In this book, author Ge Ling Shang provides a systematic comparison of original texts by Zhuangzi (fourth century BCE) and Nietzsche (1846–1900), under the rubric of religiosity, to challenge those who have customarily relegated both thinkers to relativism, nihilism, escapism, pessimism, or anti-religion. Shang closely examines Zhuangzi's and Nietzsche's respective critiques of metaphysics, morals, language, knowledge, and humanity in general and proposes a conception of the philosophical outlooks of Zhuangzi and Nietzsche as complementary. In the creative and vital spirit of Nietzsche, as in the tranquil and inward spirit of Zhuangzi, Shang argues that a surprisingly similar vision and aspiration toward human liberation and freedom exists—one in which spiritual transformation is possible by religiously affirming life in this world as sacred and divine.
In this book, author Ge Ling Shang provides a systematic comparison of original texts by Zhuangzi (fourth century BCE) and Nietzsche (1846–1900), under the rubric of religiosity, to challenge those who have customarily relegated both thinkers to relativism, nihilism, escapism, pessimism, or anti-religion. Shang closely examines Zhuangzi's and Nietzsche's respective critiques of metaphysics, morals, language, knowledge, and humanity in general and proposes a conception of the philosophical outlooks of Zhuangzi and Nietzsche as complementary. In the creative and vital spirit of Nietzsche, as in the tranquil and inward spirit of Zhuangzi, Shang argues that a surprisingly similar vision and aspiration toward human liberation and freedom exists—one in which spiritual transformation is possible by religiously affirming life in this world as sacred and divine.
This book focuses on the linguistic perspective of classical Chinese poetry and its changes and development in diff erent historical periods. It off ers a combination of theoretical analysis and aesthetic appreciation of exemplary poems. The author discusses the following aspects of classical Chinese poetry: the relationships between background and meaning in the interpretation of a poem; how readers can deal with the tangle of linguistic approach and intuitive perception in interpreting poems; the engagement and disengagement of the poet’s thought fl ow with and from the word order of the verse; the tonal and metrical schemes; and the three special features of classical Chinese poetry: the signifi cance and role of allusions, “Xu Zi”, and “Shi Yan”. Last, the author analyses the development of Chinese poetry from the Vernacular Song Dynasty Style to the Vernacular Modern Style. It will be a great read for students and scholars of East Asian studies, Chinese studies, linguistics, and those interested in Chinese poetry in general. The book aims to lead readers to discover a fresh and amazing world of classical Chinese poetry, a fantastic panoramic picture of its beauty and charm, and a poetic feast that the reader may not otherwise be privileged to enjoy.
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