Ancient Chinese Research Articles

African natural medicine: Toward a health preservation theory and systematization model for clinical application

All knowledge fields are founded on universal epistemologies and philosophies. This is evident in ancient Traditional Chinese and Ayurvedic (Siddha) medical systems, which are integrated into national health systems of China and India respectively. African natural medicines (ANMs) are not part of national health systems on the African continent because of a lack of systematization frameworks. This article explores classical medical systems drawn from ancient African and Chinese cosmologies. A qualitative research methodology was used to conduct in-depth interviews with 20 respondents selected using a purposeful sampling technique. The data were summarized into systematization frameworks for disease theories, etiology and pathogenesis, diagnosis and prognosis, and treatment including medicines and disease classification. The study findings revealed that in antiquity, Africa had systematic medical cosmologies, remnants of which are evident in current cultural health practices. Therefore, parallels can be drawn in relation to Chinese Taoist and Indian Tantric healing arts. Ancient Africans recognized Ra or iSithunzi (uMbhilini) , which correspond to qi or prana and refer to energetic life force in Asian cultures. Shu and Tefnut (Nkomo weLwandle and Dungha Manzi) correspond to yin and yang or purusha and prakriti , the natural principles of polarised duality. The jing or oojas (physiological essences) and wu xing or pancha tattvas (five elements and modes of nature) and their relationships with the zang and fu (five vital organs and visceral organs, respectively) also found their application in African medical cosmologies. The data revealed that ancient and contemporary ANM systems are based on the concept of consciousness ( saa or ntu ) and life force energy, ra . These cosmological concepts are predicated upon the Paut Neteru or Amathogo (archetypal forces) that prescribe properties to everything. On this basis, an African-Kemetic Health Preservation Theory was developed, which gives rise to African theories for disease etiology, pathogenesis, differential diagnoses, comprehensive prognosis, and holistic treatment regimens. In addition, we developed an uBu-Ntu bio-innovation model for integral research, inclusive innovation, local technology transfer, holistic enterprising, and conscious commercialization of African natural medicines. It is the intention of the authors to influence policy in the implementation of these theories, models, and frameworks for clinical application and socio-economic development.

古代中國語合音字考察 - 文型의 敎學上이해를 중심으로-

Although quantity of fusional character in ancient Chinese is not much, it is used very frequently. For learners of classical Chinese, fusional character is difficult to understand the meaning of the letters and sentences. In this study, I research fusional character ‘諸 旃叵盍曷耳那’, and related character ‘焉爾然’ in ancient Chinese. Conclusions obtained as a result of the study are as follows. 諸(zhū) is fusional character of ‘之于/於’ or ‘之乎’. 旃(zhān) is fusional character of ‘之焉’. 叵(pǒ) is fusional character of ‘不可’. 盍’(hé) and ‘曷’(hé) are all fusional characters of ‘之焉’. 叵(pǒ) is fusional character of ‘不可’. 盍’(hé) and ‘曷’(hé) are all fusional characters of ‘何不’. 耳(ěr) is fusional character of ‘而已’. 那(nuó) is fusional character of ‘奈何’. ‘焉’(yān) is fusional character of ‘於之/是’. ‘爾’(ěr) and ‘然’(rán) are all fusional characters of ‘如 此’.

