to evaluate Qi Baishi's (1864-1957) flower-and-bird painting. One is the Soviet approach, which is characterized by "theory guiding history" and "theory replacing history". It frames Qi Baishi as a "people's painter", emphasizing that Qi's poor peasant family origin has resulted in his folk taste of paintings and his realistic brushwork (close to "realism"). This approach, initiated by Wang Zhaowen, lasts for at least sixty years, which can be seen as the "mainstream". The other (non-Soviet) approach is characterized by "history exemplifying theory" and "theory drawn from history", which aims to undermining the label of "people's painter," so as to return Qi Baishi back to the art history. It claims that the key to understand Qi Baishi lies in his "changes of art style in his old age" (1920-1930), during which Qi's "painting method" (technique) changes from a fine brushwork to a freehand brushwork, his "painting style" (art) changes from cold figures of birds to warm flowers with leaves, and his "life style" (Dao) changes from a Hunan local painter to a new peak of modern Chinese ink painting after Wu Changshuo (1844-1927). The representative of this implicit "marginalized" approach is Qi Bishi himself. Historical materials such as The Autobiography of Old Baishi, Collection of Qi Baishi's Poems, and Notes on Literature and Art, may illuminate a historical path that can fully demonstrate unique Chinese art experience.
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    Does Lu Xun Subvert the Discourse of National Character?
    Tao Dongfeng
    2019, 39 (2):  36-48. 
    Abstract ( 214 )   PDF (4142KB) ( 137 )  
    The author tries to elucidate his views on the debate concerning national character by responding to He Yugao and Liu He's related papers. Firstly, the author disagrees with He Yugao's argument that Liu He fails to criticize Lu Xun by pointing out Liu's denial of Lu Xun's artistic creativity. Liu's denial is shown in herrepeated highlight of the dominating impact from the missionary discourse of national character and she goes even further to claim that Lu Xun's Ah Q "gives a verbatim performance" of the national character script. Secondly, the author rebuts Liu's claim that critics in line with Lu Xun on the national character served as bystanders of the flawed national character. Thirdly, this paper refutes Liu He and He Yugao's view that Lu Xun has successfully subverted the discourse of national character The author points out that Liu's overemphasis on the dominant impact of western discourse of national character on Lu Xun has forestalled him from transcending the discourse of national character. Moreover, it is groundless that she attributes the transcendence to the narrator's literacy. Fourthly, this paper questions Liu He's radical post-modern standpoint and epistemological nihilism and contends that what is presented in Liu He's paper is more contradiction instead of tension. Lastly, the paper counters with He Yugao's criticism on the dichotomy of Chinese intellectuals for enlightenment and claims that He's criticism is groundless as he has failed to clarify the concepts of enlightenment and colonialism let alone the relationship between them.
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    The Birth of the Modern Discipline of Literary and Art Theory during the Period of the May Fourth Movement
    Qi Zhixiang
    2019, 39 (2):  49-56. 
    Abstract ( 153 )   PDF (1360KB) ( 113 )  
    The period around the May Fourth Movement, specifically from 1915 to 1927, saw the birth of the modern Chinese discipline of literary and art theory. This article, on the basis of Huang Chanhua's An Introduction to Fine Arts, Xu Qingyu's Philosophy of Beauty, Xu Weinan's Philosophy of Arts, Liu Yongji's On Literature, Pan Zinian's An Introduction to Literature, Ma Zonghuo's An Introduction to Literature, Shen Tianbao's An Introduction to Literature, and Tian Han's An Introduction to Literature, explores the historical situation of the construction of the discipline of philosophy of art, the first stage in the history of modern Chinese aesthetics. It has significance for people to understand the origin and development of the discipline of modern literary and art theory in China.
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    The Decline and Reconstruction of "Poetic" Text in Chinese "Renaissance"
    He Changsheng
    2019, 39 (2):  57-63. 
    Abstract ( 407 )   PDF (1844KB) ( 97 )  
    To compare China's New Cultural Movement to Europe's Renaissance aims at finding a totalizing Chinese form of "speech/writing" that may be equivalent to the Western counterpart, and the way to achieve it is to build on the transformation of language from classical Chinese to vernacular as a breakthrough. However, the long-established "lyrical" tradition in Chinese literature and the genre system which orthodoxizes poetry have no capacity to endow a spiritual form that can correspond to the narrative of the modern. The Vernacular Poetry fails to extend the tradition of poeticization in Chinese literature and to appropriate the specific truth-pursuing function in foreign modern poetry, which leads to the eventual decline of the poeticness of Chinese literature. On the other hand, the vernacular belles-lettres, inspired by the late Ming Dynasty essays and European essays, provides a feasible path to "con-formation" for modern literature, with which the "poetic" tradition of Chinese literature has been renewed and reconstructed.
