The Relationship between Metaphysics and Confucianism

Chapter I. The Longing for the Survival of the Subject of Confucian Poetics: the Construction of a Linguistic Home

Section I. Language as a Home for the Inhabitation of the Subject of Life and the Bottom-Up

Section II. Avoidance of Death and Pursuit of Eternity in a Linguistic Home

Section III. Constructing a Linguistic Home on the Classic Texts of the Jing

Chapter II. The Ontological Interpretation of "Jing" and the Ultimate Scope of Confucian Poetics

Section 1: Jing: The Cultural Background that Defines the Formation and Development of Oriental Poetry

Section 2: The Ultimate Meaning of "Jing" and the Ontological Unity of "Warp and Weft of Heaven and Earth

Section III: The Transformation of "Jing" from a Physical Noun to a Verb and an Abstract Noun

Section IV: "Jing" as an Ontological Category Concealed under Moral and Ethical Doctrine

Section V: "Jing" as an Ontological Category Concealed under Moral and Ethical Doctrine

Section 5: "Jing": A Constant and Universal Ultimate Truth

Chapter 3: The Confucian Poetry of "Making Words" and the Construction of Classical Texts

Section 1: "Jing": The Confucian Poetry of "Making Words" and the Construction of Classical Texts

Section 1: "Jing": The Transformation of Physical Nouns into Verbs and Abstract Nouns

Section I: "Jing": the linguistic home of Confucian poetics - classical text

Section II: Liu Xin: "Jing, Yuan Yi to unify the beginning" and Xu Shen: "The text is the basis of the object and image. "

Section 3: Confucius' deletion of the "Six Classics" and the struggle for the power of poetic criticism

Section 4: The inherent critical spirit of Confucianism's poetics: classic-centrism

Chapter 4: The longing for survival of the subject of Taoism's poetics: the "Subversion"

Section I. Center and Margin: Two Cultural States Inhabited by Confucian and Taoist Poetics

Section II. The Burgeoning Opposition Between Confucian and Taoist Poetics as a Clash of Two Ontological Consciousnesses

Chapter V. The Ultimate Target of Derrida's Theoretical Deconstruction of Poetics: Logocentrism

Section I. The Rediscovery of the Logos by Husserl, Heidegger and Derrida

Section 2: The Logos: The Invisible Contract of the Western Poetic Cultural Tradition

Section 3: The Logos "Logos": Discursive Power in the Western Poetic Cultural Tradition

Section 4: The Hierarchical Sequence of Metaphysics in the Western Poetic Cultural Tradition

Chapter 6: From Language to Ontology: "Tao" and "Logos "

Section 1: The Modern Confusion of Eastern Poetics: Which sets a "center", the "scriptures" or the "Tao"?

Section II: "Thinking" and "Speaking": Zhang Longxi's Proposition on the Dual Meaning of "Dao" and "Logos"

Section III: "Thinking" and "Speaking": Zhang Longxi's Proposition on the Dual Meaning of "Dao" and "Logos Section 3: The Basic Meaning of "Tao" in Three Dimensions in the Context of Oriental Poetics

Section 4: "Tao": The Cradle of Intuition and Poetry The cradle of intuition and poetry, and the graveyard of reason and thought

Section 5: "Tao" is not "speaking"; "Tao" is a kind of speechlessness. "Tao" is a speechless silence

Section 6 "Tao" is an open ontology, "Logos" is a veiled ontology

Chapter 7 Cutting back from ontology to language: "Scripture" and "Logos"

Section 1: Scripture-centrism is logocentrism

Section 2: "Logos" is the ultimate voice in the sense of Western poetic ontology

Section 3: "Logos" is the ultimate voice in the sense of "Logos" and "Logos". Section 3: The Context of Writing in Western Poetics and the Context of Writing in Oriental Poetics

Section 4: Oriental Script is a symbol system that makes meaning out of writing in addition to speech

Section 5: "Imagination by Class": the constant rhythm of Oriental Section 6: "Drawing Eight Trigrams and Making Book Deeds": The Historical Tracing of the Oriental Context of Writing

Chapter 8: The Upside Down Metaphysical Hierarchical Sequence and Western Deconstructive Strategies in the Oriental Context of Poetics

Section 1: Theoretical Dynamics of Beliefs that Make the Ontology Self-Regulating and the Human Being a "Secondary Referent"

Section 2: Theory of the Ontology and the Human Being A "Secondary Referent"

Section 2: Western Poetics' Phonocentrism and the Inheritance of a Transcendental Final and Fictional Subject

