Confucius in the Borderlands: Global Capitalism and the Reinvention of Confucianism

Dirlik, Arif

doi:10.2307/303728

Cited by 106 publications

(30 citation statements)

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“…East Asian culture is deeply affected by Confucianism because it serves as society's core values, traditions, and ethical and moral foundation for business and social interactions, and it deeply affects people's thinking styles (Diriik, 1995;Greer & Lim, 1998;Hahm, 2003;Martinsons & Martinsons, 1996). Therefore, this study explored the principles of Confucianism and how the principles affect the creativity of individuals.…”

Section: Creativity In Different Culturesmentioning

confidence: 99%

Creativity and Confucianism Among American and Korean Educators

Kim

Lee

Chae

et al. 2011

Creativity Research Journal

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The purpose of this study was to examine differences in creative styles and Confucian ideas between Koreans and Americans and to examine the relationship between creativity and Confucianism. A total number of 579 educators (227 American and 352 Korean) participated in this study. Eastern-Western Perspective Scale was used to measure participants' level of Confucianism and the Torrance Tests of Creative Thinking-Figural was used to measure participants' level of creative potential. The results indicate that Koreans have strikingly more Confucian ideals than Americans, whereas Americans have more creative strengths and are more adaptively creative than Koreans. The results also indicate higher levels of Confucianism relate to lower levels of creativity. The Confucian elements that show negative relationships with creativity are suppression of expression, gender inequality, gender role expectations, and filial piety.Multiple factors influence the creativity of a single individual. Although some factors affecting creativity are unique to an individual, most factors affecting creativity have a relationship to a person's macrocosm, including intrapersonal or social factors such as the environment or culture in which that person exists (Ivcevic, 2009;K. H. Kim, 2007). Thus, a focus on enhancement of an individual's personal domain and creativity skills is insufficient to enhance overall creativity if the individual's cultural setting does not foster creative growth and expression. Many cross-cultural studies illustrate the interaction of culture and creativity (e.g., Lim &

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Section: Creativity In Different Culturesmentioning

confidence: 99%

Creativity and Confucianism Among American and Korean Educators

Kim

Lee

Chae

et al. 2011

Creativity Research Journal

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“…Over these generations, the status, focus, and impact of Confucianism shifted with the ebb and flow of economic and political conditions (Dirlik 1995;Bell 2006;Louie 2011). In a nutshell, the first generation of the three returned to Confucianism in search for a sense of self from within a crisis-ridden China, amidst desires to depart from its condemned 'feudal' past.…”

Section: New Confucianismmentioning

confidence: 99%

Harmony as language policy in China: an Internet perspective

Wang

Juffermans

2015

Lang Policy

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This paper provides an ethnographic understanding of harmony as language policy in China, grounded in a historical analysis of 'harmony' (和 he) as a distinct traditional Chinese (Confucian) ideal that gradually finds its new expressions through the policy of Harmonious Society (和谐社会hexie shehui) in contemporary China. The paper focuses on language practices surrounding 'harmony' emerging from the Internet, a discursive space and site that is both highly diverse and heavily contested with respect to policing processes, and notably so in the context of the PRC for its stringent measurement of censorship and sensitization of language use. It is shown that although the state is arguably the strongest stakeholder in implementing the policy of harmony, the actual processes of harmonization online develop in detailed, multidirectional and unpredictable rather than abstract, linear or monofocal ways. The paper offers a descriptive analysis of the field of Internet memes that critique and subvert the policies of harmonization. This includes new meanings for words (e.g. 'harmony' as euphemism for censorship) and puns around the acoustic image of hexie and other censorable words, resulting in the circulation and bricolage of myths and songs revolving around 'river crab' (hexie) and 'grass mud horse' (caonima) as placeholders of dissent, which feed back into offline popular (and critical) culture. The paper concludes with a discussion of the politics of harmony, pointing at the increasingly polycentric realities clashing with the modernist monocentric ideal of the state project of harmony, and with arguments for an ethnographically based understanding and inspection of language policy as an instrument for shaping sociolinguistic life.

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“…It was questioned, for example, whether Chinese culture was responsible for the country's "backward" status in the global community or whether wenhua, on the contrary, was the key to economic success and the new rise of China in the world; or whether the revival of Confucianism might serve as the basis for an alternative modernity (Dirlik 1995;Ong 1996;Wei-ming 1996;Shue 2006;DuBois 2010: 354ff).…”

Section: Revival Of "Culture"mentioning

confidence: 99%