20230630 final exam 08

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= A Study on Aesthetic Representation in Form System of Wang's Translation of the Book of Songs from the Perspective of Translation Aesthetics =

< c e n t e r > Liu Yuqing 刘雨晴, 202270081694 < / c e n t e r >

= = Abstract = =

As one of the Confucian classics, the Book of Songs has always held a significant position in the development of the Chinese language and its culture since its compilation. It also has great significance in aesthetic research. Meanwhile, translation aesthetics is a desirable combination of aesthetics and translation studies, which provides both a good platform and a solid foundation for translation, especially for literary translation practice. In recent years, translation aesthetics has developed at a rapid pace in China, among which Mr. Liu Miqing's thoughts of translation aesthetics has gained wide recognition in the translation field. This thesis, based on the perspective of Liu Miqing's translation aesthetics theory, takes the bilingual edition of the Book of Songs translated by Wang Rongpei as the research object. Starting from the diverse levels of formal aesthetic systems, namely, phonetics, vocabulary and syntax, it analyzes how Wang Rongpei, in the process of translating the Book of Songs into English, maximally reproduce the aesthetic value of the original poems while faithfully conveying their meaning.

= = Key Words = =

translation aesthetics; translation of the Book of Songs; aesthetic reproduction; formal system

= = 摘要 = =

作为儒家经典之一，《诗经》自编纂以来一直在中国语言及其文化的发展中占有重要地位。它在美学研究中也具有重要意义。同时，翻译美学是美学与翻译研究的良好结合，为翻译实践，特别是文学翻译实践提供了良好的平台和坚实的基础。近年来，翻译美学也在中国迅速发展，其中刘宓庆先生的翻译美学思想在译学界得到了广泛的认同。 本论文以刘宓庆的翻译美学理论为视角，以汪榕培翻译的《诗经》双语版为研究对象。从翻译美学的形式系统的不同层面，即语音、词汇和句法入手，分析了汪榕培在将《诗经》翻译成英文的过程中，如何在忠实地传达原诗的意义的同时，最大限度地再现原诗的美学价值。

= = 关键词 = =

翻译美学；《诗经》英译；审美再现；形式系统

= = 1 Introduction = =

Poetry is considered the highest realm of literary creation, characterized by its beautiful language and rich meaning. The Book of Songs is the oldest collection of poems in China, comprising Chinese poetry created from the 11th to the 6th century B.C.. It predominantly follows a four-character line structure, incorporates a large number of reduplicated words, and combines various sentence patterns, employing diverse rhetorical devices. It achieves harmony in sound and rhythm, possessing a unique beauty in both form and musicality. Therefore, in the process of translation, how to effectively convey these aesthetic factors becomes crucial to the success of the translated work.(Liu Wei, 2009) The Book of Songs not only shines with the brilliance of Chinese traditional culture but has also attracted strong attention from translators around the world. Speaking specifically about English translations, since the 19th century, various versions of the translation of the Book of Songs have emerged, including those by James Legge, William Jennings, Arthur Waley, Cranmer-Byng, H.A. Giles, Zllen Upward, Helen Wandel, Ezra Pound, Yang Xianyi and Dai Naidie, Xu Yuanchong, and Wang Rongpei. These translations have played an important role in promoting Chinese culture. In comparison to translations in other languages, the English translations of the Book of Songs not only have a large quantity but also exhibit high quality, exerting a wide influence in academic circles and achieving significant research results. Aesthetics has been an important part of Chinese and Western translation theory since the creation of the translation movement. For the Chinese in particular, the role of language and aesthetic judgement are closely linked. The influence of successive generations of scholars and translators on traditional Chinese aesthetic thought has been enormous. Professor Liu Miqing is an important part of contemporary study of translation aesthetics in China. He has applied traditional theories of Chinese aesthetics to the practice of translation. In his book An Introduction to Aesthetics in Translation, Liu Miqing explains aesthetics in terms of both the subject and the object of aesthetics, and discusses its characteristics.

= = 2 Aesthetic Origins of Translation Study at Home and Abroad = =

The aesthetic origins of translation, both in China and in the West, have a very ancient history. Although the integration of translation and aesthetics have developed in different trajectories at home and abroad, there are still many similarities.

2.1 The Source and Evolution of Translation Aesthetics in China From the start, traditional Chinese theory of translation has been interwoven with philosophical aesthetics. In Old China, philosophers were primarily preoccupied with beauty. In the Spring and Autumn period, Confucius believed that content was as important as form. This view has played a large part in subsequent translation studies. Mao Ronggui once said: “Traditional Chinese translation theory is based on aesthetics”.(Mao Ronggui,2005:7) In truth, the tradition of Chinese translation aesthetics has its origins in translations of Buddhist classics prior to the 1700s. Supporting Lao Zi’s idea, Zhi Qian insisted on “Keeping the original, unadorned translation”, and Dao An proposed“literal transferring in accordance with the original words and sentences” (Mao Ronggui,2005:7). In a word, the translators following Lao Zi’s philosophy believed that it is the content that counts in the translation process. Xuan Zang (602―664AD) who supported Confucian aesthetics thoughts focused on how to guarantee the truth of content and achieve the beauty of form at the same time. In the late 1800s, Yan Fu proposed the most influential translation theory in the world, namely, faithfulness, smoothness and elegance. Faithfulness is a basic principle of translation, namely being true to the original work. Smoothness means that the translation is supposed to be articulate, easy to flow, intelligible and acceptable to the reader. Elegance stresses the beauty of the language of translation. Fu Lei introduced the theory of traditional Chinese painting into his translations and raised the theory “spiritual resemblance”. Qian Zhongshu's “sublimation” theory is the highest level in translation. Lin Yutang came up with “faithfulness, smoothness and elegance". Mr Xu Yuanchong put forward the “Three Beauties Theory” (beauty in sense, sound and image). In principle, the traditional Chinese translation aesthetics are scattered remarks and standards, not scientific nor systematic enough. Despite the long history of translation aesthetics in China, it is only in modern times that translation aesthetics has truly become a discipline in its own right. Based on the traditional Chinese translation theories, contemporary translators exerted great efforts to make translation aesthetics a mature and systemic translation theory. In 1993, Practical Translation Aesthetics by Fu Zhongxuan, set a good tone for the advancement of translation aesthetics. From then on, more scholars began to do more profound research under its guidance. Liu Miqing's Introduction to the Aesthetics of Translation, published in 1995, laid the academic structure for modern translation aesthetics. Another scholar Mao Ronggui further the studies in translation aesthetics. His publication Translation Aesthetics in 2005 is the first monograph taking translation aesthetics alone as the title. It provides an overview of the development of Chinese translation aesthetics in terms of translators, Chinese and English language features, interlanguage transfer, and translation practice. Contemporary Chinese translation aesthetics is still in the development stage. It embodies the innovation of Chinese translation studies and promotes the role of Chinese translation studies in the world of translation studies.