Kritiese ekologiese kuns en Hegel se raaiselagtige uitspraak dat kuns moet sterf

Georg Wilhelm Friedrich Hegel (1770-1831), een van die belangrikste figure in die ontwikkeling van Duitse idealisme, se filosofie staan as "absolute idealisme" bekend, aangesien hy die idee, of gees (verstand) as die eintlike werklikheid beskou - in teenstelling met 'n materialistiese denker soos Karl Marx, wat materie (stof) as primêre werklikheid aanwys. Hegel was die eerste Westerse denker wat die geskiedenis ernstig opgeneem het; volgens hom is alles, spesifiek menslike kulturele aktiwiteite, onderworpe aan historiese ontwikkeling, en beskryf hy hierdie ontwikkeling op verskeie vlakke, insluitende dié wat hy "absolute gees" noem. Op hierdie vlak word wêreldgeskiedenis aan die hand van 'n "dialektiese" ontwikkeling vanaf "subjektiewe" gees (individuele menslike passies en bedoelinge) via "objektiewe" gees (staatstrukture en wette) tot "absolute gees" voorgestel. In hierdie artikel word daar aandag gegee aan wat volgens Hegel op laasgenoemde vlak gebeur, spesifiek met betrekking tot sy raaiselagtige stelling, dat die kuns as "hoogste uitdrukking" van die gees "moet sterf", om plek te maak vir religie en filosofie as manifestasies daarvan op meer gevorderde vlakke. 'n Mens kan tereg wonder wat Hegel daarmee bedoel het in die lig van die voortdurende beoefening van kuns tot vandag toe. Die antwoord is geleë in die frase, "hoogste uitdrukking", wat daarop dui dat hy aan kuns in historiese ontwikkelingsterme dink - met ander woorde, kuns is die draer van die absolute gees tot op 'n bepaalde tydstip, waarna dit plek moet maak vir ander sodanige uitdrukkingsvorme, te wete godsdiens en filosofie. Bowendien is kuns self ook onderworpe aan interne ontwikkeling; vir Hegel is die vroegste kuns simbolies van aard, (met Egiptiese kuns as voorbeeld), gevolg deur klassieke kuns (onder die antieke Grieke) en laastens romantiese kuns (in sy eie tyd). Die verskille tussen hierdie drie kunsvorms word bepaal deur die verhouding tussen idee en materie; in simboliese kuns domineer materie oor die idee in kunswerke, sodat die betekenis daarvan slegs vaagweg gepeil kan word (dink maar aan die Sfinks, as die "simbool van die simboliese"), terwyl daar 'n volmaakte balans tussen idee en materie bestaan in klassieke Griekse kuns, sodat geeneen van die twee dominant is nie (soos in die geval van beeldhouwerke wat die god Apollo voorstel). In romantiese kuns (byvoorbeeld die romantiese skilderkuns van Gericault) vind 'n mens die teenoorgestelde van simboliese kuns, met die idee wat dermate oor die materie heers dat dit byna daarin slaag om in denkbeeldige vorm daarvan los te breek. Hierdie is volgens Hegel die "hoogste" ontwikkelingspunt wat kuns as draer van die gees kan bereik, voordat dit plek maak vir religie as "beelddenke" en uiteindelik filosofie, waar die gees as idee suiwer, sonder enige stoflike oorblyfsel, tot uitdrukking kom. Hier voltooi die absolute gees die ontwikkelingstrajek daarvan, wat by die objektiewe vergestalting daarvan begin en via subjektiewe beliggaming uiteindelik in absolute "selfkennis" kulmineer. Vir die doeleindes van hierdie artikel is dit egter tematies betekenisvol dat Hegel ook melding maak van die voortbestaan van kuns ná die punt waar dit afstand doen van die titel van "hoogste" manifestasie van die gees of idee, naamlik in die gewaad van "kritiese", polemiese kuns, wat vry geword het van spesifieke wêreldbeskouings. 'n Mens kan in die moderne kunsbewegings van die vroeë 20ste eeu - insluitende kubisme, abstrakte ekspressionisme, konseptualisme en futurisme - die beliggaming van hierdie verwagting by Hegel bespeur, waar hierdie soort kuns telkens die ontologiese aanspraak maak dat dit die ware werklikheid blootlê. As besonder treffende tydgenootlike uitdrukking van sodanige (radikale) kritiese kuns word Andy Goldsworthy se ekologiese kuns ten slotte onder die loep geplaas.

