Chapter 6. “The East I Know”
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Weishi Yuan
Abstract
This chapter analyses the forms of cultural transfer in Richard Wilhelm’s (1873–1930) China travel writings, brought together in The Soul of China (1925), with a specific focus on the transmission of the concept of “soul.” It examines the two-way transmission of this concept between the East and the West. In The Soul of China, Wilhelm created contact zones, which can be understood as a complex entanglement of different mind-sets at the beginning of the twentieth century after a series of social changes in both Germany and China. By means of The Soul of China, Wilhelm was determined to appeal to the influential analytical psychology in Europe and to illustrate the ancient spiritual laws of Chinese philosophy, primarily in response to the prevailing European esoteric movement, as well as to the abandonment of Confucianism in China. Wilhelm’s earlier translation of The Secret of the Golden Flower demonstrated that, in parallel with the soul of the West, there was also a soul of China, which could be understood as consisting of consciousness and unconsciousness. However, part of the soul of China, that element which was shaped by the ancient spiritual laws as found in Wilhelm’s translation of the I Ching, had not yet been discovered or appropriated by the West. Ultimately, the exchange of the concept of soul was mediated by the construal of a traveller-narrator in the contact zones which Wilhelm created in The Soul of China.
Abstract
This chapter analyses the forms of cultural transfer in Richard Wilhelm’s (1873–1930) China travel writings, brought together in The Soul of China (1925), with a specific focus on the transmission of the concept of “soul.” It examines the two-way transmission of this concept between the East and the West. In The Soul of China, Wilhelm created contact zones, which can be understood as a complex entanglement of different mind-sets at the beginning of the twentieth century after a series of social changes in both Germany and China. By means of The Soul of China, Wilhelm was determined to appeal to the influential analytical psychology in Europe and to illustrate the ancient spiritual laws of Chinese philosophy, primarily in response to the prevailing European esoteric movement, as well as to the abandonment of Confucianism in China. Wilhelm’s earlier translation of The Secret of the Golden Flower demonstrated that, in parallel with the soul of the West, there was also a soul of China, which could be understood as consisting of consciousness and unconsciousness. However, part of the soul of China, that element which was shaped by the ancient spiritual laws as found in Wilhelm’s translation of the I Ching, had not yet been discovered or appropriated by the West. Ultimately, the exchange of the concept of soul was mediated by the construal of a traveller-narrator in the contact zones which Wilhelm created in The Soul of China.
Chapters in this book
- Prelim pages i
- Table of contents vii
- Series editor’s preface ix
- Author biographies xi
- Introduction 1
- Chapter 1. Cultural transfer in the French Enlightenment 16
- Chapter 2. Cultural transfer as a performative act in Mary Wollstonecraft’s Letters written during a short residence in Sweden, Norway and Denmark (1796) 35
- Chapter 3. The temporalities of cultural transfer 62
- Chapter 4. Postcolonial images, ambivalence and weak border zones 81
- Chapter 5. Theatre as an engine for German-Swedish cultural transfer in the early twentieth century 104
- Chapter 6. “The East I Know” 135
- Chapter 7. Good migrations? 161
- Chapter 8. Exile, travel narrative and cultural transfer in Négar Djavadi’s Désorientale (2016) 181
- Index 203
Chapters in this book
- Prelim pages i
- Table of contents vii
- Series editor’s preface ix
- Author biographies xi
- Introduction 1
- Chapter 1. Cultural transfer in the French Enlightenment 16
- Chapter 2. Cultural transfer as a performative act in Mary Wollstonecraft’s Letters written during a short residence in Sweden, Norway and Denmark (1796) 35
- Chapter 3. The temporalities of cultural transfer 62
- Chapter 4. Postcolonial images, ambivalence and weak border zones 81
- Chapter 5. Theatre as an engine for German-Swedish cultural transfer in the early twentieth century 104
- Chapter 6. “The East I Know” 135
- Chapter 7. Good migrations? 161
- Chapter 8. Exile, travel narrative and cultural transfer in Négar Djavadi’s Désorientale (2016) 181
- Index 203