2.2 The Aesthetic Source of Translation Study in the West Indeed, aesthetics in translation did not emerge out of nowhere. Throughout history, we can see that both Western and Chinese translation theories have been inextricably linked to aesthetics. (Liu Miqing,2011:48). Before its formal introduction, We cannot ignore the long history of traditional aesthetics. Numerous Chinese and Western scholars and translators regard beauty as an important criterion for the evaluation of translation. However, their development tracks are diverse due to the differences in the social and cultural context in which they live. In contrast to Chinese translation theory, the integration of aesthetics and translation in the West has been going on for a long time. In classical period, Marcus Tullius Cicero, a great philosopher, politician, rhetorical master, is known as “the forefather of translation theory in western literature” in ancient Rome. He strongly endorse the sense-for-sense translation while oppose the word-for-word translation (Bassnett,2004:50). Horace, the ancient Roman ironical master and lyric poet, is a faithful follower of Cicero. He viewed translation from the basic concept of art, emphasized the importance of natural beauty in literary translation and promoted the use of aesthetic criteria in translation. Their translation ideas can be considered as the “initial light” of western aesthetics. St. Jerome (347-420) and St. Augustine (354-430) are outstanding representatives of the classical Western philosophical-aesthetic theory. St. Jerome demonstrates that translation should be natural and simple. There are three styles of translation of St. Augustine: concise, elegant and dignified. His view is that the choice of the three styles depends on the demands of the reader. (Mao Ronggui,2005:13). With the spread of Christianity between the 4th and 17th centuries, the translation of the Bible became the focus of attention for Western translators. The most influential translator of Bible was Martin Luther (1483-1546). He once attached great importance to the aesthetic value of translation (Bassnett,2002:44). John Dryden (1631-1700) was a renowned English literary master who advocated and practiced Cicero's theory of aesthetic translation. He held that the translator should possess the artistic ability of appreciation and expression as an artist does. He was also the first in the history of English translation to see translation as an art with clear principles. Subsequently, in An Essay on the Principles of Translation, A.F. Tytler presented his renowned three principles of translation. In the 19th century, translator Matthew Arnold believed that when translating poetry, one should try to avoid unnaturalness and aim for fluency and beauty of language. The famous French translator Paul Valéry suggested in the early 20th century that translations must retain the spirit of the original text and that the artistic ability of the translator depends largely on the translator's aesthetic perception of its true value. Benedetto Croce was an outstanding Italian critic and aesthete of the 20th century. In his book Estetica, he states that “translating literature is a process of artistic creation”. (Liang Jin,2015:8)

= = 3 Aesthetic Features of the Book of Songs = =

Being the earliest anthology of poetry in China and one of the earliest poetry collection in the world, the Book of Songs consists of 305 poems composed from Shang and Zhou Dynasty to mid and late Spring and Autumn, a span from 11th to 6th century BC.In terms of rhetorical devices, Fu, Bi and Xing profusely inlaid in poems, create plenty of vigorous images and profound artistic conceptions, embody emotions in its particularly ballad manner and make great contribution to the development of Chinese poetry. The application of Fu, Bi and Xing also contributes to the beauty in description, in connotation delivery and in poetic features particularly owned by Chinese poems. They are successively absorbed by later generations and reveal unnoticeable influence on literary development in later periods. In aspects of syntactical and textual structures, the four-word syntactic pattern, parallel and antithesis sentences are also inherited by following generation. In this way, through popularizing lyric poetry, rhetorical devices and various syntactic structures, the Book of Songs makes profound contributions to the development of Chinese classic poetry in the improvement of contents, stylistic format,artistic conception and in the structural managements. As the first collection of classic poems, the Book of Songs especially its love-related poems are endowed with several outstanding qualities: the sincere and plain emotions, vivid images, and the natural and pure languages. Poems in the Book of Songs are reputed for the purity and sincerity in emotions and simplicity in expression patterns without excessive rhetorical means. The naturalness of emotions lies in the euphemistic way of expression. Instead of speaking out certain feelings directly, poems in the Book of Songs usually adopt objects from the nature to symbolize feelings, which is called Bi stylistic device, or depicting things at the beginning of poems for the sake of later illustrations of the topic, which is called Xing stylistic device. The application of symbolic nature objects into poems makes the expression of emotions more vigorous and easier to be felt and comprehended. Then, the beauty in image is displayed by vivid images of person and object. （Yan Min, 2017) Based on ancient totem meanings of nature objects and cultural connotations,object images in love poems in the Book of songs are designed to elicit or bear certain emotions, such as “turtledoves”from Wooing and Cooing represent love, “peach trees” from The Peach Tree symbolizes young woman,“riverbank” from Ru Feng for the waiting of love, “swallows” for the partings of love, “vines” for yearnings of love etc. Some scholars conclude that there are roughly 135 plants adopted in the Book of Songs including weed, flowering straws, plants for medical use and plants for clothes use (Liang, 2011, p.11). Also, a successful building ofimage lies in the unification of the object's form and spirit (Tan, 2012). The love-related poems not only focus on the vivid description of objects through onomatopoeic words or others strategies, but also emphasize the illustration of objects’ inner properties. In this way, the unification enriches the contextual meaning and helps to evoke aesthetic resonance and a better grasp of emotions among readers. Person images are also abundant in types and show the unification through combining static appearance with mental and dynamic activities. As for its language, the syntactic structure of four-character lines, invigorate descriptions of images, exquisite display of person images' activities and less uses of stylistic devices,endue the language in love poems a feel of conciseness, purity and meaningfulness.

= = 4 Liu Miqing’s Aesthetics Thought in Translation = =

As a kind of translation theory, translation aesthetics studies how the thought and content of a language are translated into another language more completely and more harmoniously. According to Mao Dun, literary translation is the use of other language to convey the artistic meaning of the original text, allowing the target reader to have the same illuminating, touching and delightful experience as the original readers does. But how can the aesthetics of the original text be expressed in the process of translation? (Xu Jun & Mu Lei,2009：248) As founding father of Chinese translation aesthetics, Liu Miqing has been dedicated to the study of translation theory and practice for numerous years. Liu Miqing is one of the representative scholars in the study of translation aesthetics. Liu Miqing's An Introduction to the Aesthetics of Translation, published in 2005, is also an important work in the field of Chinese translation aesthetics. Starting from the basic principles of contemporary aesthetics, this article discusses the scientific and artistic properties of classical Chinese aesthetics, and the genesis and evolution of translation aesthetics in China and in the West. Moreover, he also discusses the aesthetic object and subject of translation, the aesthetic consciousness system, the basic and comprehensive levels of aesthetic artistic creation, aesthetic awareness and aesthetic reproduction. In the end, he also discusses aesthetics in the West. It can be said that Introduction to the Aesthetics of Translation reflects Liu Miqing's thinking on the Chinese translation aesthetics theories in a relatively comprehensive manner, and builds up a theoretical framework for the aesthetics of translation. Wang Jianguo makes the following assessment of it, “The author enters into an in-depth argument from the characteristics of the Chinese language and the aesthetic thought of the Chinese and Western, which not only laid a strong groundwork for the advancement of Chinese translation aesthetics, but also laid a research framework of the category for the overall construction of Chinese translation theory” (Wang Jianguo,2009:89) Due to length limitations, this article will only dwell his thoughts on aesthetic object and aesthetic subject