A Study on the Theory of Ethical Literary Criticism

A Study on the Theory of Ethical Literary Criticism

東晉부터 初唐代 冥界敍事에 나타난 冥界이미지의 특징과 변화양상 - 『搜神記』, 『幽明錄』, 『冥祥記』, 『冥報記』를 중심으로

The Nether world generally refers to the afterlife. There was an idea of the nether world early in China. Initially, the idea was that the soul stays with the body or becomes a spirit and moves to another world. The ancient Chinese expressed this belief in many ways, and it was embodied in the most detail in literary narratives. Accordingly, this paper examined the changing patterns of the nether world image by period by focusing on Sou-Shen-Ji, You-Ming-lu, Ming-Xiang-Ji, Ming-Bao-Ji written from Eastern Jin to the early Tang dynasty.<BR> In the early narrative, Sou-Shen-Ji, life in this world continues after one’s death. This is confirmed in the revival story in which the dead person revived from the tomb and the affection story in which the man and woman met as a human and soul. In addition, the nether world is also described as a separate world. Here, a nether world that reflects Chinese-specific beliefs and Taoist elements appears. the function and space of the afterworld are more emphasized in You-Ming-lu and Ming-Xiang-Ji of the Southern dynasties. In this period, Buddhism flourished significantly and influenced literature, reflecting the concept of hell in Buddhism. Tang dynasty’s Ming-Bao-Ji was greatly influenced by the predecessors’ narratives, and thus, endemic beliefs, Taoism, and Buddhism elements were integrated into the image of the nether world. Nevertheless, the doctrine of Buddhism is regarded as the most important, and some of the earlier ideas are denied.<BR> As such, it was believed that the nether world implemented by the Chinese was somewhat realistically managed by the authorities similar to this world. Further, it was considered that indigenous thoughts and folk beliefs are harmonized, and that Taoist and Buddhist gods co-exist. This implies that the image of the nether world changed in a close relationship with religion. This was a process in which the people’s ideas and imagination of afterlife changed with the times.

Study on Automated Approach to Recognize Characters for Handwritten and Historical Document

Script recognition is the mechanism of automatic script analysis and recognition whereby intensive study has been carried out and a significant amount of papers on this problem have been released over the past. But there are still a few issues to be solved, particularly in Indian historical manuscripts. This literature examines the Script recognition with reference to multi-script document and different historical scripts such as Kurdish-Latin, Devanagari, Grantha, Arabic handwritten characters, Bangladesh, Devanagari and Gurumukhi, ancient Chinese, Arabic, Nam Character, Greek, Nastalique Urdu, Georgian handwritten, Nandinagari, and Hebrew, which provide the course of study that focuses on the framework for script recognition. This review concentrates on scope of prediction, dataset type, the methods used for data preprocessing, and measures of performance used for analysis. On the basis of this survey, Current research constraints have been recognized and future study specifications are emphasized in the area of modeling historical manuscripts. CCS Concepts:

『聊齋誌異』 변신 서사에 내재된 ‘관계’의 생태학 ― 『搜神記』와 비교를 중심으로

In this paper, the narration of transformation and the possibility of ecological thinking are searched paying attention to Ghosts and Wizards(『聊齋誌異』) which is classified as an ecological work in which humankind and lives of mother nature communicate with each other. Looking into the narration of transformation in Ghosts and Wizards in comparison with Sou Shen Ji(『搜神記』), the aesthetic characteristics of the narration of transformation in Ghosts and Wizards can be considered more objectively and the ecological view of the world of the ancient chinese people at different times can be explained. Investigating the subject of ‘Relationship’, this paper examined how humankind and alien substances enter into, continue and expand their relationships.<BR> The narration of transformation in Ghosts and Wizards liaises between the entities belonging to different boundaries, builds a new relationships and expands them. The narration of transformation in Ghosts and Wizards shows the process of agonizing the possibilities of reconciliation of humankind and alien substances continuously interfering and intervening with each other’s world. In the solidary web of heterogeneous entities imperfections of them are resolved and they create and move on a win-win relationship. The narration of transformation in Ghosts and Wizards shows the process and practice conciousness of communication and reconciliation with the world by the lacking entity’s borrowing other’s body. The boundaries between humankind and alien substances are broken, the hierarchy of anthropocentricism is destructed and humankind and alien substances are able to communicate and exchange as equal entities. The transformation in Ghosts and Wizards may be a literary tool which reproduce concretely and realistically the possibility that humankind can communicate with the alien world besides the human world.

