This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Scholars working in philosophy of action still struggle with the freedom/determinism dichotomy that stretches back to Hellenist philosophy and the metaphysics that gave rise to it. Although that metaphysics has been repudiated in current philosophy of mind and cognitive science, the dichotomy still haunts these fields. As such, action is understood as distinct from movement, or motion. In early China, under a very different metaphysical paradigm, no such distinction is made. Instead, a notion of self-caused movement, or spontaneity, is elaborated. (...) In this article a general conception of spontaneity from early Daoism is explained, detailing its constituent aspects. Similar notions appeared from time to time in Western philosophy, and these instances are pursued, exploring how their instantiations differed from Daoist spontaneity and why. Based on these approximate examples of spontaneity and on early Daoist spontaneity, new criteria are postulated for a plausible theory of action that dispenses with presuppositions that eventuate in a freedom/determinism dichotomy, and instead the possibility is offered of a general model of action that can be applied smoothly across current philosophical and cognitive scientific subdisciplines. (shrink)

The Zhuangzi offers two apparently incompatible models of bereavement. Zhuangzi sometimes suggests that the sage will greet loss with unfractured equanimity and even aplomb. However, upon the death of his own wife, Zhuangzi evinces a sorrow that, albeit brief, fits ill with this suggestion. In this essay, I contend that the grief that Zhuangzi displays at his wife’s death better honors wider values averred elsewhere in the text and, more generally, that a sage who retains a capacity for sorrow will (...) be better positioned for the robust joy so often identified as central to the Zhuangzi’s vision of flourishing. The sagely figures who entirely forego sorrow, I argue, achieve equanimity only through a sacrifice of the emotional range and responsiveness necessary not only for grief but also for the delight Zhuangzi recommends. (shrink)

The Zhuangzi, a 4th century BCE Chinese text, is optimistic about life unrestrained by entrenched values. This paper contributes to existing debates on Zhuangzian freedom in three ways. First, it reflects on how it is possible to enjoy the freedom envisaged in the Zhuangzi. Many discussions welcome the Zhuangzi’s picture of release from life shaped by canonical visions, without also giving thought to life without these driving visions. Consider this scenario: in a world with limitless possibilities, would it not be (...) fraught, not knowing how to interpret situations? I suggest that freedom in the Zhuangzi is possible only if one succeeds in reorienting herself to the new ‘normal’. Second, I introduce and develop the idea of working with constraints. This focuses on an agent's maximizing the fit between relevant conditions, on the one hand, and their capabilities, on the other. Finally, I propose that self-directed practice, an important expression of agency, is required for building capabilities that enable such freedom. I examine the idea of risk involved in these firsthand experiences, articulating an account of agency that sits at the heart of hard-won Zhuangzian freedom. (shrink)

Tian 天 is central to the metaphysics, cosmology, and ethics of the 800-year-long Chinese philosophical tradition we call “Neo-Confucianism,” but there is considerable confusion over what tian means—confusion which is exacerbated by its standard translation into English as “Heaven.” This essay analyzes the meaning of tian in the works of the most influential Neo-Confucian, Zhu Xi 朱熹, presents a coherent interpretation that unifies the disparate aspects of the term’s meaning, and argues that “cosmos” does an excellent job of capturing this (...) meaning and therefore should be adopted as our translation of tian. (shrink)

Confucius and Zhuangzi are the two most famous thinkers in all of Chinese history, aside from Laozi, the Old Master. They occupy positions in the history of Chinese thinking roughly comparable to those held by Plato and Epicurus in the Western narrative of civilisation, in that they offer visions of the engaged political life and the engaged social self to which later political theorists and ethicists invariably return. For the last century or so, if not longer, Sinologists and comparative philosophers (...) have been apt to name Confucius the ‘founder’ of a Confucian ‘school’, and Zhuangzi, one of two ‘founders’ of a rival Daoist ‘school’, despite the lack of evidence for sectarian factions in early China. What is at stake in this essay is nothing less than a recasting of the entire early history of Chinese thinking in ways both bracing and potentially troubling to modern academics. (shrink)

