Institut Des Hautes Research Articles

Wang Chongyang (1113-1170) et la foundation du Quanzhen. Ascètes taoïstes et alchimie intérieure by Pierre Marsone (review)

Reviewed by: Wang Chongyang (1113-1170) et la foundation du Quanzhen. Ascètes taoïstes et alchimie intérieure by Pierre Marsone Stephen Eskildsen Pierre Marsone . Wang Chongyang (1113-1170) et la foundation du Quanzhen. Ascètes taoïstes et alchimie intérieure. Paris: Collège de France, Institut des Hautes Études Chinoises, 2010. Pp. 473. € 35.00. ISBN 978-2857570691 Pierre Marsone's Wang Chongyang (1113-1170) et la foundation du Quanzhen. Ascètes taoïstes et alchimie intérieure is a revised version of the doctoral dissertation that he submitted to the École Pratique des Hautes Études (Paris) in 2001. Although nine years thus elapsed between the thesis submission and the ultimate publication, it was worth the wait. This is a substantial, meticulous piece of work that nicely enhances our knowledge and understanding of the history of Taoism in the twelfth century. Marsone's study of the early Quanzhen 全真 Taoist movement was, by largely unintended coincidence, carried out more or less simultaneously with studies on roughly the same topic by several other western scholars (Vincent Goossaert,1 Louis Komjathy, and myself). Previously, there had existed the very fine dissertation by Yao Tao-chung 姚道中 on the Quanzhen movement2 but no published, book-length Western-language monograph on the topic. [End Page 463] There are now three such published monographs,3 and students need no longer complain of a scarcity of Western-language secondary source materials on the topic of early Quanzhen Taoism. That being the case, one does need to question whether Marsone's monograph offers anything significant that is not to be already found in the other recently published monographs. In my view, it does; most importantly, it surpasses the other studies in the degree of care and detail by which it sorts out, discusses and analyzes the primary sources (religious and secular) pertinent to the discussion of the lives and activities of Wang Chongyang 王重陽 and his main disciples and the historical background and circumstances thereof. As result, he provides us with an account of the movement's early history that is unsurpassed in its thoroughness and accuracy. The book's first chapter (among a total of four) discusses the life and written works of Quanzhen founder Wang Chongyang, as well as the posthumous development of his cult and of temples located at sites intimately connected to his life events. The chapter starts out most appropriately with an overview—in sequence of date of authorship—of ten different Taoist hagiographical sources that speak at length about Wang Chongyang's life and/or legacy. Marsone then proceeds to carefully and methodically discuss Wang Chongyang's life events by examining side-by-side the testimonies of each of the hagiographies and analyzing them in light of evidence available in secular historical sources and re-evaluating the merits of observations that have been previously made by Chinese and Japaneses scholars (such as Chen Minggui 陳銘珪, Chen Yuan 陳銘珪, Yao Congwu 姚從吾, Sun Kekuan 孫克寬, Kubo Noritada 窪德忠, and Hachiya Kunio 蜂屋邦夫). In over-viewing the various works (extant and non-extant) that have been attributed to Wang Chongyang, Marsone distinguishes between "authentic" and "apocryphal" texts. The texts that he accepts without reservation as authentic are the three poetry collections Chongyang quanzhen ji 重陽全真集, Chongyang jiaohua ji 重陽教化集, and Chongyang fenli shihua ji 重陽分梨十化集. For each text—particularly those in the "authentic" categoryhe provides a helpful overview of the contents and subject matter; for each of the "apocryphal" works he provides reasonable explanations for his reservations on their authenticity. The book's second chapter discusses the lives and written works of Wang [End Page 464] Chongyang's main disciples (the so-called "Seven Authentics" [七真]: Ma Danyang 馬丹陽, Tan Changzhen 譚長真, Liu Changsheng 劉長生, Qiu Changchun 丘長春,, Wang Yuyang 王玉陽, Hao Guangning 郝廣寧, and Sun Qingjing 孫清靜), particularly in terms of how and to what extent each of them contributed to the formation and emergence of Quanzhen Taoism. Employing the same meticulous approach to the primary sources that he does in the case of Wang Chongyang, Marsone sheds light on some the more distinct features of the personalities and doctrinal emphases of each of the "Seven Authentics." On the whole he paints an illuminating picture of how the major disciples in different ways and in different regions laid...