A method of terminology alignment in Historical Books based on the correspondence between Pivot language and position

In view of the most difficult problem of terminology translation in the translation of historical books, this paper extracts term translation pairs from bilingual parallel corpus as a reference to improve the quality and efficiency of the translation of historical books. However, the small size of the corpus of historical books leads to poor word alignment, which brings a large number of errors to term alignment. At the same time, the special grammar of ancient Chinese will also affect term alignment. In order to solve the above two problems, this paper proposes a method of term alignment of historical books based on pivot language and position correspondence. This method introduces modern Chinese as the pivot language, makes use of the position correspondence between modern Chinese and English terms in sentences, and uses the sliding window method to generate candidate term pairs, which avoids the influence of word alignment errors on term alignment. In addition, if we first align to modern Chinese, the ancient Chinese terminology will complete the omitted characters in modern Chinese and replace the false characters, so as to avoid the influence of the special usage in ancient Chinese on the term alignment. The experimental results in Historical Records show that the accuracy of this method is slightly better than that of the method based on word alignment, which verifies the effectiveness of this method without word alignment.

Rural Soundscape: Acoustic Rurality? Evidence from Chinese Countryside

Although rurality is regarded as core terminology in rural geography and an essential characteristic of rural and rural tourism, researchers have not attached enough academic importance to the hybridity and multisensory characteristics of the rural, including its soundscapes. From the perspective of history and culture, the ancient Chinese were obsessed with the geomantic conception of the harmonious coexistence of man and nature in their rural construction, and Chinese pastoral poetry covered the harmonious soundscape symphony of natural ecology and rural community. Acoustic rurality can be defined as sustainable rural soundscapes in the changed and changing human–environment contexts comprising quiet and tranquility; wild, domestic, and social soundscapes; and the rural soundscapes as important indicators of good rural ecological environment and traditional rural heritages that can be preserved and developed through acoustic rurality-based planning. Using the practical roadmaps of China’s Beautiful Rural Construction and Rural Vitalization Strategy for reference, this study sums up the four proposed guidelines for conserving and developing acoustic rurality: noise control and protecting the quiet and tranquil countryside, conserving wildlife habitat of the rural wild soundscapes, safeguarding cultural soundscape heritages, and developing recreational soundscapes for rural tourism.

Gastrodin protects against high glucose-induced cardiomyocyte toxicity via GSK-3β-mediated nuclear translocation of Nrf2.

Diabetic cardiomyopathy (DCM) is one of the major complications of diabetes that causes mortality and morbidity in diabetic patients. Gastrodin (GSTD) is a bioactive phenolic glucoside component of an ancient Chinese herb Tianma (Gastrodia elata Bl.), which is widely used for cardiovascular and cerebrovascular diseases by ancient Chinese. Up to now, whether GSTD has a beneficial effect on DCM is unclear. Therefore, this study aimed to investigate the effect of GSTD on high glucose-induced injury in H9c2 rat cardiomyocytes and HL-1 mouse cardiomyocytes, and its underlying mechanisms. High glucose (33 mM) treatment caused cardiomyocyte toxicity, oxidative stress and apoptosis in both H9c2 and HL-1 cells. Under both normal (5.5 mM glucose) and high glucose conditions, GSTD showed protective effect against high glucose-induced cytotoxicity and promoted the nuclear translocation of Nrf2 in a concentration and time-dependent manner in H9c2 and HL-1 cells. Knockdown of Nrf2 expression using siRNA specifically targeting Nrf2 attenuated the protective effect of GSTD. Furthermore, GSTD promoted the nuclear translocation of Nrf2 via activating glycogen synthase kinse-3β (GSK-3β) signaling pathway. 4-benzyl, 2-methyl, 1, 2, 4-thiadiazolidine, 3, 5 dione (TDZD-8), an inhibitor of GSK-3β, inhibited the nuclear translocation of Nrf2 induced by GSTD, and attenuated the protective effect of GSTD as Nrf2 knockdown did. In summary, GSTD could protect against high glucose-induced cardiomyocyte toxicity via GSK-3β-mediated nuclear translocation of Nrf2.

