ࡱ> >@=%` (bjbjNN .*,,Rhhhh t 6$hju          wh  0 0 0 0 H l:     d$D$ Michael A. Fuller [mafuller@uci.edu] Department of East Asian Languages and Literatures University of California, Irvine I stand alone: Historical Grounds for the Role of Corporeal Selfhood in the Classical Chinese Poetic Tradition The fundamental dynamics of the articulation of the self through the structuring of experience in poetry that is central to the Chinese literary tradition derives from the cultural matrix of early China. Discussing corporeal selfhood in the context of premodern China, however, requires a significant shift in perspective for scholars trained in European traditions. From the time of the earliest extant records through to the end of the twelfth century C.E., elite Chinese culture held to a monistic understanding of the universe and the human. Theirs was a world in which the '`xing,  nature, of an object was certainly normative but also merely descriptive of how such a lump of matter (#lqi) behaves: how it grows (if living), reacts to other objects and events, dies, and returns to the cycle of production. Early Chinese thinkers viewed the human _ xin, the  heart-andmind as both the mind and as one more physical organ, one of the )Y[ tian guan, the six major organs of perception bequeathed by Tian (which is both  Heaven, a pervasive yet still physical power, and  the sky ). The dominant secular culture largely accepted the epistemological constraints of this view: one could know only what the human faculties allowed one to know, but the human realm was enough. Language in turn captured the distinctions that mattered to humans, and although experience supported belief in natural kinds among the objects of the phenomenal realm, the Chinese did not push the claims of realism very far. Words were the sounds of the mind, and written characters the pictures of the mind. In the conceptual world of early China, the term for emotion (` qing) in the human realm derived from its larger purpose of describing the particular features of response that articulated (and allowed one to know) the xing,  nature, of any object. Desire in early China was one aspect of emotion and part of what Heaven had given humans as their nature. Desire, however, was unruly and led to strife. Thus the Confucian thinkers proposed music and ritual as a pair to allow the realization of individual human desire within the constraints of social organization and limited resources. They argued that the sage rulers of antiquity developed music to order the inner life and perfected ritual to regulate the external. Scholars at the beginning of the imperial period interpreted the extant ritual songs of the royal Zhou court in light of this theory of music, ritual, emotion, desire, and social order. That collection of songs became the Canon of Poetry and served as the model for the later Chinese poetic tradition. The Han dynasty poetics for the Canon of Poetry drew on the theory that music orders response in arguing that the songs of the collection provided responses to events that Confucius judged to be normative. In this reading, the writers of the poems encountered events which drew forth emotional responses from their mind/heart based on their abiding commitments, and responses had an intensity that demanded external expression. If ones emotional life were guided by these canonical poems, which covered a wide range of situations, then ones responses would be correct and society well ordered. This model of poetry as the external articulation of the emotional response to events became the