Wang Chongyang (1113–1170) et la fondation du Quanzhen: ascètes taoïstes et alchimie intérieure by Pierre Marsone (review)

Book Reviews 123 feasibility of such establishment, this is an issue that deserves a more expanded treatment: there could be compelling reasons why the current government cannot contemplate the establishment of any religion. It is hard to see the state establishing popular religions and Confucianism, with their emphasis on ancestor worship, let alone Christianity with its strong stance on birth control and abortion, because its policy on population control clashes with the fundamental tenets of these traditions. Perhaps future governments may change their views on the matter as population is ageing, but for the moment this appears unlikely. A review of these debates would be welcome. Undergraduates in the fields of comparative politics and contemporary history will nevertheless gain from reading this study because it describes well the policies of secularization and their aftermath. Students in the sociology of religion may find that the discussion of religious life in Russia and China itself is a bit too sketchy and they may be looking for more. However, I would recommend this book in a comparative politics or contemporary history undergraduate class, because it stands out as rigorous in its research design while remaining accessible. ANDRÉ LALIBERTÉ, University of Ottawa Wang Chongyang (1113–1170) et la fondation du Quanzhen: ascètes taoïstes et alchimie intérieure PIERRE MARSONE. Mémoires de l’Institut des Hautes Études Chinoises, vol. XL. Paris: Institut des Hautes Études Chinoises (Collège de France), 2010. 465 pages. ISBN 978-2-85757-069-4. €30.00 paper. Pierre Marsone’s (École Pratique des Hautes Études) new monograph on early Quanzhen 全 真 (Complete Perfection) Daoism is a welcome contribution to the field of Daoist Studies and the academic study of Chinese religion. Wang Chongyang (1113–1170) et la fondation du Quanzhen is a revised doctoral thesis undertaken in the Section des Sciences Religieuses of the École Pratique des Hautes Études under the direction of Kristofer Schipper. The book provides an excellent and highly informative account of the life of Wang Zhe 王 嚞 (Chongyang 重陽 [Redoubled Yang]; 1113–1170), the movement’s founder, and of the formative moments of the Quanzhen religious community, namely, during the Song 宋-Jin 金 period. Marsone gives particular attention to the life of the so-called Seven Perfected (qizhen 124 Journal of Chinese Religions 七真), Wang’s seven senior Shandong disciples, and to the defining characteristics of the early Quanzhen community. As such this study draws inspiration from, and in certain senses is modeled on, Hachiya Kunio’s 蜂 屋邦 夫 works (see pp. 19, 115). 1 It is especially noteworthy that Marsone has written his study in French (in contrast to other French scholars now writing primarily in English), as it is the first comprehensive “non-English” Western European language academic study of Quanzhen, and it will be particularly helpful for a French audience. Although the work neglects important and relevant secondary scholarship on Quanzhen,2 it nonetheless masterfully covers early Quanzhen Daoism, primarily by relying on primary Quanzhen source materials and secondary scholarship in Japanese and Chinese. The book consists of an introduction, four primary chapters in two parts of two chapters each, conclusion, appendices, bibliography, and index. The first part, on Quanzhen history and hagiography, includes two chapters. The first chapter (pp. 19–113) examines the life, legend, and legacy of Wang Chongyang. Marsone discusses biographical and hagiographical sources related to Wang, the biographical contours of Wang’s life, the eventual veneration and divinization of Wang, and writings associated with Wang. The second chapter (pp. 115–94) focuses on Wang’s seven principal Shandong disciples and the formation of Quanzhen as a religious movement. Here Marsone includes separate sections on Ma Danyang 馬丹陽 (1123– 1184), Tan Changzhen 譚長真 (1123–1185), Liu Changsheng 劉長生 (1147–1203), Qiu Changchun 丘長春 (1148–1227), Wang Yuyang 王玉陽 (1142–1217), Hao Guangning 郝廣 寧(1140–1213), and Sun Buer 孫不二 (1119–1183). The second part, on the doctrines of Quanzhen, also consists of two chapters. Chapter 3 (pp. 197–285) focuses on preaching, religious life, and lineage. Here Marsone includes information on key Quanzhen themes, renunciation and Quanzhen religious life, the theology of Wang Chongyang, characteristics of Quanzhen as a religious movement and its associated lineage, as well as key Quanzhen teachings in their historical context. Chapter 4 (pp. 287–368) examines...