廣州語의 蠢⋅懵⋅矇⋅戇⋅黐⋅癲 고찰

When we watch TV or movies, the words ‘stupid’ or ‘crazy’ is often appeared in any country. Most of the time, these words do not mean really stupid or crazy, but lightly reprimand when others say something out of place or something ridiculous. These words are also frequently appeared on Hong Kong TV and movies, but 笨 or 瘋 are rarely used in Canton dialect. In this paper, we examined the words ‘stupid’ or ‘crazy’ in Cantonese, which are not frequently used in Mandarin. To this end, the text referred to five paper dictionaries and the Internet dictionary called CantoDict, and also consulted the books of the Western missionaries in the 19th century. Through this, we were able to look at the meaning of words at that time and lexical change over the past hundred years. 蠢[ʧʻon], 懵[moŋ], 矇[moŋ], 戇[ŋɔŋ], 黐[ʧʻi], 癲[tin] are commonly used Chinese characters in Canton dialect, which are not often used in Mandarin. The first four letters mean ‘stupid’ and the last two letters mean ‘crazy’. Because of these six characters are not commonly used in Mandarin, you may think these characters are newly created in Canton dialect, but they are all originated from ancient Chinese. In addition, most of the letters are derived from their original meanings and are used to mean ‘stupid’ or ‘crazy’.

고대중국어 ‘기도하다’류 유의어 연구

고대 중국에서의 제사는 민족을 초월한 종교 행사일 뿐 아니라 더 나아가 범국민적 종교 행사로서, 제사 방식과 대상이 매우 다양하였다. 제사 지내는 모든 대상을 신령이라 통칭하였는데, 이것은 고대 중국인들의 자연과 미지에 대한 두려움을 신령숭배를 통해 해소하고자 하는 심리를 반영한 것이다. 신령숭배가 고대 중국의 제사문화에서 갖는 의미는 매우 크고, 신령에 대한 경외심을 표할 수 있는 제사는 고대 중국의 가장 중요한 문화현상이라고 할 수 있다. 신의 가호를 얻어 화를 피하고 길한 운을 받기를 구하고, 신에게 지극한 존경의 마음을 갖으며 항상 제물을 받쳐 의식을 행함으로써 신에 대한 성의를 나타낼 수 있기 때문이다. 고대 중국인들의 이러한 심리가 언어 속에 가장 잘 반영되어 나타난 것이 바로 제사와 관련 있는 어휘들이다. 본고에서는 ‘제사’와 관련된 여러 어휘 중에서 ‘기도하다’, ‘바라다’의 의미를 가진 ‘祝’, ‘祈’, ‘禱’의 자형 분석을 통해 본래 의미를 살펴보고, 동시에 이 동사들의 의미특징에 대해 고찰함으로써 유의어 간의 의미상의 차이점을 밝히고자 한다. 아울러 상고시기와 중고시기를 대표하는 문헌상의 출현빈도수 분석을 통해 ‘祝’, ‘祈’, ‘禱’의 시기별 주도적 지위의 변화에 대해서 살펴보고자 한다.

Admonishing

Abstract This paper examines the pragmatic properties of what we define as a ritual act of ‘admonishing’. We argue that admonishing represents a historically embedded realisation type of the speech act Suggest. We explore admonishing in ancient Chinese political and governance texts dated before the 2nd century BC. The results of our analysis show that admonishing often not only affords but even triggers paradoxical pragmatic behaviour. This paradox stems from the fact that, in many historical linguacultures like the ancient Chinese, admonishing was directed at a recipient, most typically a ruler, who was more highly ranked than the admonisher himself. While this context normally precluded threatening the recipient’s face, admonishing was realised in a ritual frame in which such a face threat was deindividuated. In pragmatics, a research gap exists in the study of the historical act of admonishing, and so the current study fills a knowledge gap.