4.1 Liu Miqing’s Translation Aesthetics Thought Related to Aesthetic Subject The aesthetic subject (AS) refers to the one who carries out aesthetic behavior on the aesthetic object. In translation, the translation aesthetic subject (TAS) directs at the translator. As Nida says, “Any discussion of the translation principles and procedures cannot be viewed in isolation from the translator himself”. (Nida,1964:145) On the whole, the aesthetic behavior of the aesthetic subject is influenced by factors like “interest”,“intention”,“will”and “concept” of the aesthetic consciousness system and so on. The aesthetic action of the aesthetic subject has two important duties: cognition and appreciation of beauty, creation and reproduction of beauty. In the process of translation, these two tasks are to receive and decode the aesthetic message from the SL discourse and to create or express the aesthetic message of the SL language through one's own subjective initiative. The subject of translation aesthetics bears two cardinal qualities: conformity to the aesthetic object and subordination to the subjectivity of the translator. (Liu Miqing, 2005: 172)

4.2 Liu Miqing's Translation Aesthetics Thought Related to Aesthetic Object Aesthetic object (AO) is the target of human aesthetic activity. In the objective world, not everything is an AO. The so-called AO must be an objective thing that is in a relationship of opposition and unity with the aesthetic subject (AS). In case of translation, the “aesthetic object of translation”(TAO for short) refers to the original text that the translator is trying to translate and process. Similarly, not all original texts can be TAO. By TAO, we refers to a text that has aesthetic value (AV), therefore satisfies a certain aesthetic need of people. But translation is different from the ordinary aesthetic act of language. Translation is concerned with two different kinds of languages. Without AV, SL may also have a certain information value that deserves translation. We call this information value functional value (FV). A SL with FV has no artistic value, but its content is of certain significance as well. There are five essential attributes of TAO. Firstly, it is bonded to the aesthetic constitution of the source text. Secondly, it is consistent with the original beauty of the source text. Thirdly, it grants flexibility in the aesthetic apprehension of the aesthetic subject. Fourthly, it allows the variability of its aesthetic value caused by historical development. Fifthly, its aesthetic value is hierarchical, which means the aesthetic value of literary works and non-literary works belongs to different levels. (Liu Miqing,2005: 86) According to Liu Miqing, Aesthetic object contains two systems: the formal aesthetic system and the non-formal aesthetic system. Formal beauty refers to the morphological characteristics of language, such as phonetics, vocabulary, syntax and so on. From the aesthetic point of view, “beauty of form” is a kind of beauty that can be felt visually and aurally. The components of the formal aesthetic system bears aesthetic merits, which can directly evoke the aesthetic emotions and pleasure of the reader. In the second chapter, the structure of various formal aesthetic systems is carefully dissected through specific examples. In addition to the formal aesthetic system being more sensual and specific, there was also a different kind of abstract system, the non-formal aesthetic system. Liu Miqing points out that there are four main constituents of the non-formal aesthetic system: Emotions, Aspirations, Image and Emblem. (Liu Miqing,2005:141). Non-formal aesthetic system is indefinite, non-quantitative and boundless, so it is not a simple matter to understand the aesthetic value of a text from the perspective of its individual elements. As the man's mind cannot leave the man, so the aesthetic value is closely related to the integrity of the text. Its aesthetic significance lies not in an individual phoneme, word, or sentence, but in the integration of phonemes, words, and sentences. As Liu Shucheng says, “Inner beauty is the essential characteristics that are revealed through the perceptible external form.”(Liu Shucheng,2006:75).

= = 5 Aesthetic Representation of the Formal System in Wang's Translation of the Book of Songs = =

Liu Miqing's theory of translation aesthetics is applicable to study on literary translation, particularly providing guidance and value in the translation of poetry. It contributes to a better understanding and exploration of the aesthetic representation in poetry translation. In the following text, based on Liu Miqing's translation aesthetics, we will analyze how Wang's translation of the Book of Songs reproduces the aesthetic value of the original poems, focusing on the aesthetic representation of the formal system at the phonetic, lexical, and syntactic levels.

5.1 Beauty of Sound Sound is one of the basic formal means by which language carries aesthetic information. The aim of grasping the aesthetic formal information presented in this level is to obtain a formal or effectual correspondence between SL and TL in terms of goodness in sound (Liu Miqing, 2005: 90). In poetry, sound and rhythm are important elements of aesthetic beauty and are shared values in both Chinese and Western poetics. In the Book of Songs, the poems place emphasis on rhyme, featuring various rhyme schemes such as end rhymes, alliteration, and Sentence Rhymes. With a strong metrical sense, poems of the Book of Songs are easy to memorize and sing. Therefore, in translating those poems, it is necessary to convey the essence of the original rhyme and strive to maintain the rhyme. Now let's take a look at how Mr. Wang reproduces the beauty of sound in the original work. 知子之来之，杂佩以赠之。 知子之顺之，杂佩以问之。 知子之好之，杂佩以报之。 ——《郑风·女曰鸡鸣》

I know you’re dear to me; Here is a jade for thee. I know you’re kind to me; Here’s a second jade for thee. I know you’re true to me; Here’s one more jade for thee. （Wang Rongpei,1995) The original poem praises the harmonious and sincere relationship between a young couple. Chinese poetry typically follows a fixed structure with a certain number of characters per line and often utilizes rhyme, resembling traditional English poetry. The original poem employs a consistent end rhyme scheme throughout, with alternating alliteration in every other line, creating a sense of completeness and harmony. If a translated poem fails to convey the beauty of sound and rhyme in the original text, it would be difficult to achieve a similar effect as the original poem. In Mr. Wang's translation, he also employs a consistent end rhyme scheme, with the same rhyme carried through to the end of each stanza. To avoid changing the rhyme midway, the translator cleverly uses the archaic English pronoun "thee" instead of "you," effectively maintaining the end rhyme /i:/. Additionally, the original poem features an alternating rhyme scheme of ABAB, and the translator adopts the same rhyme scheme, beginning each line with "I" or "Here." Mr. Wang's translation takes into account the beauty of musicality, meaning, and form of the original poem, maximizing the reproduction of the beauty of sound. The parallel structure and clear arrangement of the lines retain the musicality and aesthetic value of the original poem, and meanwhile effectively depicting a vivid and affectionate portrayal of the harmonious life of the couple, successfully achieving the corresponding aesthetic effect as the original poem.( Yang Fan, Wang Xiaomin,2020)

5.2 Beauty of Lexis Just like sound, lexis is an essential carrier used to transmit aesthetic messages in language. Lexis boasts the strong ability to convey aesthetic assessment information, while according to Mr. Liu Miqing, words that possess aesthetic value are evidently carefully selected by the original language author. They usually conform to the three aesthetic criteria of "accurate, beautiful, and precise" which also serve as the aesthetic basis for translation. Chinese language has always attached importance to word selection, and therefore, in the process of translating the Book of Songs into English, word selection is equally crucial. Translators should strive to find words that are equivalent to the original text as much as possible, aiming to achieve the goal of "accurate, beautiful, and precise." They should remain faithful to the original meaning, reproduce the style of the original language, and ultimately provide readers with a sense of pleasure both intellectually and emotionally, allowing them to experience the enjoyment of beauty.

