Krzysztof Fijalkowski

An exploration of what it means when we say something is beautiful. Bringing together ideas of beauty from both Eastern and Western philosophy, François Jullien challenges the assumptions underlying our commonly agreed-upon definition of what is beautiful and offers a new way of beholding art. Jullien argues that the Western concept of beauty was established by Greek philosophy and became consequently embedded within the very structure of European languages. And due to its relationship to language, this concept has determined ways of thinking about beauty that often go unnoticed or unchecked in discussions of Western aesthetics. Moreover, through globalization, Western ideals of beauty have even spread to cultures whose ancient traditions are based upon radically different aesthetic foundations; yet, these cultures have adopted such views without question and without recognizing the cultural assumptions they contain. Looking specifically at how Chinese texts have been translated into Western languages, Jullien reveals how the traditional Chinese refusal to isolate or abstract beauty is obscured in translation in order to make the works more understandable to Western readers. Creating an engaging dialogue between Chinese and Western ideas, Jullien reassesses the essence of beauty.

This volume asks poignant questions about what it means to be alive and inhabit the present. Living holds us between two places. It expresses what is most elementary—to be alive—and the absoluteness of our aspiration—finally living! But could we desire anything other than to live? In The Philosophy of Living, François Jullien meditates on Far Eastern thought and philosophy to analyze concepts that can be folded into a complete philosophy of living, including the idea of the moment, the ambiguity of the in-between, and what he calls the “transparency of morning.” Jullien here develops a strategy of living that goes beyond morality and dwells in the space between health and spirituality.

This new English translation of François Jullien’s work is a compelling summation of his thinking on the comparison between Western and Chinese thought. The title, From Being to Living, summarises his essential point: that western thinking is obsessed by – and determined as well as limited by – the notion of Being, whereas traditional Chinese thought was always situated in Living. Organized as a lexicon around some 20 concepts that juxtapose Chinese and Western thought, Jullien explores the ways the two have historically evolved, and how many aspects of Chinese thought developed in complete isolation from the West, revealing a different way of relating to the world. Translated by Michael Richardson and Krzysztof Fijalkowski, this text explores Chinese thinking and language in order to excavate elements from them that reveal the fault lines of western thinking. This is an important book for students, scholars and practitioners alike across the Social Sciences.

This new English translation of François Jullien’s work is a compelling summation of his thinking on the comparison between Western and Chinese thought. The title, From Being to Living, summarises his essential point: that western thinking is obsessed by – and determined as well as limited by – the notion of Being, whereas traditional Chinese thought was always situated in Living. Organized as a lexicon around some 20 concepts that juxtapose Chinese and Western thought, Jullien explores the ways the two have historically evolved, and how many aspects of Chinese thought developed in complete isolation from the West, revealing a different way of relating to the world. Translated by Michael Richardson and Krzysztof Fijalkowski, this text explores Chinese thinking and language in order to excavate elements from them that reveal the fault lines of western thinking. This is an important book for students, scholars and practitioners alike across the Social Sciences.

Surrealism and Photography in Czechoslovakia: On the Needles of Days sheds much-needed light on the location of the greatest concentration of Surrealist photography and examines the culture and tradition within which it has taken root and flourished. The volume explores a rich and important artistic output, very little of which has been seen outside of its land of origin. Based on extensive research at museums in Prague and Brno and many conversations with participants in and historians of the movement, Krzysztof Fijalkowski, Michael Richardson and Ian Walker analyse how this photographic work has developed cohesively and rigorously, from the beginnings of Czech Surrealism in 1934, to the intriguing researches of the present-day Czech and Slovak Surrealist group by way of mysterious veiled responses to the repressive contexts with which they were faced from the 1950s to the 1980s. The main chapters, ordered chronologically, are intersected with shorter texts examining specific works. The reader will find in this volume images that present challenges to our understanding of how photographic work has been used within surrealism, pinpointing individual pictures whose dynamic charge may induce instants of compelling interrogation and disruption.

Surrealism and Photography in Czechoslovakia: On the Needles of Days sheds much-needed light on the location of the greatest concentration of Surrealist photography and examines the culture and tradition within which it has taken root and flourished. The volume explores a rich and important artistic output, very little of which has been seen outside of its land of origin. Based on extensive research at museums in Prague and Brno and many conversations with participants in and historians of the movement, Krzysztof Fijalkowski, Michael Richardson and Ian Walker analyse how this photographic work has developed cohesively and rigorously, from the beginnings of Czech Surrealism in 1934, to the intriguing researches of the present-day Czech and Slovak Surrealist group by way of mysterious veiled responses to the repressive contexts with which they were faced from the 1950s to the 1980s. The main chapters, ordered chronologically, are intersected with shorter texts examining specific works. The reader will find in this volume images that present challenges to our understanding of how photographic work has been used within surrealism, pinpointing individual pictures whose dynamic charge may induce instants of compelling interrogation and disruption.