This essay analyzes how the zhengming 正名 theory of Confucius is linked to the problem of “observances of form” in light of the methodology of Confucian aesthetics. This essay argues that the “name-shape” combination in the zhengming paradigm is ultimately connected with the “name-role” combination. The “name-shape” paradigm continuously maintains and strengthens the “name-role” paradigm. However, the “name-shape” paradigm itself ultimately becomes more meaningful than the “name-role” paradigm. This is because the aesthetic structure that appears peculiar in the Analects constitutes (...) the “name-shape” paradigm. In this aesthetic structure, what is ultimately important is “form.”. (shrink)

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...) Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)