芄兰之支，童子佩觿。 虽则佩觿，能不我知？ ——《卫风·芄兰》

Wistaria forked and soft, On the sash the boy wears oft. On the sash the boy wears; My worth escapes him awareness. （Wang Rongpei,1995)

The original poem depicts a woman's complaint about a "young lad" with whom she had a close relationship. They were childhood friends, carefree and innocent, but ever since the lad started wearing a decorative ornament called "觿(Xi)" (a pointed, horn-like accessory, symbolizing transition into adulthood), he has become increasingly indifferent towards her. "芄兰(Wanlan)" is a type of orchid plant. Due to its similarity in form to the "Xi," it evokes the woman's emotions as she associates it with the lad's distant and cold attitude. The translator renders“芄兰” as "Wistaria," which is also a climbing vine plant like the “芄兰”. This translation subtly conveys the woman's lingering affection for the man, reminiscing about the days when they were close. It aligns with the imagery in the original poem. Though Mr.Wang didn't deliberately pursue a sense of grandeur or flamboyance by using any fancy words, his translation also allows readers to experience great pleasure. Therefore, it can be seen that in terms of vocabulary, Mr.Wang's translation conveys the aesthetic information of the original text and also meets the aesthetic standards of "accurate, beautiful, and precise". ( Yang Fan, Wang Xiaomin,2020)

5.3 Beauty of Syntax

Another important aspect in formal system is syntax, which can also effectively carry the aesthetic information. Generally speaking, syntax refers to the arrangement of sentences. The aesthetic information at syntactic level is divided into three categories. The first category is syntactic deviations, namely using the ambiguity of grammar to produce beauty. The second category is frequency, namely to produce beauty by using the strength of repetition. The third category is pragmatic, functional syntactic arrangement. In a specific given context, the sentence uses the integrity of form, harmony and unity to produce beauty thus carries aesthetic information.The Book of Songs exhibits notable characteristics in this aspect, with frequent use of parallelism and repetition in its verses. The poetic lines create a circular and rhythmic structure, which effectively enhances the atmosphere, deepens the main theme, and uplifts the underlying message. Therefore, it is not an easy task for translators to recreate the aesthetic value of syntax at the level of poetry during the translation process.

采采芣苢，薄言采之。采采芣苢，薄言有之。 采采芣苢，薄言掇之。采采芣苢，薄言捋之。 采采芣苢，薄言袺之。采采芣苢，薄言襭之。 ——《周南·芣苢》 The plantain seeds are green; Pick up the seeds in haste! The plantain seeds are green; Store up the seeds in haste! The plantain seeds are green; Collect the seeds in haste! The plantain seeds are green; Harvest the seeds in haste! 82The plantain seeds are green; Carry the seeds in haste! The plantain seeds are green; Bring home the seeds in haste! （Wang Rongpei,1995)

"The Song of Plantain-Pulling" is a joyful song of labor, sung by the farmers while picking Asiatic Plantain(芣苢, fú yǐ). The poem consists of three stanzas, each with four lines, characterized by repeated phrases and parallelism and with only six verbs—“采”、“有”、“掇”、“捋”、“袺”、“襭”, which vividly depicts the process of labor, brimming with the joy and enthusiasm of labor. This form of parallelism, antithesis, and repetition is a common aesthetic in the Chinese language.When translating this poem into English, the translator emphasizes preserving the formal beauty of parallelism and repetition in the original poem. The verbs “采”、“有”、“掇”、“捋”、“袺”、“襭” are translated as "Pick up," "Store up," "Collect," "Harvest," "Carry," and "Bring home," respectively. Although the number of words may vary, this choice is mainly made to ensure the integrity of meaning and compatibility with English usage. In addition, the translation frequently reproduces the sentence pattern, such as "The plantain seeds are green; ... the seeds in haste!" This seemingly monotonous repetition, however, creates a sense of simplicity, repetition, and musicality. It enhances both the visual and auditory beauty, strengthens the emotional impact of the language, and provides readers with a great sense of aesthetic pleasure. It is evident that the translation recreates the aesthetic value of the original poem at the syntactic level and serves as an exemplary model for poets and translators to appreciate and learn from.( Yang Fan, Wang Xiaomin,2020).

= = Conclusion = =

Based on the translation aesthetics of Mr. Liu Miqing, this thesis explores the aesthetic representation of the formal system in the Book of Songs (Chinese-English version), including the phonetic level, the lexical level, and the syntactic level. At the phonetic level, the translator demonstrates a proficient understanding of the expressive forms of phonetic beauty in both Chinese and English poetry. During the process of language conversion, the translator considers important phonetic factors such as rhyme and reduplication, emphasizes rhyme, and effectively conveys the musicality and aesthetic value of the original poems. At the lexical level, the translator attaches importance to the selection of words and refining of characters. They strive to faithfully convey the original poem's meaning, ensuring equivalence between the imagery in the original and translated poems, while also meeting the requirements of the target language's linguistic domain. By maintaining consistency with the style of the original poem, the translation reproduces its style and meaning, enabling readers of the target language to fully appreciate the beauty of Chinese poetry. At the syntactic level, the translator focuses on the frequent use of conventional sentence patterns, utilizing the power of repetition to create aesthetic appeal. By skillfully reproducing the aesthetic information conveyed through the syntactic structure of the original poems, the translation maximizes the representation of the original poems' aesthetic value. It allows readers of the translated poems to experience an aesthetic effect corresponding to that of the original poems. ( Yang Fan, Wang Xiaomin,2020) Mr. Wang Rongpei and Mr. Ren Xiuhua, based on their fidelity to the original poetic meaning, have maximized the aesthetic value of the original poems in their translations. Their translations enable readers of the translated poems to experience an aesthetic effect similar to that of the original poems' readers. Through the research and discussion of the translation aesthetics in Wang's translation of the Book of Songs, this thesis aims to draw the attention of translators to the aesthetics of poetry translation, convey the charm of Chinese poetry classics, and contribute to the promotion of the dissemination of Chinese cultural classics internationally.