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    Enlightenment of "Affection": The Inner Construction and Historical Significance of the Origin of Lu Xun's Literary
    Luo Cheng
    2019, 39 (2):  64-77. 
    Abstract ( 239 )   PDF (1939KB) ( 105 )  
    The research on "the May Fourth Movement" represented by Lu Xun studies needs an urgent shift from current paradigms that have been used over the past three decades. An interpretive framework that organically combines humanity with literature needs to be constructed so as to enrich the understanding of history by focusing on literature, instead of making literature history's footnote. In 1908, Lu Xun published five articles in the classical Chinese language, in which he in fact provided an inner vision of an alternative experience of art and literature, which differed from existing discussions that were mainly from a "logocentric" perspective. By way of extensive discussion over various fields, such as history, science, poetry, culture and politics, Lu Xun accomplished his critique of existing chaos marked by superficially antithetical cultural and societal attitudes. In this regard, Lu Xun presented his idea "to transcend the decadent and to give rise to affection", using "affection" as his epistemological device to interpret his experience of literature and its inner construction. Rather than "language" or "evolution", "affection" was the core of Lu Xun's literature as well as his historical subjectivity. Lu Xun's "inner voice" can be traced back to two classical poetic theories, and his "new voice" was not from "the foreign", but "affected" "by the past". Lu Xun in his early stage was not simply a thinker of enlightenment confined by "the doctrine of evolution", but a devotee of life enlightenment with a belief in "the doctrine of affection".
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    A Probe into the Conceptual Framework and Mechanism for Writing in Vernacular Chinese during the May Fourth Period: Focusing on the Three Schemes Proposed in New Youth
    Deng Wei
    2019, 39 (2):  78-87. 
    Abstract ( 213 )   PDF (1869KB) ( 132 )  
    The magazine New Youth publishes three systematic schemes for vernacular Chinese during the May Fourth Period, and they were proposed by described by Qian Xuantong, Liu Bannong and Fu Sinian to clarify, sort out and write down the views on the reforms on Chinese language. These schemes, to a considerable extent, define the appearance of modern vernacular Chinese, and the approach to transform the existing vernacular written Chinese through "Europeanization" and to achieve an ambiguity-free language for the practical needs in social communications results in the so-called "Europeanized Vernacular Language." The new vernacular Chinese functions to enhance cultural solidarity interrelate the sentiments of the people and provide a writing system of Chinese intellectuals, and thus it paves the road to the modernization of Chinese language. These three schemes also baptize vernacular Chinese with a "scientific discourse", helping to construct a unified and homogeneous written language in the context of dominating modernity, and thus initiating the one and only legitimate form of written language for general use in modern China in the process of nation-state formation.
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    Renewing the Centurial Discourse of Chinese Literary Theory Through the Genealogy of Spirit: Case Study of Zong Baihua and Li Changzhi
    Zhang Yunyan
    2019, 39 (2):  88-96. 
    Abstract ( 186 )   PDF (3590KB) ( 109 )  
    A disparity exists between the first and the revised edition of Zong Baihua's The Birth of Chinese Artistic Conception. Adopting a comparative methodology, the revised edition highlights the spiritual dimension of artistic conception. When Zong Baihua regards artistic conception as "incarnation of the supreme human mind," the word "incarnation" is more than a metaphor for an aesthetic expression; it also gestures at a deep meaning of religious spirit. "Symbol" is one of the ways to actualize such incarnation. Influenced by Zong's theorization of religious spirit, Li Changzhi's literary theory and aesthetical thinking further shows a modern Chinese genealogy of spirit that is different from the path of enlightenment led by Hu Shi and Chen Duxiu. As the foundation of Zong's and Li's literary theories, this spiritual dimension shares two origins generated in German modern aesthetics: Neo-Romanticism and life philosophy. Dilthey, a key figure in this, directly affected Zong Baihua and Li Changzhi by his understanding of "spirit". Moreover, Zong's and Li's theorization of "spirit" and "science" contribute to the intellectual fields from history of spirit to literary theory, which provides us with valuable references to new paradigm changes in modern Chinese aesthetics and literary studies.