The Study of Macao Local Words from the Perspective of Diachronic Heritage of Language

The diachronic transmission of language from the perspective of historical linguistics reflects the language reality across times and generations. The key clue of the formation and development of Macao local words lies in the lexical features inherited from ancient Chinese words. Through the study of 39 Macao local words with the heritage of ancient Chinese, some features in the meaning and usage of the words are found: some words are the direct heritage of ancient Chinese words in both of meaning and usage; some are indirectly derived—while the original meaning has been retained, the form has been altered; the original form of some words has been kept, but a change has been taken place in the meaning; some words—which have been applying the meanings of ancient Chinese here in Macao, have developed new meanings in other Cantonese dialects. Such local words reflect the compatible coexistence and mutual influence among ancient Chinese, Cantonese dialect and modern Mandarin in the history of vocabulary development in Macao.

Study of the Distribution and Modification of Writing in Proto-Chinese Language Communities: Correct Identification of Hieroglyphic Signs in the Jiaguwen Inscriptions

The Chinese language uses the ideographic writing. The outer form of Chinese characters in 3rd century ВС and later underwent strong changes, which were caused mainly by change in the technique of writing. In the first century AD the writing style that has survived to the present time. We recall some of main results of the spread and change of linguistic information in certain Chinese community obtained with the help of a dynamic nonlinear model. Undoubtedly, Oracle script writings Jiaguwen (甲骨文) played an important role in this process. We consider it quite legitimate to discuss rather about the written language of the Chinese language, as main link between ancient Chinese, Middle Chinese, and modern Chinese languages Putonghua. In the study of the oldest examples of art, culture and science, for example, such as Jiaguwen, there is a need to study ancient hieroglyphs depicted on the surface of a tortoise shell, copper vessel or stone. New method for correct solving of an inverse problem for pattern recognition is presented. Our method is based on photometry of the studied surface. The obtained data are digitally processed in order to determine the characteristics and parameters characterizing the properties of the investigated surface. The possibilities and limitations of the method, as well as the mathematical model of the groove in the optical range, are given. The main attention is paid to the development of methods for more accurate calculation of the number of solitary grooves and structural elements such as hieroglyphs or ancient Chinese radicals (部首 / bùshǒu). This task is part of the complex inverse problem of pattern recognition, namely: identification of various structural elements, for example, ancient hieroglyphs depicted on the surface of a tortoise shell. To solve this important problem, two main methods were proposed, which are based on the study of both the initial photometric data and the study of their Fourier spectra. The first method allows you to visually identify the location of the characters along the photometric line and determine their approximate number. The second method allows us to get a stable and unambiguous solution to this problem: to determine accurately the number of characters on the photometric line.

Study on the Linguistic Style of LIN Shu’s Translation

The application of pre-Qin’s words and syntax, such as monosyllabic words, modal particles, conversion, declarative sentences and passive sentences, made LIN Shu’s translation ancient and elegant. Meanwhile, in his translation there were also frivolous language, vernacular spoken words, and oriental new terms, which disobeyed the rules of ancient Chinese. However, as for these two sides, the ancient elements remained a high proportion and a great number of scholars insist that LINn Shu translated in an ancient Chinese style.

Moshta fishing: A link between fish and fisheries and art

Fish and fisheries have long been subject of art works of ancient Persians, Egyptians and Chinese. Art has a variety of dimensions and perspectives associated with nature/environment including marine or freshwater bodies. Following the idea of linking art, fish and fisheries and the marine environment, in this study, we used local set-net fishing known as Moshta as a traditional fishing gear at the coastal area of Bandar Abbas, Iran to present emotional state and concept of repeatability. The Moshta fishing (i) repeats almost every day, (ii) stimulates emotions, (iii) brings deaths to fishes, (iv) supplies food to peoples and birds, and (v) contributes to the economy of local families. Hence, there is always a reproducibility creation in this man-made fishing gear. This process in a worthy way to bring lights to the creation of different links between fish and fisheries from one hand and art in the other hand.

