Confucian state doctrines have shaped Asian cultures for millennia as prescriptive codes of conduct with an emphasis on hierarchy and obligation. Yet a premise at the core of lǐ —understood as propriety, ritual, or generally a cultural grammar—is authenticity, and authentic respect cannot be commanded. What if the lǐ were to be elegant instead? Hans-Georg Gadamer analyzed play as a fusion of horizons that are absorbed into the same event, co-constituting subject and object in an aesthetic experience, and dissolving their (...) dichotomy. We consider examples from Japanese aesthetics in this framework to give depth to key Confucian concepts: the values that enable a relationality that is not in conflict with autonomy; the points of reference for self-improvement through culture; a social organization that enacts reciprocity; and the essential posture this requires. The radical simplicity of the philosophy of tea, chanoyu, and the aesthetic refinement of the Katsura Rikyū palace illuminate the principle of emotional resonance in encounters, which underlies the fusion of cognitive, ethical, and aesthetic horizons. This view reveals how the relational premise of the Confucian philosophical system entails an ontological commitment to mutuality. This is indeed ethics, but neither particularism nor generalism; in its aesthetic dimension it is the mode of perception of a self fulfilled in play. (shrink)

A pervasive misunderstanding of Confucian philosophy’s concepts considers them to be directives that call for deference and subordination, principally associated with the concept Lǐ 禮 which is understood as rites, rituals, manners, or generally “propriety”. Imposing Lǐ 禮 is considered a path to social and personal harmony. However, an analysis of the conditions and implications of Lǐ 禮 in early Confucian thinking shows that authentic respect, not obedience, is considered the essential condition for good governance and an ordered society. Significantly, (...) authentic respect can only originate from within the self, it cannot be commanded. Based upon self-cultivation, participation in ritual and exemplary conduct establishes a commitment to respect, and the purposeful distinctions expressed through Lǐ 禮 make social order intelligible. Considering the essence of respect in depth, and comparing it to the ethics conceived by Immanuel Kant, neither Confucian nor Kantian ethics are truly deontological in the sense of a “duty that is owed to an external instance”, rather they both rest on the autonomy of the self. A synthesis of both implies that extending authentic respect to an other in an encounter within the context of Lǐ 禮 gives rise to “Existential Reciprocity”: a virtuous cycle which mutually affirms both the self and the other, while rejecting a dichotomous opposition between self-esteem and morality. This is not contingent on external factors, but accessible from a self-determined, autonomous engagement with self-affirming conduct and productive encounters. Benefits are immediate and personal, and this forms the conditions in which harmonious relationships are a natural outcome. (shrink)

ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse haiku pioneer (...) Santoka Taneda. What makes these poems relevant is not merely their superficially shared theme of time, but an intrinsic affinity, manifested in different poetic “time-objects”, to the very notion of time-consciousness. Through poetic analysis in the context of Husserl’s philosophy of time-consciousness, these poetic experiences, embodied in a phenomenological concept of “walking,” emphasize time as being. (shrink)