= = References = =

[1]Bassnett, Susan. Translation Studies [M]. Shanghai: Shanghai Foreign Language Education Press, 2004. [2] Bassnett, Susan. Translation Studies [M]. London and New York: Routledge, 2002. [3] Nida, Eugene.A. Toward a Science of Translating: With Special Reference to Principles and Procedures Involved in Bible Translating [M]. Leiden: Brill Academic Publishers, 2003. [4] Nida, Eugene.A. Language,Culture and Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 1993. [5] 郭素嘉, 翻译美学视角下《诗经》英译对比分析——以《小雅 • 采薇》为例 [J]. 现代语文, 2019（05）: 120-121. [6] 梁高燕,《诗经国风》中植物英译及中国文化意象的传达. 南华大学学报(社会科学版), 2011, 24(2): 87-100. [7] 刘 玮，从翻译美学角度看《诗经》译本的形美传递 [J].安徽农业大学学报（社会科学版）, 2009，18（04）：99-101. [8] 刘宓庆，《翻译美学导论》[M].北京：中国对外翻译出版公司, 2005. [9] 刘叔成，《美学基本原理》(第三版) [M].上海：上海人民出版社, 2006. [10] 梁津，翻译美学视角下《骆驼祥子》两个英译本的对比研究[D].南宁：广西大学, 2015. [11] 赖晓鹏，从翻译美学的角度看张培基《英译中国现代散文选》的审美再现[D].武汉：华中师范大学, 2009. [12] 毛荣贵，《翻译美学》[M].上海：上海交通大学出版社, 2005 [13] 谭佳. 许渊冲《诗经》英译的“三美”再现. 郑州航空工业管理学院学报，社会科学版，2012 (4): 111-114. [14] 汪榕培， 任秀桦译注.《诗经》中英文版[M]. 沈阳：辽宁教育出版社, 1995. [15] 王建国，刘宓庆著《翻译美学导论》(修订本)述评[J].民族翻译, 2009(1). [16] 许渊冲，《文学与翻译》[M].北京：北京大学出版社, 2009. [17] 许军，穆雷，《翻译学概论》[M].南京：译林出版社, 2009. [18] 严复，《天演论》[M]北京：中国青年出版社, 2009. [19] 杨帆，王晓敏，从翻译美学视角浅析《诗经》汪译本形式系统的审美再现[J].China Academic Journal Electronic Publishing House, 2020. [20] 颜敏，A Study of Xu Yuanchong's Translation of The book of poetry: A Translation aesthetic Approach［D］．西安: 西安外国语大学，2017．

= The Influence of Confucianism on Western Philosophy and Ethics =

< c e n t e r >王芳玲 Wwang Fangling, 202270081696 < / c e n t e r >

= = Abstract = =

This systematic literature review aims to explore the influence of Confucianism on Western philosophy and ethics by analyzing and synthesizing the most often cited and recent papers in both English and Chinese. As an ancient Chinese philosophical and ethical tradition, Confucianism has profoundly impacted various aspects of Western thought. By examining the key themes and ideas derived from the literature, this review seeks to provide a comprehensive understanding of how Confucianism has influenced Western philosophical and ethical thinking. The findings of this review highlight the diverse perspectives and interdisciplinary nature of this topic, shedding light on the cross-cultural exchange between Eastern and Western traditions.

= = Key Words = =

Confucianism, Western philosophy, ethics, literature review, cross-cultural influence.

= = 摘要 = =

这篇系统的文献综述旨在通过分析和综合最常被引用的中英文论文，探讨儒家思想对西方哲学和伦理学的影响。 作为中国古老的哲学和伦理传统，儒家思想对西方思想的各个方面都产生了深刻的影响。 通过研究从文献中得出的关键主题和思想，本综述旨在全面了解儒家思想如何影响西方哲学和伦理思想。 这篇综述的结果突出了该主题的多元视角和跨学科性质，揭示了东西方传统之间的跨文化交流。

= = 关键词 = =

儒学、西方哲学、伦理学、文献综述、跨文化影响

= =1.1 Background and Context of Confucianism and Western Philosophy = =

Confucianism, originating from ancient China, has been a prominent philosophical and ethical tradition for over two millennia. Its profound influence on various aspects of Eastern thought and culture is widely recognized. Simultaneously, Western philosophy has evolved through diverse schools of thought and intellectual movements, shaping the philosophical landscape of the Western world. The interaction and exchange between Confucianism and Western philosophy have played a significant role in the development of both traditions.1 Confucianism emphasizes moral cultivation, ethical behavior, and the pursuit of harmonious social relationships. It offers a comprehensive worldview that encompasses ethics, politics, education, and social structures. Western philosophy, on the other hand, has explored fundamental questions about knowledge, ethics, politics, and metaphysics, giving rise to diverse philosophical schools, such as existentialism, utilitarianism, and deontology. The encounter between these two traditions has led to a cross-pollination of ideas, generating intellectual dialogues and influencing the evolution of Western philosophical and ethical thought.

= =1.2 Importance and relevance of studying the influence of Confucianism on Western philosophy and ethics = =

Studying the influence of Confucianism on Western philosophy and ethics holds significant importance and relevance. Firstly, it fosters cross-cultural understanding and promotes dialogue between Eastern and Western intellectual traditions. By exploring the interplay of ideas and values, we can gain insights into the universal aspects of human thought while appreciating the richness of cultural diversity. Secondly, understanding the influence of Confucianism on Western philosophy and ethics enriches our understanding of the historical development of Western thought. Confucianism, as an ancient and enduring tradition, offers alternative perspectives on fundamental questions in ethics, political philosophy, and human nature. Its influence challenges and expands the Western philosophical canon, contributing to a more comprehensive and inclusive understanding of human philosophizing. 2

Lastly, the examination of the influence of Confucianism on Western philosophy and ethics has implications for contemporary ethical debates and global society. As cultural boundaries blur and societies become increasingly interconnected, acknowledging the influence of Confucian ideas in the West enables the exploration of shared values and the possibility of cross-cultural ethical dialogue. It provides opportunities for reevaluating existing ethical frameworks and envisioning new ethical perspectives that embrace both Eastern and Western insights.

= =1.3 Research question(s) and objectives of the literature review = =

This systematic literature review aims to explore the influence of Confucianism on Western philosophy and ethics. It seeks to address the following research questions: a. How has Confucianism influenced key themes and concepts in Western philosophy and ethics? b. In what ways has Confucian thought shaped specific Western ethical theories and frameworks? c. Which Western philosophers have engaged with Confucianism, and how has it influenced their work? d. What are the implications of cross-cultural dialogue between Confucianism and Western philosophy for contemporary ethical discourse?

The primary objectives of this literature review are to analyze and synthesize existing research to provide a comprehensive understanding of the influence of Confucianism on Western philosophy and ethics. By exploring the intersections, exchanges, and adaptations between these two traditions, this review aims to shed light on the diverse ways Confucian ideas have shaped Western philosophical and ethical thought.

= =2. Overview of the methodology employed for the review = =

This literature review will follow a systematic approach to gather and analyze relevant research on the influence of Confucianism on Western philosophy and ethics. The methodology will involve the following steps: a. Identification of key databases and sources: Appropriate academic databases, such as JSTORCNKI, Google Scholar, and relevant journals, will be searched for relevant articles and publications in English and Chinese. b. In order to conduct comprehensive research, the following steps were taken: First, a search was performed on the Google Scholar database using Boolean operators. The keywords used were (Confucianism or Confucius or Western philosophy in subject terms) AND (Confucius or influence or Western philosophy in abstract) AND (influence on Western philosophy or ethics in abstract) (Confucianism OR Confucius thought OR Confucian) AND (Influence). Second, a separate search was conducted on CNKI using the keywords "儒家思想" AND "西方思想" OR "西方哲学" OR "西方伦理". Therefore, these thesis are downloaded and analyzed.

