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Writing as Weaving: Intertextuality ...

Zurn, Tobias Benedikt.

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Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way./
Author:	Zurn, Tobias Benedikt.
Description:	387 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
Contained By:	Dissertation Abstracts International78-01A(E).
Subject:	Asian studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10155738
ISBN:	9781369108088

Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way.
Zurn, Tobias Benedikt.

Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way. - 387 p.

Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2016.

My dissertation "Writing as Weaving: Intertextuality and the Huainanzi's Self-Fashioning as an Embodiment of the Way" re-evaluates the current treatment of the Huainanzi, a text that Liu An, the king of Huainan, presumably presented in 139 BCE at his inaugural visit to his nephew Emperor Wu, as a collection of philosophical treatises. It showcases how the authors of this highly intertextual scripture fashioned the text as a powerful manifestation of the Way (dao). In the first part of the dissertation, I demonstrate that the Huainanzi employs at least the three images of a tree's root, a chariot wheel's hub, and a weaving texture that are commonly associated with the cosmos and the power of the Dao to create a homology between the Liu clan's scripture, the sage, and the Way. Hence, I propose that the authors of the Huainanzi apparently fashioned the text in image of the force that underlies the organization of the universe. In the second part of the dissertation, I demonstrate with the example of weaving that the Huainanzi does not only contain passages that depict the text in homological terms with the Way. Based on a perceived correlation of the practices of writing and weaving during the Han dynasty, I suggest that the producers of the Huainanzi in fact implemented the cosmic process of weaving in the scripture's design and intertextual writing practice. In other words, by inserting and connecting various traces of the words of pre-Han writers in its texture, the Liu clan's scripture presents itself both as being in image and as an embodiment of the Way and its powers---of the very force that connects and weaves together the celestial patterns and terrestrial forms into a cosmic texture. Consequently, I finally speculate that the authors of the Huainanzi might have created the Liu clan's scripture in image and as an embodiment of the Way in order to produce a textual artifact that belongs to the universally resonating category of the Dao, which underlies the order and orchestration of the universe.

ISBN: 9781369108088Subjects--Topical Terms:

1571829
Asian studies.

Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way.
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245 1 0 $a Writing as Weaving: Intertextuality and the "Huainanzi's" Self-Fashioning as an Embodiment of the Way.
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500 $a Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
500 $a Advisers: Mark Meulenbeld; Mark Csikszentmihalyi.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2016.
520 $a My dissertation "Writing as Weaving: Intertextuality and the Huainanzi's Self-Fashioning as an Embodiment of the Way" re-evaluates the current treatment of the Huainanzi, a text that Liu An, the king of Huainan, presumably presented in 139 BCE at his inaugural visit to his nephew Emperor Wu, as a collection of philosophical treatises. It showcases how the authors of this highly intertextual scripture fashioned the text as a powerful manifestation of the Way (dao). In the first part of the dissertation, I demonstrate that the Huainanzi employs at least the three images of a tree's root, a chariot wheel's hub, and a weaving texture that are commonly associated with the cosmos and the power of the Dao to create a homology between the Liu clan's scripture, the sage, and the Way. Hence, I propose that the authors of the Huainanzi apparently fashioned the text in image of the force that underlies the organization of the universe. In the second part of the dissertation, I demonstrate with the example of weaving that the Huainanzi does not only contain passages that depict the text in homological terms with the Way. Based on a perceived correlation of the practices of writing and weaving during the Han dynasty, I suggest that the producers of the Huainanzi in fact implemented the cosmic process of weaving in the scripture's design and intertextual writing practice. In other words, by inserting and connecting various traces of the words of pre-Han writers in its texture, the Liu clan's scripture presents itself both as being in image and as an embodiment of the Way and its powers---of the very force that connects and weaves together the celestial patterns and terrestrial forms into a cosmic texture. Consequently, I finally speculate that the authors of the Huainanzi might have created the Liu clan's scripture in image and as an embodiment of the Way in order to produce a textual artifact that belongs to the universally resonating category of the Dao, which underlies the order and orchestration of the universe.
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