Reply to “Comment on 'Toward Identification of the Reaction Coordinate Directly from the Transition State Ensemble Using the Kernel PCA Method'”

ADVERTISEMENT RETURN TO ISSUEPREVCommentReply to “Comment on 'Toward Identification of the Reaction Coordinate Directly from the Transition State Ensemble Using the Kernel PCA Method'”Dimitri Antoniou† and Steven D. Schwartz*†‡§View Author Information† ‡ †Department of Biophysics and ‡Department of Biochemistry, Albert Einstein College of Medicine, 1300 Morris Park Avenue, Bronx, New York 10461, United States§ Institut des Hautes Études Scientifiques, 91440 Bures-sur-Yvette, FranceCite this: J. Phys. Chem. B 2011, 115, 43, 12674–12675Publication Date (Web):September 19, 2011Publication History Received4 August 2011Revised15 September 2011Published online7 October 2011Published inissue 3 November 2011https://doi.org/10.1021/jp207463gCopyright © 2011 American Chemical SocietyRIGHTS & PERMISSIONSArticle Views334Altmetric-Citations5LEARN ABOUT THESE METRICSArticle Views are the COUNTER-compliant sum of full text article downloads since November 2008 (both PDF and HTML) across all institutions and individuals. These metrics are regularly updated to reflect usage leading up to the last few days.Citations are the number of other articles citing this article, calculated by Crossref and updated daily. Find more information about Crossref citation counts.The Altmetric Attention Score is a quantitative measure of the attention that a research article has received online. Clicking on the donut icon will load a page at altmetric.com with additional details about the score and the social media presence for the given article. Find more information on the Altmetric Attention Score and how the score is calculated. Share Add toView InAdd Full Text with ReferenceAdd Description ExportRISCitationCitation and abstractCitation and referencesMore Options Share onFacebookTwitterWechatLinked InReddit PDF (637 KB) Get e-AlertsSUBJECTS:Inorganic compounds,Mathematical methods Get e-Alerts

Domesticating Kagerō : A Love That Dares Speak Its Name

Domesticating Kagerō:A Love That Dares Speak Its Name Joshua S. Mostow (bio) Mémoires d'une éphémère (954-974) par la mère de Fujiwara no Michitsuna. Translation and commentary by Jacqueline Pigeot. Collège de France, Institut des Hautes Études Japonaises, 2006. Distributed by De Boccard. 342 pages. Softcover €23.00. It often seems these days that there is not much of a "field" of premodern Japanese literature outside of Japan. Perhaps part of the reason is the shortage of dialogue between scholars. This may be partially due to our small numbers: every new book is still often the first treatment of its subject outside of works in Japanese, and so no one else has written on the topic. But I think we have, maybe for good reasons, taught our students to avoid conflict. In any event, even dissertations these days rarely seem to start with a review of the previous scholarly literature. Magisterial works of the past century, Konishi Jin'ichi's A History of Japanese Literature,1 Robert Brower and Earl Miner's Japanese Court Poetry,2 Katō Shūichi's A History of Japanese Literature,3 even Donald Keene's multivolume history,4 are passed over in silence. Book reviews, too, do not often lead to debate. There are not many places to turn to for the dialogue that, it seems to me, is a necessary element for a true "field," let alone a "discipline." Which is why Jacqueline Pigeot's translation and study of Kagerō nikki is such a pleasant change. In addition to the translation proper, Pigeot includes two thoughtful "commentaires" that fully, if not completely, engage the previous scholarship on this and related texts that has appeared in not only French and Japanese, but English and Russian as well. Indeed, their length alone—the two in combination come to over one hundred pages—means that they are the most extended treatment to date of Kagerō in any language other than Japanese. [End Page 137] When speaking with French Japanologists, should the subject of Jacqueline Pigeot come up, one is bound to hear her praised for the quality of her French. Mme Pigeot is a recognized stylist in her own tongue, and it is just such a qualification that led to an invitation to join the Collège de France, an invitation that when she declined it was not offered to any other member of her scholarly cohort. I will therefore not venture to make any comments as to the aesthetic quality of her translation of Kagerō. Instead, I would like to review what Pigeot's work can offer those of us who come to it with research-oriented, "reading knowledge" French. For this reason, I will pay more attention to Pigeot's commentary and her arguments than to the translation itself. The first commentary focuses on the life of Kagerō's author, Michitsuna no Haha , and her epoch, while the second situates Kagerō in the development of Japanese literature, emphasizing its pioneering nature. Especially in English criticism, Michitsuna no Haha and her diary have invited explicitly feminist readings, both through Sonja Arntzen's 1997 translation,5 which aimed for a specifically "feminine" prose style, and through Edith Sarra's Fictions of Femininity.6 As we shall see, Pigeot places her interpretation somewhat in contradistinction to such readings. On the other hand, recent discussions in Japanese and English have endeavored to place Kagerō in its political context, and of this approach as well Pigeot shows herself to be wary. "Commentaire I" starts with the biography of Michitsuna no Haha and what can be told of her life as presented in Kagerō, under such topics as "marriage and conjugal life," "mother and children," "social life," "travels," and "beliefs and skepticism." Interestingly enough, Pigeot's main scholarly interlocutor in this chapter is the American scholar Edith Sarra. The engagement starts when Pigeot, speaking of Kagerō as "unvarnished testimony of the polygamous regime" (p. 210), notes that commentators have attributed women's lack of "serenity" in this system "to sexual frustration, to an insatiable desire for possession, or (let us dare the word) to rejected love" (de la frustration sexuelle, d'un désir...