Open Access: Appreciating the relationship of the living to our dead is an aspect of human life that seems to be neglected in philosophy. I argue that living individuals can have ongoing, non-imaginary, valuable relationships with deceased loved ones. This is important to establish because arguments for such relationships better generate claims in applied ethics about our conduct with respect to our dead. In the first half of the paper I advance the narrower claim that psychological literature affirmative of “imaginal (...) relationships” with the dead is relevant to philosophical literature on metaphysical arguments for the dead as relata. The relevance of those psychological insights to philosophers’ metaphysical insights matters for understanding the value of relationships with deceased loved ones. In the second half of the paper I advance the wider claim that the importance of one’s most dearly held relationships with living individuals is best explained in terms of imaginal content, as well; in other words, some interpersonal relationships between the living are personally important because of their imaginal content. Once we appreciate this, it is clearer why recognizably real, imaginally informed relationships with the living are not necessarily cut off on the day someone dies, and permit the possibilities for ethical activities including forgiving the dead, honoring the dead, and carrying out their wishes after they are gone. (shrink)

This essay reviews the philosophical roots and the development of the concept of creativity in the West and East. In particular, two conceptions of creativity that originated in the West--divinely inspired creativity and individual creativity--are discussed and compared to the two Eastern conceptions of creativity that are rooted in ancient Chinese philosophical thought--natural and individual creativity. Both Western and Eastern conceptions of individual creativity come from a theistic or cosmic tradition of either divinely inspired or natural creativity. However, a defining (...) feature of the Western concept of creativity--novelty--is not necessarily embraced by ancient Chinese concepts of creativity, but does exist in both modern Eastern conceptions. Reasons for cultural differences are explored and discussed. 2012 APA, all rights reserved). (shrink)

Might traditional Chinese thought regarding creativity not just influence, but also enrich, contemporary European thought about the same? Moreover, is it possible that traditional Chinese thought regarding creativity might enrich contemporary thought both in a more broad, holistic sense, and more specifically regarding the nature and role of creativity as it pertains to scientific inquiry? In this paper, I elucidate why the answer to these questions is: yes. I explain in detail a classical Chinese conception of creativity rooted in Zhuangist (...) philosophy and which centrally involves spontaneity engendered by embracing yóu遊, or “wandering”, rather than novelty or originality. I then illustrate how this conception of creativity can be used to enrich contemporary thought regarding the nature and role of creativity both in general and as it pertains to scientific inquiry in particular, as well as how to engender creativity, by arguing that it might allow us to: i) more easily remove what is frequently an obstacle to creativity, and; ii) better understand creative agents as being more intimately connected with, and as processes within and products of, their environments. Finally, I conclude by briefly remarking on how exploring various cultural perspectives on creativity promises to help us to better comprehend and promote creativity, by encouraging us to become more creative about creativity itself. (shrink)

The Zhuangzi, a 4th century BCE Chinese text, is optimistic about life unrestrained by entrenched values. This paper contributes to existing debates on Zhuangzian freedom in three ways. First, it reflects on how it is possible to enjoy the freedom envisaged in the Zhuangzi. Many discussions welcome the Zhuangzi’s picture of release from life shaped by canonical visions, without also giving thought to life without these driving visions. Consider this scenario: in a world with limitless possibilities, would it not be (...) fraught, not knowing how to interpret situations? I suggest that freedom in the Zhuangzi is possible only if one succeeds in reorienting herself to the new ‘normal’. Second, I introduce and develop the idea of working with constraints. This focuses on an agent's maximizing the fit between relevant conditions, on the one hand, and their capabilities, on the other. Finally, I propose that self-directed practice, an important expression of agency, is required for building capabilities that enable such freedom. I examine the idea of risk involved in these firsthand experiences, articulating an account of agency that sits at the heart of hard-won Zhuangzian freedom. (shrink)

The paper develops a eudaimonistic reading of the Zhuāngzǐ 莊子 on which the characteristic feature of a well-lived life is the exercise of dé 德 in a general mode of activity labeled yóu 遊 . I argue that the Zhuāngzǐ presents a second-order conception of agents’ flourishing in which the life of dé is not devoted to predetermined substantive ends or activities with a specific substantive content. Rather, it is marked by a distinctive manner of activity and certain characteristic attitudes. (...) Zhuangist eudaimonism differs from virtue ethics, I suggest, since dé is not moral virtue nor is it normatively basic. The paper discusses textual evidence that the Zhuāngzǐ presents eudaimonistic ideals, develops the Zhuangist conception of “wandering” in detail, and explores connections between wandering and the Zhuangist interest in skill. It surveys the justification for Zhuangist eudaimonism and sketches how the wandering ideal affects the substantive content of a good life. (shrink)