Section 3: Oriental Poetics' Writercentrism and an Inverted Metaphysical Hierarchical Sequence

Section 4: The Mission of Derrida's Deconstructive Strategies in Oriental Poetry and Oriental Taoist Poetics

Section 5: The Mission of Derrida's Deconstructive Strategy and the The Mission and Eastern Taoist Poetics

Chapter 9: Taoist Poetry's "Intention" and the "Deconstruction" of Classical Texts

Section 1: The Tao: Silence, Speechlessness, and Unfathomable Meaning

Section 2: The Tao: The Tao: The Tao: The Tao of Silence, Speechlessness, and Unfathomable Meaning Speechlessness and Unfathomable Pool of Meaning

Section II: The Subversion of Classical Texts and the Invalidation of Discourse Power.

Chapter 10: "To Speak" and "To Mean": Two Poetic Criticism Methods in Conflict and Contradiction

Section 1: The Metaphysicalization of the Scriptures and the Open Debate on the Discriminations of Words and Meanings

Section 2: The Subversion of the Classical Texts and the Invalidation of Discourse Power. "

Section 2: The Six Classics: The Linguistic Lens of Confucian Poetry's Interpretation and Criticism of Literature

Section 3: A Sense of the Depth of Political Indoctrination in Confucian Poetry's Criticism

Section 4: "Without Words, All the Wind and Flower": A Review of the Writing of Poetry and Poetry

Section 5: "The Scholarship of the Book The depth of aesthetic experience in Taoist poetics: "profound silence and thunderous sound"

Chapter Eleven: Confucian and Taoist Poetry in The Academic and Cultural Background of the Integration of Confucian and Taoist Poetics in the Contradiction of "Words" and "Meanings"

Section 1: Confucian and Taoist Poetics are Necessarily Moving from Conflicting Contradiction to Complementary Integration

Section 2: Xuanxue: The Precipitation of Confucian and Taoist Poetry in Contradiction and Integration

Section 3: Xuanxue: Metaphors of "Abyssal Silence and Thunderous Sounds Xuan": Metaphorical "Door of Miracles" for the Creation of All Things by "Dao"

Section 4: Five Forms and Methods of the Development of Confucianism and Daoism in Opposition and Integration

Chapter 12: Prejudice and Misinterpretation: Philosophical Reflections on the Hermeneutics of Poetics

Chapter 13: The Philosophy of Poetry Philosophical Reflection on Poetic Hermeneutics

Section I. The Original Meaning of Texts as the Blind Spot of Human Spiritual Vision

Section II. Pre-Understanding, Integration of Vision, and Legitimate Prejudice

Section III. The Beginning of Destructive Misreading

Section 1: The Cultural Landscape of Personality Transformation: The Decline of Confucianism and the Rise of Metaphysics

Section 2: He Yan and Wang Bi: From the Cutting Off of Canonical and Referential Meanings Toward the Self-Conscious Misreading of the Confucian Classics

Section 3: The Final Part of Destructive Misreading: Transcending Canonical Meanings

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Chapter 14: Convergence of Perspectives and Giving Way to Meaning: Toward a Self-Conscious Classical Chinese Poetics in the Midst of Misinterpretation

Section 1: The Metaphysicalization of the Scriptures and the Convergence of Perspectives of Confucianism and Taoism

Section 2: The Formation of the "Grand Unification" of Confucian Poetry and the Structure of the Central Meaning

Section 3: The Established "Meaningfulness" of the Works Established "Meaningfulness" and the Shelter of the "Spiritual Candle of Doctrine"

Section 4: The Cultural Landscape of Transition and the Entry of Daoist Texts into Mainstream Interpretation

Chapter 15: The Cultural Violence of Metaphysical Misinterpretations and the The Collapse of the "Tripod"

Section 1: Destructive Interpretation-Misinterpretation and the Collapse of the "Tripod" of Confucian Poetry

Section 2: The Concept of Morality as the "Tripod" of Confucian Poetry

Section 3: The "Tripod" of Confucian Poetry Section 2: Moral Concept as One of the Three Feet of the "Tripod" of Confucian Poetry

Section 3: The View of the Sage as Two of the Three Feet of the "Tripod" of Confucian Poetry

Section 4: The Ontological View as Three of the "Tripod" of Confucian Poetry

Section 5: The Misinterpretation and the Collapse of Confucian Poetry Section 5: Enlightenment and Poetics Toward Self-Consciousness of Theoretical Forms after Cultural Violence Forced Meaning to Give Way