Il filosofo e il cineasta. Una discussione sull'immagine cinematografica

- Image The present article focuses on two topics underlying the lecture given by Maurice Merleau-Ponty in 1945 at the Institut des Hautes Études Cinématographiques, in Paris. One is the reflection on the peculiarities of filmic expression and cinematic image; the other, the convergence between the inspiration of cinema and that of philosophy, which Merleau-Ponty sees as a significant feature of his time: a convergence which the cinema of the nouvelle vague was also to acknowledge and which Christian Metz was to confirm retrospectively. Moreover, in developing both topics, the author finds a way to interpret Merleau-Ponty's lecture as an undeclared polemical response to Henri Bergson's famous negative judgement on cinema.Key words: Cinematic Image, Gestalt Psychology, Melody, Montage, Perception, Rhythm.Parole chiave: Dinamica di legittimazione, Immagine, Identitŕ, Narrazione, Soggetto, Tempo.

Six ans d’acquisitions nouvelles à la bibliothèque de l’Institut des Hautes Études Chinoises (2001-2006)

Six years of new acquisitions at the library of the Institute for Higher Chinese Studies (Institut des Hautes Études Chinoises) (2001-2006). In the last 15 years, Chinese publishers have produced a growing number of collections, both small and large, bringing together books and documents from the Empire, of which the four largest are taken from the Library of the Four Treasuries compiled at the order of the Qianlong emperor. The Institute for Higher Chinese Studies (Institut des Hautes Études Chinoises) of the Collège de France strives to collect the best out of all these new publications. Shum Wing-Fong and Pierre-Henri Durand have previously written a survey of the publications acquired by the Institute from 1996 to 2000, and they now offer an overview of acquisitions since that time, presenting works whose diversity and importance deserve everyone’s attention.

Figures poétiques japonaises: La genèse de la poésie en chaιne (review)