This book presents a systematic account of the role of the personal spiritual ideal of wu-wei--literally "no doing," but better rendered as "effortless action"--in early Chinese thought. Edward Slingerland's analysis shows that wu-wei represents the most general of a set of conceptual metaphors having to do with a state of effortless ease and unself-consciousness. This concept of effortlessness, he contends, serves as a common ideal for both Daoist and Confucian thinkers. He also argues that this concept contains within itself a (...) conceptual tension that motivates the development of early Chinese thought: the so-called "paradox of wu-wei," or the question of how one can consciously "try not to try." Methodologically, this book represents a preliminary attempt to apply the contemporary theory of conceptual metaphor to the study of early Chinese thought. Although the focus is upon early China, both the subject matter and methodology have wider implications. The subject of wu-wei is relevant to anyone interested in later East Asian religious thought or in the so-called "virtue-ethics" tradition in the West. Moreover, the technique of conceptual metaphor analysis--along with the principle of "embodied realism" upon which it is based--provides an exciting new theoretical framework and methodological tool for the study of comparative thought, comparative religion, intellectual history, and even the humanities in general. Part of the purpose of this work is thus to help introduce scholars in the humanities and social sciences to this methodology, and provide an example of how it may be applied to a particular sub-field. (shrink)

Chinese philosophy of religion is a less discussed and less clearly formed area in the study of Chinese philosophy. It is true that there is virtually no discussion in Chinese philosophy about rationality or justification of religious beliefs comparable to the discussion of the same issues in Western philosophy of religion. The inquiry about rationality and justification of religious beliefs has shaped Western philosophy of religion. However, the scope of philosophy of religion in the Western context has been widened since (...) Hume and Kant. When the West began to be exposed to non-Western religions, philosophical reflection on non-Western religions is also brought into the scope of philosophy of Religion. We can expect that the concept of religion will become much broader, the scope of philosophy of religion will expand and new issues, especially, issues concerning specific and non-Western religions, will be framed. When we look at philosophy of religion in a broad sense, the field of Chinese philosophy of religion begins to emerge. In this survey paper, I will focus on several issues which, in a broad sense of philosophy of religion, can be construed as the issues of Chinese philosophy of religion. One of the issues is about the religiosity of Confucianism. The second issue is about the concept of Tian. The third is the issue regarding the origin and nature of Chinese state religion and its characteristics which also have caught the attention of scholars, especially, in China. Is Confucianism a religion? How should we construe the religiosity of Confucianism if it does have a religious dimension? Is Tian a theological term? How does Tian differ from Western God? Is the sacrifice to Tian religious and a form of monotheism? What is the nature of state religion in traditional China? What is the relation between the state religion and Confucianism in traditional China? The debates on the issues addressing these questions will be introduced and discussed in this paper. (shrink)

Doubt is often considered to be an enemy of creativity. But, might it be its friend, too? We see, in the Zhuangzi, a number of explorations that point toward an interesting affirmative answer to this question. To explain how the text can be interpreted as suggesting such an answer, this paper proceeds in two parts. First, in section one, I clarify what is meant by “doubt” for the purposes of this paper, as well as several ways in which it can (...) be directed toward its relevant target: entire perspectives. Following that, in section two, I outline a conception of creativity suggested by aspects of the Zhuangzi, and explain how doubt can engender creativity, as well as a few reasons that this matters. I then close by briefly discussing two caveats. (shrink)

This book is collection of published and unpublished essays on the philosophy of religion by Howard Wettstein, who is a widely respected analytic philosopher. Over the past twenty years, Wettstein has attempted to reconcile his faith with his philosophy, and he brings his personal investment in this mission to the essays collected here. Influenced by the work of George Santayana, Wittgenstein, and A.J. Heschel, Wettstein grapples with central issues in the philosophy of religion such as the relationship of religious practice (...) to religious belief, what is at stake in the debate between atheists and theists, and the place of doctrine in religion. His discussions draw from Jewish texts as well as Christianity, Islam, and classical philosophy. The challenge Wettstein undertakes throughout the volume is to maintain a philosophical naturalism while pursuing an encounter with God and traditional religion. In the Introduction to this volume, Wettstein elucidates the uniting themes among the collected essays. (shrink)