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    Classical Literary Theory and Criticism
    Keywords in the Studies of Regional Literature: A Case Study of Jiangnan in the Qing Dynasty
    Luo Shining
    2019, 39 (2):  97-104. 
    Abstract ( 196 )   PDF (1358KB) ( 120 )  
    The study of regional literature is attracting wide attention, which attests to its validity. Researches have flourished in this field in recent years, but problems have also arisen, such as similar or identical cognition, expression and conclusions between researches. The study of regional literature often has implicit value-orientation, which, to a large extent, tends to simplify the thinking process and undermine academic significance. In order to change the homogenizing tendency, researchers need to know commonalities, divergences, and particularities. Besides, as every event occurs in a specific geographical space, researchers should also value the possibilities of regional literature studies from the perspective of event.
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    Kuang Zhouyi's Monthly Lessons for the Annotation of Cheng Meng'an's Ci-Poems: A Summary Review
    Peng Yuping
    2019, 39 (2):  105-116. 
    Abstract ( 192 )   PDF (1917KB) ( 105 )  
    Learning how to compose ci-poems was an essential part of ci-poetry study. Therefore, revision and annotation played a very important part in ci-poetry learning, which was mainly conducted in two ways: the author's self-revision and discussion with teachers and friends. During the late Qing Dynasty and the early Republic of China, it was a fashion among young people to study ci-poems personally with a master, and thus the practice and theory of ci-poetry revision matured. A representative master in this period was Kuang Zhouyi. His monthly lessons for the revision of Cheng Meng'an's ci-poems in 1923-1924, which are still extant, reflect his theory and method of ci-poetry revision. Based on correcting meters, and altering words and sentences, Kuang Zhouyi demonstrated how to further improve on themes, poetic conceptions and styles. Meanwhile, Kuang Zhouyi guided the development of Cheng Meng'an's thoughts on ci-poetry by way of annotation and topic assignments besides his revision. In the 1920s, when the New Culture Movement was surging, Kuang Zhouyi's monthly revision lessons for Cheng Meng'an's ci-poems was not only his personal effort to perpetuate the life of the old literary genre but also a reflection of the common aspiration of the camp upholding traditional Chinese culture back at that time.
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    Reconsidering Yan Shu's "Worldly-wise and Self-preserving" Personality
    Shao Mingzhen
    2019, 39 (2):  117-125. 
    Abstract ( 295 )   PDF (1869KB) ( 110 )  
    Ouyang Xiu once evaluated his teacher, Yan Shu, with a verse, "Fifty years of affluence and leisure, always worldly-wise and self-preserving." However, the expression of "worldly-wise and self-preserving" has been misinterpreted as a criticism and further regarded as Ouyang Xiu's final evaluation of Yan Shu. In fact, neither "affluence and leisure" nor "worldly-wise and self-preserving" has derogatory meaning back then. On the philological level, "worldly-wise and self-preserving" (mingzhe baoshen) originates in The Book of Songs and is recognized by Zhu Xi as an accomplishment. In its original sense, people who are worldly-wise and self-preserving not only devote themselves to state affairs but also possess positive characters such as disinterestedness and selflessness. This reference is substantially different from the expression's current significance of being tactful and selfish. Only by clarifying this semantic discrepancy can we rectify the distorted image of Yan Shu and unveil his true personality.
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    Collected Essays of the Qing Dynasty and the Concept of Literary History in the Early Twentieth Century
    Chang Hengchang
    2019, 39 (2):  126-133. 
    Abstract ( 199 )   PDF (1860KB) ( 207 )  
    Dedicated to "preserving the essence of Chinese culture," Collected Essays of the Qing Dynasty was collaborated by many scholars, among whom Huang Ren possibly undertook the bulk of compilation. Known for its extensiveness, this anthology also features an author-centered editorial style inherited from Collected Poetry of the Ming Dynasty and possesses its unique characteristics. First, it incorporates the most recent articles to refresh the collection. Secondly, it achieves a balance between political practicality and aesthetic quality. Lastly, it encompasses copious articles on frontier geo-history and native-soil literature, which manifests the editors' conscious awareness of academic history. In general, the compilation of Collected Essays of the Qing Dynasty was influenced by Huang Ren's personal view of literature. He learned and absorbed early-twentieth-century Western and Japanese literary theories and thus enabled the confluence of traditional Chinese anthology and the literary trend of the modern world. In the context of China-West acculturation, Collected Essays of the Qing Dynasty serves as a matrix in which the complexity of anthology compilation unfolds.