Reviewed by: Figures poétiques japonaises: La genèse de la poésie en chaιne Aileen Gatten Figures poétiques japonaises: La genèse de la poésie en chaιne. By Sumie Terada. Paris: Collège de France, Institut des Hautes Études Japonaises, 2004. 411 pages. Softcover €23.00. Renga, linked verse, generally calls to mind such fifteenth-century poets as Sōgi and Shōhaku and their magisterial hundred-link sequences. Before them came the poetry and renga rules of Nijō Yoshimoto, and before him the first serious renga gatherings and the pioneering rules of the thirteenth century. And before these, was there linked verse, and if so, how did it come to be? These are the questions addressed by Sumie Terada in her stimulating monograph, the title of which might be translated as "Japanese Poetic Expressions: The Genesis of Linked Verse." The emergence of renga as a genre is usually seen as a thirteenth-century event, and the preceding century or so is considered its formative period. This latter phase is characterized by a more structured, intentional approach to the composition of tanrenga, the thirty-one-syllable, two-link "short renga" that is the earliest form of linked verse, and by the development of kusari, or "chain," renga, the linking of three or more stanzas that gradually developed into the long sequences of later centuries. Terada, however, believes that the roots of renga go far deeper than the late eleventh century: roughly one-third of her study concerns eighth-century prosody with particular relation to Man'yōshū, while the remainder explores the characteristics and rhetorical devices employed in tanrenga throughout the Heian period. In Figures poétiques, Terada analyzes tanka and tanrenga written over this five-hundred-year period in order to reveal the rhetorical "structures" that precede and facilitate the development of linking in mature renga. Figures poétiques thus is concerned less with literary evaluation than poetic structure, rhetoric, and theory. It inquires clearly and in detail into a subject that most scholars of premodern Japanese poetry accept as a given: the grounding of the extraordinary genre of renga on the conventions of tanka, despite substantial formal differences between the two. Terada demonstrates, for example, precisely how and why the practice of sari-kirai (the required switching of subject after a certain number of links) could become a basic feature of renga, and she describes the origins of fushimono, or set topics. Unapologetically scholarly, Figures poétiques assumes its readers have a basic knowledge of tanka and renga and generously illustrates its points with diagrams. Those who meet its challenges will be rewarded by an assured, thorough exploration of the prehistory of renga and of the neglected tanrenga, and will gain added appreciation for the ingenious nature of premodern Japanese poetry. Terada's discussion of eighth-century poetic conventions appears at first glance to cover familiar ground, including explanations of the origin and function of the makurakotoba (our "pillow word," felicitously rendered "mot initiateur" in Figures poétiques) and the jokotoba ("preface," or "motif initiateur"). What is striking about this section, however, is Terada's demonstration of the role played by these well-known devices in preparing the way for linked verse. Among the properties of the jokotoba, for example, is the capacity to link two homophonic but semantically different units. Terada perceives this as an essential device both for tanrenga as practiced from the tenth century on and for linking in general (p. 92). [End Page 536] The analysis of rhetorical devices continues in the final two sections, which are devoted to Heian tanrenga. Terada shows that, like the makurakotoba and other Man'yō conventions, the new rhetorical techniques of early and mid-Heian were vital factors in developing mature linked verse. The kakekotoba ("pivot word," or "motpivot") is seen as the basis of the linking system, creating a unified discourse by placing in correspondence elements belonging to different semantic domains (pp. 198-200); engo ("word association," or "mots associés") are the agents that form a semantic network ensuring cohesion between stanzas; and mitate ("elegant confusion," or "jeu de transfert") is described as a device exploited to introduce thematic change, an...

Bophana: A Cambodian Tragedy

Born in Phnom Penh in 1964, filmmaker Rithy Panh survived the Khmer Rouge regime, but lost his parents, sister, and many other family members as a result of the genocide. In 1979, at age fifteen, he escaped across the Thai border and traveled to France, settling there. At first, he tried to forget his past experiences, refusing to speak Khmer and rejecting all ties with Cambodia; but he found that the only way he could rebuild a life was to face what had happened to his country and himself. In 1985, he enrolled in France's national cinema school, Institut des Hautes Études Cinématographiques. His first documentary won the 1988 Grand Prix du Documentaire at the Festival of Amiens. Since then, he has made over half a dozen award-winning films. His most recent work is S-21, the Khmer Rouge Death Machine, which was shown as an official selection at the 2003 Cannes Film Festival.

Symposium: The Changing Structure of International Law Revisited (Part 3)

The essays published in these pages form part of an ongoing symposium. The Institut des Hautes Études Internationales and the European Journal of International Law convened a conference on ‘The Changing Structure of International Law Revisited’ in March 1997, bringing together a group of European and American scholars to discuss the current state of International law in the light of changes that have occurred, both on doctrinal and practical levels. in recent decades. The symposium identified four areas of investigation: The state between fragmentation and globalization; Is there a hierarchy of norms in international law?; Is international law moving towards criminalization? and; Where does the international community stand? Papers on the first two themes appeared in EJIL volume 8, issues 3 and 4. The remaining part will be published in the next issue of the journal.

Ground states in two-dimensional boson quantum field theory: S. A. Pirogov and Ja. G. Sinai, Institut des Hautes Études Scientifiques, 91440, Bures-sur-Yvette, France

Ground states in two-dimensional boson quantum field theory: S. A. Pirogov and Ja. G. Sinai, Institut des Hautes Études Scientifiques, 91440, Bures-sur-Yvette, France