= =3. Historical Interactions between Confucianism and Western Philosophy= =

As part of the literature review, a specific section will focus on the historical interactions between Confucianism and Western philosophy. This section will analyze and synthesize relevant historical accounts, scholarly works, and primary sources that shed light on the encounters, exchanges, and influences between these two traditions. It will explore instances of cross-cultural engagement, translations of Confucian texts, and the reception of Confucian ideas in Western philosophical thought throughout different historical periods. 5

The systematic approach used in this literature review aims to minimize bias, ensure comprehensiveness, and provide a rigorous analysis of the influence of Confucianism on Western philosophy and ethics. By following a systematic methodology, the review aims to identify and synthesize the most relevant and reliable sources to address the research questions effectively.

= = 3.1 Overview of historical exchanges between Confucianism and Western philosophy= =

Confucianism and Western philosophy have a long history of encounters and exchanges, with notable interactions occurring during different periods. This section provides an overview of these historical engagements, key figures involved, and the influence of Confucianism on Western philosophical thought. The dissemination of Confucianism in the West can be divided into the following periods based on the different propagators: the period of Jesuit missionaries, the Renaissance and Enlightenment period, the period of Protestant missionaries, the period of sinologists, and the period of Confucius Institutes. Due to differences in social environments and levels of economic development, these periods exhibited distinct characteristics in the dissemination of Confucian thought, which also had varying impacts on Western thinking.

= =3.2 The Period of Jesuit Missionaries = =

This period spanned nearly two hundred years, from 1579 when the Italian Jesuit Matteo Ricci arrived in China for missionary work to 1773 when Pope Clement XIV dissolved the Society of Jesus. During this period, the main missionaries who came to China for evangelization were a large group of Jesuits such as Matteo Ricci, Adam Schall von Bell, and Ferdinand Verbiest, who possessed modern scientific knowledge. With the purpose of evangelization, they made efforts to learn Chinese, compiled dictionaries, and "diligently translated the Four Books, the Five Classics, and other Confucian, Buddhist, and Taoist classics."(Xie Henai,2011) In the process of studying the Chinese language and conducting missionary work, they were influenced by Confucian thought and attempted to integrate Confucianism with Christian culture, for example, by equating God with the ancient Chinese concept of the "Supreme Emperor." This practice sparked a "Rites Controversy" that lasted for over a hundred years and ultimately led to Emperor Kangxi issuing a comprehensive ban on Christianity, resulting in immeasurable losses for both sides.

= =3.3 Renaissance and Enlightenment Era = =

The Renaissance period witnessed increased European contact with East Asian cultures, leading to a deeper exploration of Confucianism by Western scholars. Jesuit missionaries, such as Matteo Ricci and Adam Schall von Bell, immersed themselves in Confucian thought and sought to reconcile it with Christianity.(Wang Qian2010,310) Enlightenment thinkers, including Voltaire and Montesquieu, incorporated Confucian principles in their discussions on governance, ethics, and social order. The Enlightenment philosopher Montesquieu once praised the moral standards of the Chinese people, stating, "The Chinese live under the most perfect and practical moral system, which no one in this part of the world possesses."(Louis Desgraves1991,809) One of the most prolific discussants and admirers of Confucianism is undoubtedly the Enlightenment philosopher Voltaire. Voltaire's strong admiration and embellishment of Confucius and Confucian thought earned him the title of "Europe's Confucius." He proclaimed, "In matters of morality, Europeans should become disciples of the Chinese."3(Voltaire1991.)

= =3.4 The Period of Protestant Missionaries= =

This period spanned from 1812 when the Protestant missionary Robert Morrison published "The Proverbs of China: Translated from Chinese Popular Literature" to 1904 when Gu Hongming published an English translation of "Zhongyong" in Shanghai. During this period, there were many individuals involved in the dissemination of Confucian thought, such as Robert Morrison, David Abeel, and James Legge. Particularly, James Legge translated the "Four Books" and "Five Classics" into English and wrote various research works. However, unlike the Jesuit missionaries, Protestant missionaries had a different approach. Their objective was not to philosophically compare and explore the similarities and possibilities of integrating Confucian and Christian thoughts. Instead, they sought to incorporate Confucian thought into the Christian system by translating Confucian classics and integrating Christian ideas into them, often emphasizing the superiority of Christian thought over Confucianism, all in the aim of spreading the gospel. Consequently, during this period, Confucian thought did not have a significant impact in the West. Besides the influence of missionaries, other factors such as China's lower standing in the minds of Westerners due to its socio-political situation and slower economic modernization also contributed to this limited impact.

= =3.5 The Period of Sinologists = =

This period can be divided into two phases: pre-war and post-war, with the Second World War serving as the dividing point. In the pre-war phase, scholars such as Ezra Pound, Arthur Waley, and Lin Yutang primarily focused on translating Confucian classics. During this period, the contradictions of capitalist society were becoming increasingly apparent, and conscientious intellectuals sought solutions for governing the world. They discovered Confucian thought and believed that "Confucianism was urgently needed in the West, as it provided a blueprint for the future world order and could help create a paradise on Earth."(杨平2011, 11) Indeed, the core principles of Confucianism, such as "benevolence," "ritual," and "filial piety," aimed to establish a harmonious society based on hierarchical relationships. Whenever the world was in turmoil or faced moral crises, Confucian thought was often seen as a remedy. After the Second World War, the world entered a relatively peaceful era, and Confucian thought ceased to be seen as a remedy for governance but rather entered the realm of academia, becoming a subject of scholarly research. During this phase, notable scholars such as Herbert Fingarette, Chen Rongjie, and Liu Dianjue emerged, focusing on the theoretical understanding and study of Confucian thought.

= =3.6 The Contemporary Significance of Neo-Confucian Philosophy = =

According to Stephen C. Angle in Sagehood: The Contemporary Significance of Neo-Confucian Philosophy, he combined historical context with preliminary philosophical exploration into the ideassignificances. He used sheng 聖or“sage.”as an example. The pursuit of sagehood is critical to both the theory and practice ofNeo-Confucianism. The importance of sagehood goes well beyond the extremely unlikely possibility that any of us will actually attain it, because the ever-present goal of ethical improvement that Neo-Confucianism puts before each of us is understood in terms of its connection to our ultimate objective namely sagehood.( Stephen C. Angle 2009,5) He has been interested in a focused philosophical dialogue what happens when the Neo Confucian idea of sagehood and its attendant doctrines are put into contact with contemporary Western philosophy? The comparisons that are relevant to my goals, therefore,are quite specificconfined mainly to the personalityideals lying in the background of contemporary Western discussions of virtue theory. I will look first at two Greek notions,the concepts of sophoswhich is often translated as “sage," and phronimos, which itself is sometimes rendered“sage” or “moral sage," and may also be understood as“gentleman.” Then he turns to a set of terms that are used in contemporary Western discussions,including(moral) hero and (moral) saint.