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    The Genesis of Wang Guowei's Theory of "Jingjie"
    Geng Zhi, Kou Pengcheng
    2019, 39 (2):  134-144. 
    Abstract ( 324 )   PDF (1919KB) ( 111 )  
    There are three main methods in studying Wang Guowei's theory of "jingjie" (artistic conception) — a study based on Western knowledge, a historical study within the Chinese academic tradition, and a comparative study between the West and China. However, all these three methodologies treat jingjie as a static concept with presupposed connotation, which derives from a disjunction between their interpretative approach and the construction of Wang Guowei's jingjie. The idea of jingjie is an organic and dynamic theoretical system that takes both Western philosophy and Chinese literary theory as its premise, complicated by Wang's own creative and reading experiences, and thus it becomes a relational concept that cannot be isolated from other theoretical terms in Wang's work. An alternative study of jingjie should consider all the factors in a non-binary and interactive way.
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    Western Literary Theory and Studies in Aesthetics
    Habermas and Hermeneutics: From Verstehen to Lebenswelt
    Richard Wolin
    2019, 39 (2):  145-155. 
    Abstract ( 366 )   PDF (1388KB) ( 88 )  
    Throughout his career, Habermas sought to remain faithful to the idea of a non-dogmatic and reflexive Marxism – Marxism as "critique." Although Habermas never adopted the framework of social phenomenology per se, by the same token, his reception of the later Husserl's notion of the lifeworld would play a central methodological role in his later work, enabling him to parry the well-entrenched scientistic biases of philosophy and social science. In "Knowledge and Human Interests" (1965), his inaugural lecture at University of Frankfurt, Habermas embraced Husserl's critique of modern science's misguided "mathematicization of nature." Yet his systematic employment of Husserl would not occur until Theory of Communicative Action (1981). There, the notion of the "Lifeworld" (Lebenswelt) as an inexhaustible repository of non-thetic, implicit meanings signifies a reservoir of semantic resistance vis-à-vis the predatory subsystems of "money" and "power" (Geld und Macht) that, under late capitalism, increasingly assume hegemony. Habermas coined the phrase, the "colonization of the lifeworld," to describe the process whereby informal spheres of human interaction are increasingly subjected to regulation and control by superordinate economic and bureaucratic structures. For Habermas, the discourse of social phenomenology, as it derived from the later Husserl, ultimately supplanted the role that "hermeneutics" had formerly played in his work – that is, as a methodological alternative to the objectivating approach that the social sciences. For Habermas, the attempt to remedy philosophy's positivistic self-misunderstanding was more than an abstract, theoretical concern. At stake was the growing "scientific-technical organization of the lifeworld," whose expansion had begun to threaten to the normative self-understanding of the West, which, in Habermas's view, revolved around the mutually complementary ideals of individual autonomy and democratic self-determination. In this respect, Habermas' constructive encounter with the later Husserl was wholly consistent with his overall project of developing a "Critical Theory with a practical intent."
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    The Unfinished Theoretical System of Modernism: Origins in the Forms of Knowledge
    Yi Xiaoming
    2019, 39 (2):  156-169. 
    Abstract ( 209 )   PDF (1424KB) ( 72 )  
    The theoretical system of Modernism remains unfinished. This is due to the unstable nature of the concept of Modernism and its complicated relationship with Modernity. More importantly, although Modernism has developed into a new type of arts in the technological context, the current perception of Modernism remains within the old humanist knowledge framework and lacks a dimension of technological knowledge. For this reason, we need to turn to media theory to understand the new aesthetic paradigm of Modernism. McLuhan's media theory, for example, can better explain such aesthetical forms. The perception of Modernism is limited by the lack of technological knowledge and the belatedness of theorization in general.
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    On the Possibilities, Construction, and Functions of Trauma Narratives
    He Weihua
    2019, 39 (2):  170-178. 
