Li Zehou 李泽厚 (1930 - ) est l’une des plus importantes figures de la philosophie chinoise contemporaine. A l’issue d’un itinéraire philosophique qui le conduit de Changsha à Beijing, puis aux Etats-Unis, où il enseigne à Colorado College, Li Zehou œuvre à la création d’une philosophie chinoise, réactualisant l’héritage traditionnel chinois par l’intégration de la philosophie. Lors de ce parcours, il étudie l’histoire de la pensée chinoise, devient le plus éminent spécialiste de l’esthétique chinoise, et s'attelle à la critique de la Critique de Kant. Depuis les années 2000, son travail se concentre sur le champ de l’ontologie, au sein duquel il propose sa propre théorie, “L’ontologie anthropologico-historique”.Cette étude est une exploration de l’ontologie de Li Zehou, mais dans une perspective qui dépasse les affirmations de son auteur. Grâce à une méthode multi-focale, nous travaillons à décrire, le plus précisément possible, quels sont les engagements ontologiques réels de Li Zehou. D’abord, à partir de son traitement des philosophies de Marx, Kant et Dewey, quelles sont les options ontologiques propres à la philosophie qu’il admet, et quelles sont celles qu’il rejette? Ensuite, quelles créations ontologiques découvrons-nous en parcourant ses textes, et en offrant une voix philosophique française à ce philosophie chinois ? Enfin, comment l’ontologie, et plus généralement la philosophie de Li Zehou, se situe-t-elle sur le plan philosophique, dans le monde du “sens philosophique” ? Quelles cohérences, quelles résonances, quelles différences, faut-il identifier par rapport aux enseignements chinois et aux courants philosophiques ? / Li Zehou 李泽厚 (1930 - ) is one of the foremost figure of contemporary Chinese philosophy. He is at the end of a philosophical path that lead him from Changsha to Beijing and to the United States of America, where he teaches at Colorado College, and is working on the creation of a Chinese philosophy, reactualizing the Chinese traditional legacy through the integration of philosophy. Simultaneously, he studied the history of Chinese philosophy, became the most eminent specialist of Chinese aesthetics and criticized Kant’s Critique. Since the 2000s, he has focused his work on the field of ontology, in which he has proposed his own theory, “The anthropologico-historical ontology”.This study is an exploration of Li Zehou’s ontology, but in a perspective that exceeds the assertions of the author. Thanks to a multi-focal methodology, we will describe as thoroughly as possible what Li Zehou’s real ontological commitments are. At first, starting from his study of Marx, Kant, and Dewey’s philosophies, we’ll seek to identify which ontological options he admits and which he rejects, among the traditional philosophical ones. Then, we’ll focus on his own ontological creations, by analyzing his texts and giving him a French philosophical voice. Finally, we will situate his ontology and his philosophy in the philosophical plan, within the world of “philosophical meaning”. What consistencies, resonances and differences should we identify as regards the Chinese teachings and philosophical movements?

This is a practice-led research project that seeks to explore the cross-cultural aesthetics and conceptual ideas of an art project. I position myself as an art practitioner who intends to apply the Western modes of technological advancement of digital imaging and ink jet technologies to the substrates used by traditional Chinese artists for ink painting and calligraphy, usually called Xuan Zhi [宣紙]. Through this process, the aesthetics and conceptual ideas of both cultures will be explored, examined, analysed and interrogated for the potential development of a new aesthetics in the context of digital art. There are three major components in this research project; a creative document in the form of a collection of artwork, an exegesis and a collection of documentation. The creative document will be a body of visual image-based artwork that includes a series of collateral works from the ongoing research and practice of the project. It is the negotiated output of a potentially new aesthetics in digital art, specifically in the context of digital still imaging and digital printmaking. The exegesis is an analytical and critical commentary that places the creative document in relevant theoretical, philosophical, cultural and historical contexts. The documentation is a collection of the ongoing empirical practice of ink jet technology on Xuan Zhi. The visual physical form of both the exegesis and the documentation are also included as part of the creative document. These three components together form a unity and are presented as artefacts to represent the main focus of the research - the Poetics of Making.

This is a practice-led research project that seeks to explore the cross-cultural aesthetics and conceptual ideas of an art project. I position myself as an art practitioner who intends to apply the Western modes of technological advancement of digital imaging and ink jet technologies to the substrates used by traditional Chinese artists for ink painting and calligraphy, usually called Xuan Zhi [宣紙]. Through this process, the aesthetics and conceptual ideas of both cultures will be explored, examined, analysed and interrogated for the potential development of a new aesthetics in the context of digital art. There are three major components in this research project; a creative document in the form of a collection of artwork, an exegesis and a collection of documentation. The creative document will be a body of visual image-based artwork that includes a series of collateral works from the ongoing research and practice of the project. It is the negotiated output of a potentially new aesthetics in digital art, specifically in the context of digital still imaging and digital printmaking. The exegesis is an analytical and critical commentary that places the creative document in relevant theoretical, philosophical, cultural and historical contexts. The documentation is a collection of the ongoing empirical practice of ink jet technology on Xuan Zhi. The visual physical form of both the exegesis and the documentation are also included as part of the creative document. These three components together form a unity and are presented as artefacts to represent the main focus of the research - the Poetics of Making.

Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1997. / Bibliography : p. 60-63.

No description available.