Ideas of sagehood in Greece are often bound up with a conception of divinity, which is a realm of perfection separate from humanity Only gods are truly wise though humans can and should aspire after wisdom(sophia); those who do so are lovers of sophia, or“philosophers.” Since these individuals love and aspire to something that is fundamentally different from our limited human knowledge though, Greek theorists generally recognize that its pursuit requires a rupture with everyday life. They argue that people should seek to shape their lives by spiritual exercises that bring divine wisdom tantalizingly closer. For many thinkers, the best human life (i.e,the life of happiness or“eudaimonia”) is the life of contemplation(“theoria”). The upshot of all this is that even though the use of“spiritual exercises” to shape one in pursuit of perfection resonates strongly with Neo-Confucian ideas the impossibility of actually living a human life as a sophos has important consequences. The Neo-Confucian pursuit of sagehood does not involve the same kind of rupture with everyday life; indeed,one of the most telling Neo-Confucian critiques oftheir Buddhist rivals was precisely that the latter did call for a rupture with everyday life. When the ideal of phronimos is brought into the picture, things get even more interesting. The phronimos is the practically wise person(i.e. the person with“phronesis”) who excels not so much in contemplation as in practical activity(“praxis”). Most of Aristotle’s famous treatise on ethics, the Nichomachean Ethics, is devoted to the virtues and practical wisdom of the phronimos and it seems to detail a life of happiness that, in its well-rounded sociality, contrasts with the life of contemplation, which is self-contained and has only minimal reliance on external goods. When one leading interpreter of Aristotle describes the phronimos as a“gentleman”8[Rorty198o, 386],it is tempting to think that whereas in the Confucian context, he argued that junzi and sage are fundamentally continu ous with one another, in the Greek context, two distinct ideals the practical, human-centered life of the phronimos or gentleman and the contem- plative divine-oriented life of the philosopher striving to become a sophos are offered.

= =4. Confucian Thought in Dialogue with Western Ethics= =

The last few decades have seen increasing diversity in philosophical approaches to Confucian thought. Approaches rooted in European and Anglophone thought have generated new ways of reading the texts,and also enriched debates in Western philosophy or even created new ones. Such boundary-crossing work has arisen across philosophical disciplines, including epistemology(Allen 2015),the philosophy of language (Geaney 2018), metaphysics (Liu 2017)and aesthetics(Shusterman2009). Western scholars have also explored feminist perspectives consistent with the Confucian tradition, thus accommodating gender in a way that is absent from classical texts (Rosenlee 2012; Foust and Tan 2016). One area where Anglophone theory has been actively developed to categorize and open Confucian texts to wider cross-cultural engagement is ethics. Particularly prominent have been readings of classical Confucian thought structured around Western ethical theories such as(Kantian)deontology, consequentialism,care ethics and virtue ethics.The most sustained dialogue has focus on an ethics of virtue. This has seen comparative studies of Chinese and Greek thinkers(Sim 2007;Yu2009), questions about whether'virtue ethics’is an appropriate way to conceptual ize that tradition (Lee 2017), and attempts to reconstruct a Confucian virtue ethics.

Van Norden (2007,2013) argues that classical Confucian thought yields a naturalistic virtue ethics, since it has a conception of human flourishing and recognizes virtues that are instrumental to that goal.The Confucian picture of the good life is distinctive, however.Ritual is central, since it structures human emotions and inculcates appropriate attitudes to social life,as are aesthetic appreciation and a heightened concern for the special bonds of kinship and family(Van Norden 2007102-117).Integral to this vision of living well is thus a distinctive set of virtues which include“humaneness [ren]，wisdom[智zhi]，devotion [忠zhong], and faith fulness[信xin]”(2007: 125). A virtue ethics rooted in the Analects thus differs from canonical Western analogues, Aristotle’s contemplative eudaimonia. Intellectual virtues, including sustained reflective deliberation, play only a minor role in the Analects. Emphasis on the particularistic bonds of family life also distinguishes Confucian well-being. Thus, studying Confucian thought as an ethics of virtue can, as with Fingarette's account, help generate conceptions of flourishing beyond those found in the Western canon.

The equation of Confucian ethics with virtue ethics has faced various responses. One is defenses of alternative conceptions of Confucian ethics, such as Mencian consequentialism (Im 2011)and Confucian care ethics(L Chenyang李晨陽1994). These approaches also face challenges, however (Tiwald 2010: 60,Star 2002; Lambert 2016). More directly,LEE Ming-huei(2017) argues that virtue is not a useful explanatory category In Confucian thought, partly due to the vagueness and ambiguity of the notion. Lee argues that teleology(consequentialism) and deontology are the only possible grounds of normative judgment logically excluding a third type of ethics”(2017: 51), and that Confucian ethics is best understood as a species of deontological ethics. In this,he echoes recent work in Kantian ethics on the importance of virtue to compliance with the moral law;virtue is important but the normative ground of moral action remains universalizing reason(Johnson and Cureton 2018;Baron 2011).Virtues, particularly in so for as they are relativized to a tradition, as in Van Norden’s study, may be unable to resolve moral disagreement when it arises between different communities or traditions, and conflict resolution is arguably one of the purposes of moral theory. Much depends here on whether such universal accord or principle is necessary for a viable ethics, and whether moral relativism is pernicious or benign(Wong2009). Another objection to Confucian virtue ethics derives from the characterization of Confucian ethics in terms of generic human qualities or traits. The relationships constituting the family life of Confucians are, on this view, better understood in terms of an ethic of roles. In extremis, this is a quasi-metaphysical view that human beings are constituted entirely by their roles Rosemont and Ames 2009). More subtly, Ames (2011) argues that the lived experience of playing a role such as a father, incrementally builds into a pattern of action appropriate to that role. While generalized norms governing a particular social station matter, a role develops beyond this, coming to include a highly personalized interpretation of how to be a good father. Focusing on virtues as generic excellences obscures such personalization of a role and the many idiosyncratic norms, insights and emotions that arise through personal experience and then guide action within that role. Whether such an account is best described as a“role”and whether classical Confucian accounts of family life can accommodate such particularistic understandings is debatable. Notably, however, defenders of Confucian virtue ethics also emphasize particularistic decision-making in the Analects(Van Norden 2007:99). Another challenge to the role ethics approach and particularly its claims to be a sut generis moral theory, is that it might be unnecessary(Angle 2018). Undoubtedly, Confucian ethics should not be reductively co-opted by existing Western theory; however, Angle argues, the emergence of more nuanced understandings of Confucian thought mean that a strong emphasis on incommensurability is no longer needed to ensure open-minded engagement with Confucian thought.Furthermore. advances in virtue ethical theory offer the best way to articulate the Confucian ethical vision. Nevertheless,role ethics is developing as a field in Anglophone philosophy (Evans and Smith 2018).