    Abstract ( 295 )   PDF (1366KB) ( 227 )  
    Trauma narratives are made possible by the "traces" left by traumatic events. These narratives are not only therapeutic, but can also provide an access to historical reality. In recent years, critics begin to switch their attention from individual traumas to collective traumas. According to them, collective traumas not only affect people's identification with the community, but also play important roles in the formation, maintenance, and consolidation of the community. Due to the shaping influence of collective traumas, different forms of power are woven into the representation of trauma, making the representation of trauma a product of cultural construction. In the process, the traumas witnessed by "others" have now attracted the attention of critics, thus making the critique of colonialism, patriarchy, war, prejudices, and unjust social mechanisms an important task of trauma study which also demonstrates the ethical dimension of trauma study.
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    The Everlasting Voyage of Heteronymy: Badiou's Discussion about Pessoa and Plato
    Wang Huan, Lan Jiang
    2019, 39 (2):  179-188. 
    Abstract ( 205 )   PDF (1871KB) ( 161 )  
    Through his analysis, Badiou discovers that the "heteronymy" thoughts in Pessoa's poems reflect his anti-Platonic tendency. Despite this, Badiou also notices the entangled connections between Pessoa's poems and Platonism. In fact, the modernity of Pessoa lies in his ambivalent position between Platonism and anti-Platonism; the task for contemplation poetry is not to pledge loyalty to Platonism or anti-Platonism. Instead, we should follow the poetic path opened up by Pessoa and create a philosophy about heterogeneity, void and infinity.
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    Art as the Foundation of History: On the Historical Dimension of Heidegger's Art Criticism
    Song Congcong
    2019, 39 (2):  189-198. 
    Abstract ( 307 )   PDF (1875KB) ( 125 )  
    In the latest years, the debate between Heidegger and Schapiro on Van Gogh's Shoes has received considerable attention among the Chinese scholars. Despite the controversy over Heidegger's interpretation of the painting, scholars have reached an agreement that Heidegger's art criticism derives from his philosophy of art and therefore lacks the insight of art history abundant in Schapiro's scholarship. This assertion, to a certain extent, misunderstands Heidegger's thought. This paper argues that Heidegger's art criticism also contains a historical dimension, for he not only investigates art history but also pays close attention to the relationship between art and history. The difference, however, is that Schapiro examines the history of specific artworks, whereas Heidegger explores the origin and essence of art. In other words, the former views history as the basis for evaluating art, while the latter attempts to institute art as the foundation for history. This historical dimension in Heidegger's art criticism can be understood on three levels: to institute art as the foundation the history of Dasein, to institute art as the foundation for the history of the nation, and to institute art as the foundation for the history of Seyn.
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    A Semantic Analysis of Kant's Judgment of Taste
    Xue Shuangyu
    2019, 39 (2):  199-208. 
    Abstract ( 227 )   PDF (1390KB) ( 133 )  
    A typical judgment of taste could be expressed as a subject-predicate structure in Critique of the Power of Judgment. The subject is connected with the predicate by a copula. In the third Critique, however, Kant grounds his theory of taste on the first Critique, from which his views and conceptual apparatus of epistemology have been transferred to a new aesthetic context, and interpreters are inclined to investigate Kant's theory of taste by virtue of his epistemology. It is common, if also necessary, to conduct in studies of the third Critique a semantic analysis of judgement of taste by referring to the first Critique, because such an approach not only relates to fundamental problems in Kant's theory of taste but also causes new questions.
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    Schematizing Without a Concept: Kant on the Harmony of Imagination and Understanding
    Li Wei
    2019, 39 (2):  209-216. 
    Abstract ( 286 )   PDF (1874KB) ( 90 )  
    Kant's theory of the harmony of imagination and understanding either leads to an inconsequent claim that "everything is beautiful" or fails to ensure the universal validity of judgements of taste. This paper proposes to approach the dilemma by way of Kant's notion of "idea—schema—the-expression-of-the-idea" developed in "Appendix to the Transcendental Dialectic," interpreting the text from a noncognitive-idealist approach. This approach starts with Kant's "schematizing without a concept," claiming that this "schematizing without a concept" is an indeterminate schematization, and thus initiates a noncognitive-idealist interpretation of the harmony of imagination and understanding. This approach, on the one hand, solves the problem that "everything is beautiful"; on the other hand, it enables a reconstruction of the universal validity of judgements of taste from a noncognitive-idealist perspective, as manifested in §57 of Critique of Judgment.
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