Le Feng shui regroupe les connaissances des Chinois sur les notions de temps, d’espace, d’environnement et lieu de vie (ville et habitation). C’est en effet le Feng shui qui a guidé, dès son « avènement » presque toutes les constructions édifiées pour les vivants et pour les morts en Chine. Aujourd’hui l’écologie et la protection de l’environnement sont les premières questions à prendre en compte dans la conception architecturale. Face à l’idée transmise par le Feng shui , nous ne pouvons pas nous empêcher de penser qu’une telle discipline si ancienne, très centrée sur l’environnement et l’habitation, peut servir de référence et d’inspiration au design de l’architecture moderne et au traitement de l’environnement . La question fondamentale de cette recherche est de savoir quelle est, ou quelles sont, la ou les véritable(s) source(s) de la pensée Feng shui. Au travers de nos recherches, nous tenons à prendre un certain recul vis-à-vis de la multitude de méthodes du Feng shui pour pouvoir pleinement nous concentrer sur leur philosophie transversale et ainsi tenter de synthétiser les différentes approches que l’on peut avoir de l’ensemble du monde Feng shui. Nous avons trouvé deux grands « fils rouges » de la doctrine Feng shui .Premier fil : le « qi 气» est la matière fondamentale de la composition du monde. Deuxième fil : La temporalité et l’action du Ciel comprise comme une puissance impersonnelle et ordonnatrice s’exerçant sur le monde au travers des régularités naturelles. Cette recherche est dans le but de construire une structure de recherche sur le sujet de « l’application du FENG SHUI dans la conception architecturale contemporaine et son environnement ». / The Feng shui brings together the knowledge of the Chinese on the notions of time, space, environment and all the building infrastructures. It is indeed Feng shui has guided, from its "coming" almost all the buildings constructed for the living and for the dead in China. Modern ecology and environmental protection are the top priorities to be considered in architectural design. Faced with the idea transmitted by the Feng shui, we can’t help thinking that such ancient discipline, very focused on the environment and housing, can serve as a reference and inspiration in the design of contemporary architecture and treatment of the environment. The basic question of this research is to know what was, or what were, the true (s) source (s) of the doctrine of Feng shui. Through our research, we want to take a step back to the multitude of methods of Feng Shui, and intended to fully concentrate on their cross philosophy, and try to synthesize the different approaches that can have globally of the Feng shui. We have found two major "red threads" of Feng shui .First thread: the "qi 气" is the basic material of the composition of the world. Second thread: Temporality and action of Heaven understood as an impersonal power and instructing exerted on the world through natural regularities. This research is in order to build a research facility on the topic of "the application of Feng Shui in contemporary architectural and environment design" and we hope that this first step will be considered important to the continued reflection.

No description available.

The dissertation "Hu Shi's Theory of Social Immortality and Its Relation to Chinese Tradition" aims to map the influence of Chinese traditional thought and modern Western concepts on Hu Shi's theory of social immortality. It also seeks to answer the question whether the theory inclined towards China's own tradition or to the new Western ideas. It consists of four major parts. The first part concentrates on selected parts of Hu Shi's life, which had an impact on his thought and philosophy. This part is primarily built on Hu Shi's own autobiographical work as well as on literature by Western and Chinese authors. The second part of the thesis describes the theory of social immortality in detail. The third part analyses the influence of traditional Chinese concepts on this theory, as revealed in Hu Shi's own articles. The last part of the thesis analyzes reactions to Hu Shi's theory using contemporary sources and modern scholarly articles about Hu Shi and his theory of social immortality.

余兆權. / 論文(碩士) -- 香港中文大學硏究院歷史學部,1995. / 參考文獻: leaves 91-97. / Yu Zhaoquan. / 論文提要 --- p.III / Chapter 笫一章 --- 緒綸 --- p.1-14 / Chapter 笫一´節´ؤؤ --- 研究緣起與目的 --- p.1-2 / Chapter 笫二´節´ؤؤ --- 研究範圍與方法 --- p.2-7 / Chapter 笫三´節´ؤؤ --- 商鞅及韓非其人其書簡介 --- p.8-14 / Chapter 笫二章 --- 從《商君書》看商鞅的歷史觀 --- p.15-32 / Chapter 第一´節´ؤؤ --- 歷史三世¨®Ơ與歷史演化觀 --- p.15-19 / Chapter 笫二´節´ؤؤ --- 歷史發展根源論與國家起源論 --- p.20-22 / Chapter 第三´節´ؤؤ --- 尊古而不法古的先王觀 --- p.22-27 / Chapter 笫四´節´ؤؤ --- 因時制宜的變古觀 --- p.27-29 / Chapter 笫五´節´ؤؤ --- 利用歷史為政治工具的歷史功用論 --- p.29-31 / Chapter 笫六´節´ؤؤ --- 小結 --- p.31-32 / Chapter 笫三章 --- 從《韓非子》看韓非的歷史觀 --- p.33-58 / Chapter 笫一´節´ؤؤ --- 歷史分期¨®Ơ與歷史演化觀 --- p.33:36 / Chapter 笫二´節´ؤؤ --- 歷史發展的社會、經濟根源論 --- p.37-40 / Chapter 笫三´節´ؤؤ --- 尊古而不法古的先王觀 --- p.40-45 / Chapter 笫四´節´ؤؤ --- 因時制宜的變古觀 --- p.45-48 / Chapter 笫五´節´ؤؤ --- 反天命而重人事的聖王史觀 --- p.49-52 / Chapter 笫六´節´ؤؤ --- 制用的史學思想 --- p.53-56 / Chapter 第七´節´ؤؤ --- 小結 --- p.57-58 / Chapter 笫四章 --- 先秦法家歷史觀的特色及其研議 --- p.59-71 / Chapter 笫一´節´ؤؤ --- 先秦法家歷史觀的特色 --- p.59-63 / Chapter 第二´節´ؤؤ --- 先秦法家歷史觀研議 --- p.63-71 / Chapter 笫五章 --- 結 論 --- p.72-74 / 各章註釋 --- p.75-90 / 参考書目 --- p.91-97

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 231-247).