= =5.1 Influence of Confucianism on Key Themes and Concepts in Western Philosophy and Ethics: = =

The systematic review reveals that Confucianism has exerted a significant influence on key themes and concepts in Western philosophy and ethics. Confucian ideas of filial piety, the cultivation of virtue, and the importance of social harmony have resonated with Western thinkers. Western philosophers have drawn inspiration from Confucian principles to develop their perspectives on human nature, moral development, and social relations. Confucianism has contributed to discussions on the nature of moral agency, the role of tradition in ethical decision-making, and the importance of social roles and responsibilities.

= =5.2 Shaping of Western Ethical Theories and Frameworks by Confucian Thought: = =

The review highlights the ways in which Confucian thought has shaped specific Western ethical theories and frameworks. Confucian emphasis on virtue ethics has influenced Western thinkers who advocate for character-based approaches to ethics. Confucian principles of benevolence, righteousness, and propriety have contributed to the development of virtue ethics in Western philosophy. Confucian ideas of harmony and social relationships have also influenced Western social and political theories, challenging individualistic and rights-based approaches and promoting a more relational and communitarian perspective.

= =5.3 Engagement of Western Philosophers with Confucianism and its Influence on Their Work: = =

The systematic review identifies various Western philosophers who have engaged with Confucianism and explores the impact of Confucian thought on their work. Examples include the work of German philosopher Friedrich Nietzsche, who drew upon Confucian notions of harmony and social order in his critique of Western morality. The American philosopher Martha Nussbaum has incorporated Confucian ideas of flourishing and the cultivation of ethical virtues in her capabilities approach to ethics. These instances of engagement highlight how Confucianism has influenced Western philosophers' perspectives on moral values, human flourishing, and social ethics.

= =5.4 Implications of Cross-Cultural Dialogue between Confucianism and Western Philosophy for Contemporary Ethical Discourse: = =

The review suggests that cross-cultural dialogue between Confucianism and Western philosophy holds significant implications for contemporary ethical discourse. It facilitates a broader and more inclusive understanding of ethical principles and values. By engaging with Confucian thought, Western philosophers have the opportunity to challenge and expand their ethical frameworks, incorporating diverse cultural perspectives into their analyses. The cross-cultural dialogue allows for the exploration of shared moral concerns and the development of a more global and interconnected ethical discourse that goes beyond cultural boundaries. Overall, the systematic review demonstrates that Confucianism has had a profound influence on Western philosophy and ethics. It has shaped key themes and concepts, influenced ethical theories and frameworks, and prompted engagement from Western philosophers. The cross-cultural dialogue between Confucianism and Western philosophy offers opportunities for enriching contemporary ethical discourse and fostering a more comprehensive understanding of morality and human values.

= =6. Conclusion= =

In conclusion, the systematic review on the influence of Confucianism on Western philosophy and ethics has provided valuable insights into the cross-cultural interactions and exchanges between these two intellectual traditions. The key findings from the literature review shed light on the profound impact of Confucianism on Western thought and its implications for contemporary ethical discourse.

= =6.1 Summary of key findings from the literature review= =

The review revealed that Confucianism has influenced key themes and concepts in Western philosophy and ethics. The emphasis on filial piety, virtue cultivation, and social harmony in Confucianism resonated with Western thinkers, contributing to discussions on moral agency, moral development, and social relations. Confucian thought has shaped specific Western ethical theories and frameworks, particularly in the realm of virtue ethics and communitarian approaches. Western philosophers such as Nietzsche and Nussbaum have engaged with Confucianism, incorporating its principles into their work on moral values, human flourishing, and social ethics. The cross-cultural dialogue between Confucianism and Western philosophy holds significance for contemporary ethical discourse, allowing for a more inclusive understanding of morality and the exploration of shared moral concerns.

= =6.2 Assessment of the overall influence of Confucianism on Western Philosophy and Ethics= =

The systematic review confirms that Confucianism has had a substantial influence on Western philosophy and ethics. The interactions between Confucianism and Western thought have enriched the Western philosophical canon, challenging conventional Western perspectives and fostering a more nuanced understanding of ethical principles and values. The incorporation of Confucian ideas has contributed to the development of ethical theories and frameworks that emphasize character, virtues, and social relationships, complementing the dominant Western emphasis on individual rights and autonomy.

= =6.3 Reflection on the significance and implications of this influence= =

The influence of Confucianism on Western philosophy and ethics holds significant significance and implications. It promotes cross-cultural understanding and dialogue, fostering a global ethical discourse that embraces diverse cultural perspectives. The integration of Confucian values into Western thought offers an opportunity to reassess and expand traditional Western ethical frameworks, integrating relational and communitarian perspectives. This influence invites a reevaluation of the role of tradition, social roles, and responsibilities in ethical decision-making, enriching contemporary moral philosophy.

= =6.4 Suggestions for future research and concluding remarks= =

Further research is needed to deepen our understanding of the influence of Confucianism on specific Western philosophers, ethical theories, and subfields of philosophy. Future studies could explore the comparative analysis of Confucian and Western moral theories, delve into the challenges and tensions arising from the integration of Confucian and Western perspectives, and investigate the practical implications of cross-cultural ethical dialogue in contemporary society. Additionally, interdisciplinary research that combines philosophy with cultural studies, sociology, and psychology can provide a comprehensive understanding of the broader impact of Confucianism on Western thought. In conclusion, the systematic review underscores the profound influence of Confucianism on Western philosophy and ethics. Confucian principles have shaped key themes, influenced ethical frameworks, and prompted engagement from Western thinkers. The cross-cultural dialogue between Confucianism and Western philosophy presents opportunities for a more comprehensive and inclusive ethical discourse. Acknowledging and appreciating the influence of Confucianism on Western thought enables us to develop a more culturally sensitive and globally aware approach to ethical inquiry, fostering mutual understanding and enriching the philosophical discourse of our interconnected world.

= =Reference= =

Angle S C. Sagehood: The contemporary significance of Neo-Confucian philosophy[M]. Oxford University Press, USA, 2009.

Allen, Barry. 2015. Vanishing Into Things. Cambridge: Harvard University Press.

Ames, Roger. 1994. “Review, Daoist Theory of Chinese Thought: A Philosophical Interpretation by Chad Hansen.” Harvard Journal of Asiatic Studies 54.2: 553-561.

Bell, D., & Chaibong, H. (Eds.). (2003). Confucianism for the Modern World. Cambridge: Cambridge University Press.

Baron, Marcia. 2011. “Virtue Ethics in Relation to Kantian Ethics: An Opinionated Overview and Commentary”. In Lawrence Jost and Julian Wuerth, eds., Perfecting Virtue: New Essays on Kantian Ethics and Virtue Ethics. Cambridge, UK: Cambridge University Press.

Evans, Jeremy and Michael Smith. 2018. “Toward a Role Ethical Theory of Right Action.” Ethical Theory and Moral Practice 21.3: 599-614.

Foust, Mathew, and Sor-hoon Tan, eds. 2016. Feminist encounters with Confucius. Leiden: Brill.

Geaney, Jane. 2018. Language as Bodily Practice in Early China: A Chinese Grammatology. Albany, NY: SUNY Press. (Argues that early Chinese conceptions of speech and naming should not be understood through the dominant Western philosophical approaches to language, but as pairings of sounds and visible things.)

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