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Emotion as a Language of Universal Dialogue

100%
Wong M. Y.
Dialogue and Universalism
|
2019
|
issue 3
41-56
EN
Despite globalization and the rapid development of information technology, cross-cultural dialogue did not become any easier. The physical and non-physical confrontations are intensified by the differences in basic values and interest of cultures, which can be seen by the increasing number of wars, extreme localism, and mistrust between people. Rationality, which has long been regarded as the best and the only common language among different cultures, fails to facilitate communication and collaboration. Rationality’s limitation was revealed among others in Alasdair MacIntyre’sWhose Justice? Which Rationality? Unlike what ancient Greek philosophers suggested, thereis not a single type of supreme rationality that everyone will and should follow. The only consensus perhaps is about the instrumental rationality suggested by Max Weber, which is futile in promoting cross-cultural dialogues as it addresses the various means rather than the ends of different cultures. In this paper, I argue that emotion is a better language for universal dialogue than rationality in two senses. First, the psychologists and anthropologists provide solid evidence to prove that certain emotions are basic and universal among all human beings. For instance, based on his study of facial expression of the Fore people in Papua New Guinea, Ekman (2003) proposed that anger, fear, surprise, disgust, sadness, and happiness are six basic emotions that are universally shared. Other evidence includes studies conducted by Tomkins (1962), Arnold (1960), and Frijda (1986). These basic emotions might serve as the foundation of cross-cultural dialogue because we are evolved to understand the causes and expressions of these emotions in others despite the cultural and social differences. Second, unlike instrumental rationality that focuses solely on how to achieve one’s end, certain emotions are non-egocentric by nature. For instance, compassion is “another-oriented emotion elicited by and congruent with the perceived welfare of another person” (Batson 1991). Chinese philosophy expresses a similar idea with the aid of the concept of Ren, which is the essence of human being, according to Confucianism. Love is another non-egocentric emotion that is constituted by care and concern of the well-being of one’s beloved for his or her own sake. That is, I love you not because loving you makes me happy, instead, it is because loving you makes you happy. Such non-egocentric emotions (other examples include sympathy, empathy, trust, etc.) might encourage and motivate cross-cultural dialogue despite the conflict of interest between cultures. While facing multi-faceted contemporary problems and crisis, we do not lack rational and intelligent solutions. We lack mutual understanding, reciprocal tolerance, and sustainable collaboration. The role of emotion in establishing a platform of cross-cultural dialogue should not be overlooked.
2
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Przybrany ojciec. Czesław Miłosz w Chinach

100%
Krenz J.
Poznańskie Studia Polonistyczne. Seria Literacka
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2021
|
issue 40
53-97
EN
Czesław Miłosz remains among the most important foreign authors and literary authorities for Chinese poets. Initially received in China with distrust and uncertainty, then portrayed in the official state discourse of romantic-revolutionary literature as the bard of socialism, Miłosz became the spiritual father of the younger generation affected by the Cultural Revolution and Tiananmen Square Massacre, a witness of the age, and a symbol of intellectual independence and resistance against totalitarianism. After a period of reading Miłosz in terms of ethical and political categories, Chinese reviews and literary texts in the 2010s and 2020s increasingly refer to Miłosz as philosophical and metaphysical poet. This article analyses Miłosz’s reception in China, paying attention to the historical, cultural, and linguistic factors that shaped the assimilation of his work and the values he brought to Chinese poetry.
3
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ENGARCE Y DIÁLOGO INTERARTÍSTICO. UNA APROXIMACIÓN A LOS MUNDOS SUTILES, EDUARDO CHAPERO-JACKSON, ESPAÑA, 70 MIN.

100%
IENCEANU L.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2016
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vol. 8
129-137
4

Circus Art: An Aspect of Cross-Cultural Dialogue

100%
Shumakova S.
Dialogue and Universalism
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2014
|
issue 2
205-212
EN
The paper examines the problem of cross-cultural interactions; within this context circus art is analyzed. Art, in general, and especially, circus art can be considered as a field of dialogical communication, and as a way of giving new human experiences, spiritual values and worldviews. It is hypothesized that circus art is a complex polyfunctional social and cultural phenomenon which inherits communicative properties of art. It is possible and desired to study circus art in the context of cross-cultural dialogue. The article deals with modern cultural situation, its orientation on cultural dialogism, and displays general factors forming the role of circus art in the cross-cultural interaction.
5
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Literatura polska w Chinach i wymiana kulturalna między Polską a Chinami. Zapiski tłumacza

75%
Zhenhui Z.
Poznańskie Studia Polonistyczne. Seria Literacka
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2021
|
issue 40
221-227
EN
The article is an introduction into the presence of Polish literature in China from the perspective of one of its most active researchers and translators. The author describes his fascination with Bolesław Prus’s work that resulted in the Chinese translation of Lalka (The Doll) and his work on two-volume Historia literatury polskiej (The history of Polish literature) aimed at Chinese readers.
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