Ming Dong Gu

An ambitious, innovative work that proposes a distinctly Chinese theory of fiction.

A Non-Western Narrative System

Chinese Theories of Fiction

Why, for centuries, have the West and the world continuously produced China knowledge that deviates from Chinese realities? Why, since the mid-nineteenth century, have Chinese intellectuals oscillated between commendation and condemnation of their own culture, and between fetishization and demonization of all things Western? And why have some of the world’s wisest thinkers expressed opinions on Chinese culture, which are simply wrong? In order to answer these questions, this book explores the process of knowledge production about China and the Chinese civilization and in turn, provides a critique of the ways in which this knowledge is formed. Ming Dong Gu argues that the misperceptions and misinterpretations surrounding China and the Chinese civilisation do not simply come from misinformation, biases, prejudices, or political interference, but follow certain taken-for-granted principles that have evolved into a cultural unconscious. Indeed, Gu argues that the conflicting accounts in China-West studies are the inevitable outcome of this cultural unconscious which constitutes the inner logic of a comprehensive knowledge system which he terms ‘Sinologism’. This book explores Sinologism’s origin, development, characteristics, and inner logic, and critiques its manifestations in the writings of Chinese, Western, and non-Western thinkers and scholars, including Montesquieu, Herder, Hegel, Marx, Weber, Russell, Pound, Wang Guowei, Guo Moruo, Gu Jiegang, Wen Yiduo, and many others in diverse disciplines from arts and humanities to social sciences. In doing so, Gu demonstrates why the existing critical models are inadequate for Chinese materials and makes an attempt to construct an alternative theory to Orientalism and postcolonialism for China-West studies and cross-cultural studies. Sinologismcrosses over the subjects of history, thought, literature, language, art, archaeology, religion, aesthetics and cultural theory, and will appeal to students and scholars of East-West studies with a particular focus on China, as well as those interested in cultural theory more broadly.

An Alternative to Orientalism and Postcolonialism

Sinologism

Why, for centuries, have the West and the world continuously produced China knowledge that deviates from Chinese realities? Why, since the mid-nineteenth century, have Chinese intellectuals oscillated between commendation and condemnation of their own culture, and between fetishization and demonization of all things Western? And why have some of the world’s wisest thinkers expressed opinions on Chinese culture, which are simply wrong? In order to answer these questions, this book explores the process of knowledge production about China and the Chinese civilization and in turn, provides a critique of the ways in which this knowledge is formed. Ming Dong Gu argues that the misperceptions and misinterpretations surrounding China and the Chinese civilisation do not simply come from misinformation, biases, prejudices, or political interference, but follow certain taken-for-granted principles that have evolved into a cultural unconscious. Indeed, Gu argues that the conflicting accounts in China-West studies are the inevitable outcome of this cultural unconscious which constitutes the inner logic of a comprehensive knowledge system which he terms ‘Sinologism’. This book explores Sinologism’s origin, development, characteristics, and inner logic, and critiques its manifestations in the writings of Chinese, Western, and non-Western thinkers and scholars, including Montesquieu, Herder, Hegel, Marx, Weber, Russell, Pound, Wang Guowei, Guo Moruo, Gu Jiegang, Wen Yiduo, and many others in diverse disciplines from arts and humanities to social sciences. In doing so, Gu demonstrates why the existing critical models are inadequate for Chinese materials and makes an attempt to construct an alternative theory to Orientalism and postcolonialism for China-West studies and cross-cultural studies. Sinologism crosses over the subjects of history, thought, literature, language, art, archaeology, religion, aesthetics and cultural theory, and will appeal to students and scholars of East-West studies with a particular focus on China, as well as those interested in cultural theory more broadly.

In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory. He argues that because Chinese fiction, or xiaoshuo, was produced in a tradition very different from that of the West, it has formed a system of fiction theory that cannot be adequately accounted for by Western fiction theory grounded in mimesis and realism. Through an inquiry into the macrocosm of Chinese fiction, the art of formative works, and theoretical data in fiction commentaries and intellectual thought, Gu explores the conceptual and historical conditions of Chinese fiction in relation to European and world fiction. In the process, Gu critiques and challenges some accepted views of Chinese fiction and provides a theoretical basis for fresh approaches to fiction study in general and Chinese fiction in particular. Such masterpieces as the Jin Ping Mei (The Plum in the Golden Vase) and the Hongloumeng (The Story of the Stone) are discussed at length to advance his notion of fiction and fiction theory.

This book initiates a paradigm shift away from Zen/Chan as quintessentially Buddhist and examines what makes Chan thought and practice unique and original through an interdisciplinary investigation of the nature and rationale of Chan and its enlightenment. Exploring how enlightenment is achieved through Chan practice and how this differs from other forms of Buddhism, the book offers an entirely new view of Chan that embraces historical scholarship, philosophical inquiry, textual analysis, psychological studies, Chan practice, and neuroscientific research and locates the core of Chan in its founder Huineng’s theory of no thinking which creatively integrates the Taoist ideas of zuowang (forgetting in seated meditation) and xinzhai (fast of heart-mind) with his personal experiences of enlightenment. It concludes that Chan is the crystallization of an innovative synthesis of Buddhism, Daoism, and Confucianism as well as other resources of somatic and spiritual cultivation, and enlightenment is a momentary return to the mental state of a baby before birth. This book will appeal to students and scholars of religion, philosophy and neuroscience. It will also offer new insights to thinkers, writers, artists, therapists and neuroscientists as well as those practicing Zen, Mindfulness and psychotherapy.

The Mind of a Pre-Natal Baby

The Nature and Rationale of Zen/Chan and Enlightenment

The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook’s themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.

Routledge Handbook of Modern Chinese Literature

The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook's themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.

A groundbreaking work that uncovers an implicit system of hermeneutics in traditional Chinese thought and aesthetics.

Ming Dong Gu

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