Music and Evil
A Basis of Aesthetics in China
Datos Bibliográficos
| ID | 2227474 |
|---|---|
| Autores | H Saussy (0000-0002-5220-5062, autor de correspondencia) |
| Año | 2020 |
| Volumen | 46 |
| Número | 3 |
| Páginas | 482-495 |
| Fecha de publicación | 2020-03-01 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Critical Inquiry (JOURNAL) |
| Identificadores de la revista | ISSN: 0093-1896 • E-ISSN: 1539-7858 |
| Editorial | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/708074 |
| OpenAlex | W3011671135 |
| Idioma | EN |
| Referencias citadas | 3 |
When Chinese literary thought is put in a global context, it is often characterized by its disinterest in mimesis and its correlative faith in the legibility of direct lyrical expression, both of which features would derive from a general epistemic optimism common to all schools of Chinese thought. Early writing on music, however, attests to a distrust of the art and to a consequent urge for reform. Suspicious mimesis, linked with the promotion of moral exemplars, is shown in this historical essay to be the ground of aesthetics in the Confucian tradition
Aesthetics · Art · Bad faith · China · Common ground · Context (archaeology · Correlative · Distrust · Epistemology · Faith · Legibility · Literature · Optimism · Political science · Sociology · History · History of Emotions Research · Language, Metaphor, and Cognition · Law · Musicology and Musical Analysis · Philosophy
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |