This paper explores a few of the ways that the Zhuang-Zi can inform contemporary analytic epistemology. I begin, in section 1, by briefly outlining and summarizing the case for my fictionalist interpretation of the text. In section 2, I discuss how the Zhuang-Zi can be brought into productive dialogue with the question of how we should respond to skeptical arguments. Specifically, I argue that the Zhuang-Zi can be reasonably interpreted as exemplifying an approach that is different from dominant contemporary responses to skeptical arguments in three ways: (i) it is fictionalist; (ii) it motivates a skeptical perspective rather than a claim; and (iii) it accomplishes its aims in an atypical, but nonetheless contextually appropriate, way. However, the Zhuang-Zi is relevant to contemporary debates about skeptical arguments because it can be used: (i) to respond to the same sorts of skeptical arguments that occupy contemporary commentators; (ii) to address a number of questions that arise in connection with such arguments; and (iii) to suggest important new questions for epistemologists to pursue.
Japanese dry landscape gardens illustrate important ways in which aesthetics and ethics are thought to be intertwined in “non‐Western” artistic traditions, especially with respect to the natural world. The article also explains how these relations between aesthetics and ethics can be brought into dialogue with discussions of personal ideals in Anglo‐analytic aesthetics and ethics (particularly environmental aesthetics and ethics).
Doubt (especially self-doubt) is often considered to be an enemy of creativity. But, might it be its friend, too? We see, in the Zhuangzi (a fourth century BCE Daoist philosophical classic), a number of explorations that point toward an interesting affirmative answer to this question. To explain how the text can be interpreted as suggesting such an answer, this paper proceeds in two parts. First, in section one, I clarify what is meant by “doubt” for the purposes of this paper, as well as several ways in which it can be directed toward its relevant target: entire perspectives (rather than merely individual propositions or sets of propositions). Following that, in section two, I outline a conception of creativity suggested by aspects of the Zhuangzi, and explain how doubt (in the sense discussed in section one) can engender creativity (in the sense discussed in section two), as well as a few reasons that this matters. I then close by briefly discussing two caveats.
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