This book approaches the topic of intercultural understanding in philosophy from a phenomenological perspective. It provides a bridge between Western and Eastern philosophy through in-depth discussion of concepts and doctrines of phenomenology and ancient and contemporary Chinese philosophy. Phenomenological readings of Daoist and Buddhist philosophies are provided: the reader will find a study of theoretical and methodological issues and innovative readings of traditional Chinese and Indian philosophies from the phenomenological perspective. The author uses a descriptive rigor to avoid cultural prejudices and provides a non-Eurocentric conception and practice of philosophy. Through this East-West comparative study, a compelling criticism of a Eurocentric conception of philosophy emerges. New concepts and methods in intercultural philosophy are proposed through these chapters. Researchers, teachers, post-graduates and students of philosophy will all find this work intriguing, and those with an interest in non-Western philosophy or phenomenology will find it particularly engaging.

Winner of the 2012 Edward Goodwin Ballard Prize sponsored by the Center for Advanced Research in Phenomenology. Transversality is the keyword that permeates the spirit of these thirteen essays spanning almost half a century, from 1965 to 2009. The essays are exploratory and experimental in nature and are meant to be a transversal linkage between phenomenology and East Asian philosophy. Transversality is the concept that dispels all ethnocentrisms, including Eurocentrism. In the globalizing world of multiculturalism, Eurocentric universalism falls far short of being universal but simply parochial at the expense of the non-Western world. Transversality is intercultural, interspecific, interdisciplinary, and intersensorial. Transversal Rationality and Intercultural Texts means to transform the very way of philosophizing itself by infusing or hybridizing multiple traditions in the history of the world. Like no other scholar, Jung bridges the gap between Asian and Western cultures. What is traditionally called “comparative philosophy” is not just a neglected branch of philosophy; it is poised to radically transform the very conception of philosophy itself.

This volume examines the great varieties of artistic experience from first hand phenomenological descriptions. It features detailed and concrete analyses which provides readers with in-depth insights into each specific domain of artistic experience. Coverage includes phenomenological elucidation of the aesthetic attitude, the power of imagination, and the logic of sensibility. The essays also detail concrete phenomenological analyses of aesthetic experiences in poetry, painting, photography, drama, architecture, and urban aesthetics. The book contains essays from "Logos and Aisthesis: Phenomenology and the Arts," an international conference held at the Chinese University of Hong Kong. It brings together a team of top scholars from both the East and the West and offers readers a global perspective on this interesting topic. These innovative, yet accessible, essays, will benefit students and researchers in philosophy, aesthetics, the arts, and the humanities. They will also be of interest to specialists in phenomenology.

Presenting a comprehensive portrayal of the reading of Chinese and Buddhist philosophy in early twentieth-century German thought, Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought examines the implications of these readings for contemporary issues in comparative and intercultural philosophy. Through a series of case studies from the late 19th-century and early 20th-century, Eric Nelson focuses on the reception and uses of Confucianism, Daoism, and Buddhism in German philosophy, covering figures as diverse as Buber, Heidegger, and Misch. He argues that the growing intertextuality between traditions cannot be appropriately interpreted through notions of exclusive identities, closed horizons, or unitary traditions. Providing an account of the context, motivations, and hermeneutical strategies of early twentieth-century European thinkers' interpretation of Asian philosophy, Nelson also throws new light on the question of the relation between Heidegger and Asian philosophy. Reflecting the growing interest in the possibility of intercultural and global philosophy, Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought opens up the possibility of a more inclusive intercultural conception of philosophy.

Intercultural Phenomenology explores the nature of reality by engaging in a cross-cultural dialogue between two of the most influential philosophical traditions of the 20th century. Drawing on ideas from phenomenology, Japanese philosophy and Zen Buddhism, it follows the philosophers who changed their perception of the world by choosing to suspend judgement. Guided by this philosophical method known as the “epoché”, or suspension of judgment in ancient Greek, it is an introduction to the philosophy and practice of letting objects in the world speak for themselves. Inspired by Nishida Kitaro's insight that true reality is beyond the subject-object duality, the book uses a series of examples and exercises to explore the background to Husserl's idea of the phenomenological epoché, Hans-Georg Gadamer's emphasis on play in human understanding and the haiku poet Matsuo Basho's call for a new level of freedom. This practice-oriented approach moves beyond the traditional East-West divide. It connects various traditions, old and new, contemplative and theoretical, and explains why Japanese philosophy and phenomenology can enrich the quality of our lived experience.

This book provides answers to the following questions: How could visual art support us in reflecting about interculturality critically? When we look at, engage with and experience art, what is it that we can learn, unlearn and relearn about interculturality? The book adds to the multifaceted and multidisciplinary field of intercultural communication education by urging those working on the notion of interculturality (researchers, scholars and students) to give art a place in exploring its complexities. No knowledge background about art (theory) is needed to work through the chapters. The book helps us reflect on ourselves and on our engagement with the world and with others, and learn to ask questions about these elements. The authors draw on anthropology, linguistics, philosophy and sociology to enrich their discussions of critical interculturality.

The Global Intercultural Communication Reader is the first anthology to take a distinctly non-Eurocentric approach to the study of culture and communication. In this expanded second edition, editors Molefi Kete Asante, Yoshitaka Miike, and Jing Yin bring together thirty-two essential readings for students of cross-cultural, intercultural, and international communication. This stand-out collection aims to broaden and deepen the scope of the field by placing an emphasis on diversity, including work from authors across the globe examining the processes and politics of intercultural communication from critical, historical, and indigenous perspectives. The collection covers a wide range of topics: the emergence and evolution of the field; issues and challenges in cross-cultural and intercultural inquiry; cultural wisdom and communication practices in context; identity and intercultural competence in a multicultural society; the effects of globalization; and ethical considerations. Many readings first appeared outside the mainstream Western academy and offer diverse theoretical lenses on culture and communication practices in the world community. Organized into five themed sections for easy classroom use, The Global Intercultural Communication Reader includes a detailed bibliography that will be a crucial resource for today's students of intercultural communication.