basis upon which the later tradition was built. As the Chinese poetic tradition developed, it exposed and exploited a crucial implication of this model that derived from the matrix of early Chinese philosophical anthropology: poetry can preserve the self as the responding mind/heart for all future time. That is, the sensitive listener, hearing the poem and knowing the circumstances of its composition, could know the qing of the composer that the poem articulates: if one hears enough poems drawing on a variety of circumstances, one can come to know the z  *.4.>uz$$'$'((h!Uhhl_h|6]hhl_h|PJhhl_h|5\ hhl_h| %Xyz((`gd| $`a$gd| $7$8$H$a$gd| (xin, the mind/heart, of the poet. The dominant role of occasional poetry (poetry written in response to specific occasions) comes from the centrality of the bond between circumstances and response in the hermeneutics of the self in the Chinese tradition. This focus on occasion is deeply different from the European traditions and difficult to make sense of without some understanding of the historical and conceptual background. My paper will present an overview of the interconnected threads of nature,  mind/heart,  emotions, music, ritual, and poetry at the beginning of the tradition and will conclude with a reading of a poem by Du Fu \g+u (712-770), China s greatest poet, to show how the sense of a corporeal self defining itself through poetry works in exemplary practice. ,1h/ =!"#$% H@H SPRNormal CJPJ_HaJmH nHsH tHDA@D Default Paragraph FontRi@R  Table Normal4 l4a (k@(No ListR * %Xyz81QT@0@0@0@0@0@0@0@0@0@00%Xz81QTX00X00X00X00X00X0tfX00X00X0000((( eQed}FeeFeRelFe\FeeDe3eLe?e}XfrrYYDDT    #bpxx^^IIT B*urn:schemas-microsoft-com:office:smarttagscountry-region8 *urn:schemas-microsoft-com:office:smarttagsCity9 *urn:schemas-microsoft-com:office:smarttagsplace= *urn:schemas-microsoft-com:office:smarttags PlaceName= *urn:schemas-microsoft-com:office:smarttags PlaceType> *urn:schemas-microsoft-com:office:smarttags PersonName |     459IJKN[bvwx|47T=KKVdx! : M I Y Z j  w8CT3333333333333333333333TT$ZU, "F(Qk*D[H^byg /UL2m<]i$PMbTm|y  iL 0 > ^S Pe q q   / ~0 ,E zJ  &6 "h p `Caec'iv>{` Odm%&8X<SQW*nt!*/Okk+,:NwAcIsvyF#P i)7/r}!FU(MhcZD pt|p" q q!h!&"^P""<#V#$v%$pj$%"%4r%D&$J&N&O&S&/=B/,w/s1/1(312-282pQ2X2?3Q3FW3-494G4+e4%5(6,6s78/'8698 y8,s9:*:2:;U; g;%<<=^>'?#?@@f*@,@kAOA\A!wAFB;)CAWCfC3Dy!E JEGJE3QEEuE;FqF2 G]GmG,H}zH ISJIJW:J:J8KdMKtKzKL)Ly,L*CL6M MMdM!N3N$=NBNeNaOYpOP#PRP2PoPQ QFQ:QZnQRKRSPR`RqcIqg r 'rW-rG9rPr`rpirwss8t_ tStctu4uu>>uzKuAru<~uvvGwxt-x@xrxGyd!z|r+|0|}BA}F}O ~]~io~ *$M%&K5I b,;:*\Qeoc%eLkRfVt B`ZyLe&'p`=fpx.4J`oy!,PyQSjUii()U,z!2F RR WE*H P)GJN/`w[]#.(Ojkqp<<9+\bdt>xq D!'>q!Qf: 4y1_Q%7DvJdM|9FSHbkyT2-Di,i2K(\~-8s7d}ur8s;T"(2et VO4Hm%# &>(&z'h*o4CY#py"C_^(s '1GpcKEG=Jfmq.2MwxU}lDTa:"T+!9eoq5 5>UPn D={]rjx~-!"FKebx~NuJ+0byti!+v,.8I:Vak c3Y^R} ENN}G4gj>2,TavHrQTZ^3ffVGae\"K&*PUf$8C')1-AdWf$lTPxY/CO?E a@26]dM'O0| 5,<3>7ձM~5t#4<P@q O,=_ug_v${1 ZM^U=35T:+oCQ{2;KItuA dSgB$0AJX=^2Q V8;FQX{ A+}$gdgowx*'B4H[TZ]s`jCp/LAd6~ 3,G@QQHQQp44444444R@  @(@H@&P@UnknownGz Times New Roman5Symbol3& z ArialC .PMingLiUe0}fԚ;SimSun[SO"qhѦѦp #p #!24dII 2qHX)?SPR2>The Somatic Arts in China and their Conceptual Basis in RitualblabadieblabadieOh+'0 ( <H h t @The Somatic Arts in China and their Conceptual Basis in Ritual blabadieNormal blabadie2Microsoft Office Word@F#@jw@jwp՜.+,0@ hp  ý# I' ?The Somatic Arts in China and their Conceptual Basis in Ritual Title  !"#$%&'()*+,./012346789:;<?Root Entry F`ъwAData 1Table0WordDocument.*SummaryInformation(-DocumentSummaryInformation85CompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q