• The Journal of Korean Philosophical History
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• no.25
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• pp.355-379
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• 2009

According to the estimations in historical books and research achievements which have been produced, Ji-kang was a prominent Taoist in the Wei-Jin dynasty. But some philosophers, on their opinions, regard Ji-kang as a scholar who withdrawal from ordinary life in the real society. In this sense, this article investigates the Ji-kang's perspective of the life in seclusion, in particular, by analysing the letter to Shan Ju-yuan in breaking off relations與山居源絶交書. The purpose of this thesis is to clarify Ji-kang's the ideal of life, by discussing the reaction to the realistic society, the reflection on the confused society and the change into the new ideal of life of Ji-kang. Ji-kang's the ideal of life in the letter to Shan Ju-yuan in breaking off relations與山居源絶交書 have the following characteristics: First, he has pursued to participate in the real society by passive and immediate way, but he realized how difficult his ideal comes true. Thus, he seek the new ideal of life, hermit. Second, according to the view of hermit in the ancient Chinese tradition, his view of hermit implicates the change in his ideological tendency from the hermit of Confucianism and Taoism to the hermit of Taoism. Third, he tried whatever methods that were passive and seclusive to participate in the real society, but he isn't a common idealist. In this way, Ji-kang applied these thought of the social life and the ideal of life to the philosophy of living.

• CHINESE LITERATURE
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• v.99
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• pp.125-156
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• 2019

This text attempts two types of critical analysis. First is to explore Luxun's critical research attitude toward classical Chinese texts, studying how Luxun critically examines 'liyue (ceremony- music)'. With the way the 'madman' in 《A Madman's Diary》 handles China's old text as a hint, the attitude with which Luxun critically examines the editing and passing down of classical Chinese philology was studied. Luxun pays attention to the situation in which when classical literature is passed down and transmitted throughout history, the context of events are concealed and text is blockaded while text is edited and restructured. Also, Luxun critically examines how the ancient culture of 'liyue' operates on the constitution of Chinese culture, society, and politics, in addition to the process of passing down of texts, as well as how it has effect even in the present day. Classics are closely intertwined not only with issues of the past but with the conventions, moral emotions, and government of today. Second, based on Luxun's examination of 'liyue', the <sheng-wu-ai-le-lun> of the 《Jikangji》 which Luxun sympathized with all his life is criticized. This text, stating that 'There is no sadness or happiness in sound', deeply ponders upon the issue of 'liyue' essential to the logic of Chinese cultural composition, and deviates from the Confucian thoughts centered around social integrity and inspiration. Further, it stresses the autonomy of affective subject, and the process of deliberation by an entity toward harmony and commonness. By the work of examining Jikang through Luxun and Luxun through Jikang, the uncompleted work of classical criticism by Luxun is restructured, and the possibility of classical Chinese texts to relate to today's life is examined.

• Archives of design research
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• v.9
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• pp.1001-1008
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• 1994