Фигура субъекта в протокатегориальных представлениях Древнего Китая

This article is devoted to the analysis of the subject’s place in the proto-categorical language constructions of Ancient China. Fundamental conceptual schemas called basic classifications refer to such constructs. The key schemes include binary, ternary and quinary classifications, which defined the main features and further development of the entire Chinese mentality and civilization. The main methodological technique used in conducting historical and philosophical research is the reliance on text primary sources. The most important and most reliable source of knowledge about the philosophical views of such a remote historical period (we are talking about the Zhou era, approximately 1045 – 221 BC) is the “Book of Changes” or “I-Ching”(易经). Structural analysis is used to identify the elements and numeral schemes in the considered figure of the subject. According to the language picture of the world, reconstructed on the basis of texts from ancient Chinese sources, the position of the subject appears to be initially embedded in the worldview paradigm of archaic China. The main characteristics of a man that reveal themselves in the studied constructions of proto-categorical thinking are centrality and emptiness. These properties appear to be the most essential for understanding the role assigned to the man in the deployed model of the universe. A dual image is formed from the predicates of the subject revealed as a result of the research. Man, from the point of view of the ancient Chinese, occupying a Central position in the vertical of the “three fundamental forces” of the San Cai (Earth-Man-Sky) and possessing, due to its dominant position, the features that are crucial for the successful knowledge of natural laws, appears to be devoid of his own, personal content. The initial emptiness of the subject of knowledge, which is its essential property, entails the absence of its individual content. The author makes a conclusion about the conditionally human position of the individual in the universe. Man turns out to be derived from natural, cosmic principles that form, according to the proto-categorical representations of Ancient China, not only the foundations of the world order, but also the principles of world relations.

Influence of China's philosophical views on the country's musical culture

The purpose of the article is to study the problem of the influence of philosophical views and traditions on the musical culture of China. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the feasibility of the problem of philosophical views of China, based on the country's musical traditions. The historical names of the philosophers who influenced the development of the musical arts and education system, which affected the cultural traditions of China, were singled out. Conclusions. Based on the study of the problem of philosophical views of China's worldview system, the country's development processes and distinctive culture were identified. The problem of studying the philosophical system of ancient China as the basis for the emergence of the musical tradition has interested many scholars, among whom are: L.S. Vasilyeva [1], Yu.M. Gradova [2], Hou Jiang [8], D.T. Suzuki [7] and others. Because it influenced the cultural life of the countries of the East. This question highlighted the philosophical trends that underpin China's traditions. Namely, philosophical traditions influenced the country's musical art. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention has been paid to the issues of education and music in China. A person must be ethically educated, endowed with spirituality, and truth. Music education played an important role in the culture of China because it was a carrier of the culture of the ancient Chinese. Numerical concepts played their magic role. According to the philosophy of Taoism, music should promote the emotional state of man and the harmonious connection with nature. Confucius emphasizes the comprehensive development of humans while emphasizing the morality of the individual. This is clearly reflected in his works: Shijing (Song Book), Shu Jing (History Book), Lun Yui (Conversations and Speeches). In the third and sixth centuries, China's musical culture was influenced by philosophical tendencies based on the Lao-Buddhist vision. Music played the role of expressing the essence of being. So, in the sixth century, a piece of music appeared for the musical instrument "Price" by composer Qiu Min "Yulanpu" or "Lone Orchid".The worldview system of ancient China became the basis for the emergence of musical traditions in the countries of the East. This problem is of interest to scientists and necessitates further development in the study of this issue.

CoronaGothic: a Post‐Mortem

In this article author talks about the spread of Coronaviruses around the world Topics include reports that as the virus spread, the voices of panic created a cacophony of stories across the digital sky, a dark cloud of fear and all these stories involved themes taking us beyond the human realm;and display the fruitfulness of the Gothic as a medium of interdisciplinary explication, especially fitting for new and difficult topics such as those arising from crisis faced by the world community