Chapter 16: The Pursuit of the Spiritual Archetype of Hiddenness in China and the Rise of Hiddenness Literary Trend in the Wei and Jin Dynasties

Section 1: Literary Trend and the Archetype of Hiddenness in the World

Section 2: The Original Significance and Formalization of the "Hidden Formlessness" of the Dao by Laozi "The Original Meaning of Laozi's "Tao's Hidden Formlessness" and the Conscious Expression of Archetypal Theory

Section 3: The Transformation of the Spirit of Seclusion into a Form of Existence on the Ontology of Tao and Zhuangzi's "Free Journey"

Section 4: The Seclusion of Philosophers and the Seclusion of Poets. The Poet's Hiddenness: From "Thought" to "Poetry" and from "Form" to "Means"

The Utopian Decoration and Poetry of Seclusion: Symbols and Texts in the Light of the Poet's Seclusion

Chapter 18 On the Personality Type of "Inner Confucianism and Outer Taoism": A Psychological Perspective of Liu's Poetic Personality

Section I. The Interpretative Subject as a Mediator of the Transformation from Contradiction to Integration

Section II. "The Pivot of Literature" and the "Sectors of Scripture", "Sage" and "Original Way"

Section III. The Inner Confucian Dimension of Liu's Poetics: "The Way of the Sage"

Section IV: The Outer Daoist Dimension of Liu's Poetics: "The Way of Nature"

Section V: "Humanism" --Subjectivism and "The Way of Nature"--Methodology

Chapter 19: Revisiting the Personality Types of "Inner Confucianism and Outer Way The Personality Types of "Inner Confucianism and Outer Taoism"

Section 1: From Chen Zi'ang's "Confucianism and Taoism" to the Poetry Sage Du Fu

Section 2: Liu Zongyuan's "The 'Six Classics' First"

Section 3: The "Six Classics" of Liu Zongyuan Liu Zongyuan's "Six Classics before Zhuang Zhou" and the Re-conversion of the Failed Soul

Section 3: Variations of the Classics: Rigaku and Psychology

Section 4: The Way of Heaven and the Way of Man: Rigaku and the Way of the World

Section 5: The Way of the World: Rigaku and the Way of Man Humanism": The Complementary Types of Personality of the Masters of Rigaku's "Inner Confucianism and Outer Taoism"

Section V. The Master of Psychology, Wu Yangming: A Poetic Soul Following Tao Yuanming

Chapter 20: The Ultimate Edge of Light: The "Japanese Metaphor" in Western Poetic Ontology

Chapter 21: The "Ultimate Edge of Light": The "Japanese Metaphor" in Western Poetry

Section I. Bensil: The Transformation of the Metaphorical Power of Language

Section II. Plato: The Thought-Vision of the "Caveman" and the "Japanese-Oriented Metaphor"

Section III: The Metaphorical Aesthetics of "Logos"-"Idea"-"God"

Section 4: Bacon: The "Four Falsehoods" of Metaphor and Metaphor as a Problem of Poetic Metaphysics

Chapter 21: The "Sunward Metaphor" of Confucian Poetics and Metaphorical Aesthetics as an Official Discourse Power

Section I. The "Sunward Spirit" and the "Siku Quanshu General Catalogue" of "Jing, as in the Sun"

Section 2: The "Sunward Complex" and the Edge of Light are ontologically the inescapable former understanding of the subject of poetics. Understanding

Section 3: Han Yu's "Cultivating His Rhetoric to Make Clear His Way" and the Metaphorical Aesthetics of "Jing," a "Sage"

Chapter 22 "Poetry Speaks of Zhi": A Metaphorical Proposition of Poetics

Section 1: Tracing the Concept of "Poetry" in the Oriental Poetical Cultural Tradition

Section 2: The Relationship between "Poetry" The Chain of Meaning between "Poetry" and "Zhi" in Mutual Interpretation

Section 3: The Metaphorical Connotation of "Poetry Speaks of Zhi" and Poetry as a Textual Form of Writing to Make Meaning Appear

Chapter 23: The Destiny of Oriental Poetry and the Deconstruction of Scripture-Centrism in the Oriental Poetry The Deconstruction of Oriental Poetic Centrism

Section 1: The Execution of the Metaphor of Scripture by "Poetry Speaks to the Mind" at the Levels of Criticism and Composition

Section 2: The Destined Hijacking of Confucian Poetry and Criticism: A Commitment to the Metaphor of Discursive Power in the "Six Classics"

Section III: Confucian Poetics as a Metaphorical "Erosion": The Replacement of Moral Reason for Aesthetic Sensibility