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Research on Mou Zongsan’s Thoughts on Ethical Aesthetics
No full textTo implement the aesthetic thought of Mou Zongsan (1905-1995) in the history of modern Chinese aesthetics, it is necessary to start from the metaphysical structure of the realm and the form of his subjectivity, and at the same time rely on the enrichment and establishment of the inner “moral mind subject”. This is the modern continuation of Lu Wang's philosophy of “mind is reason” and “mind and matter are one body”. The realization of beauty in Mou Zongsan’s philosophy is that the highest realization of “freedom” and “integration” ultimately needs to rely on the theory of “Perfect Teaching” (gongfu) in Chinese philosophy, which is determined by the structural characteristics of Chinese philosophy. Mou Zongsan believes that all three schools of Chinese philosophy believe that people have the ability of “intellectual intuition”, that is, the ability to intuitively understand “things themselves” in the Kantian sense. From Mou Zongsan's perspective, judgment in the Kantian sense is only a symbol of virtue, a “grafting” of the relationship between truth, goodness, and beauty, not a fundamental integration. The reason is that Kant only admits that people have perceptual intuition and does not admit that people have “intellectual intuition”. Kant uses epistemology to unify aesthetics and cannot restore the “formless” nature of aesthetic reality. Therefore, aesthetic judgment can only be based on sensibility and intelligence. It oscillates within categories and, at the same time, as a “theosophical design,” is caught in an epistemological antinomy. “Intellectual intuition”, as a comprehensive intuition of ontology and phenomena, is very consistent with the aesthetic characteristics of Eastern life aesthetics. Therefore, it has become synonymous with Mou Zongsan’s ethics and has gradually shown its aesthetic characteristics. Since Kant’s formal ethics expels moral emotions in moral practice, only absolute moral imperatives remain in Kant’s practical reason. On the other hand, because behind the purpose of aesthetic judgment is God’s design, aesthetic judgment starts from aesthetic pleasure, but ultimately leads only to the theological emotion of “arranging the world in an orderly manner.” Mou Zongsan believes that the transcendent principle of ethics includes, in addition to rational imperatives, a pleasurable moral emotion towards practical moral laws. This moral emotion is not empirical, but has an ontological and transcendent meaning. With this kind of “ontological awareness”, moral practice can eliminate the “tension”; the sense of oppression and the existence of phenomena are mutually inherent and mutually conditioned, and further rise to the final and harmonious aesthetic realm where “beauty” lies. The place is neither “forgetting” nor “escape” nor “catharsis”. It is the “principle of living and breathing” that is endless. The aesthetic characteristics of Mou Zongsan’s “moral metaphysics” determine it to become a unique form in the history of modern Chinese aesthetics.
The deduction of the Confucian moral order, which is the order of existence of the universe, and the strange and wonderful uses of Taoist “xuanzhi” and Buddhist “empty wisdom” show Mou Zongsan’s unique wisdom in the integration of nature and freedom. The Confucian mind knows the “formless perfect spirit” of the blurred unity of things, the Taoist “not one and the same” of existence and non-existence are one, traces of darkness and harmony, and the Buddhist “one thought of the unexplained dharma nature” is the same entity of emptiness and multiplication. Multiplication is the highest perfection of ethical aesthetics: the aesthetics of perfect goodness. Mou Zongsan develops a critical dimension in the face of the rampant tendency of flatness, decentralization and the prevalence of nihilism in contemporary thought and culture. His aesthetics re-establishes the relationship between “beauty” and sacredness. Based on the contrast of Aesthetic Education and Personality, Mou Zongsan used ethical aesthetics to reverse “aesthetic religion” and return from the freedom of “artistic subject” to the freedom of “moral subject”. Mou Zongsan further promoted the development of life aesthetics with the aesthetics of “perfect goodness”. Mou Zongsan’s aesthetics is also an aesthetic spirit and “ethical healing”.
This dissertation is divided into four chapters, the contents of which are as follows:
The introduction part introduces the significance of Mou Zongsan’s philosophy in modern Chinese philosophy and describes the process of the formation of Mou Zongsan’s aesthetics within this philosophical framework. This dissertation briefly summarizes the development direction and main characteristics of Chinese aesthetics since modern times, and explains the possible contribution and future direction of Mou Zongsan’s aesthetics in this development process.
The first section of Chapter 1 introduces Mou Zongsan’s evaluation of Western humanism, thereby outlining the lack of “moral mental subject” in the development of Western humanism, and expounding on the role of the moral subject of Western humanism established by Kant and Hegel in enriching the inner life of Western culture. In the development process of the history of Western aesthetics, the significance of “beauty” in improving and enriching inner life was not discovered until Kant, Schiller and other classical aesthetic masters. Mou Zongsan’s conclusion on the development of Western humanism is equally applicable when elaborating on the development of the history of Western aesthetics. Mou Zongsan’s transformation of Kant’s aesthetics is precisely an opportunity to make up for the missing dimension in the history of Western aesthetics from the perspective of Chinese aesthetics. Section 2 introduces the criticism of aesthetic judgment as a justification of cognitive ability in Kant’s philosophy. Mou Zongsan criticized the relationship between aesthetic judgment and teleology, and the establishment of universality in aesthetics with the help of aesthetic common sense. Mou Zongsan shows the criticism of the loopholes in the logical structure of epistemological aesthetics. The third section introduces the origin and characteristics of traditional Chinese aesthetics included in Mou Zongsan’s aesthetics: “sentiment” and “wandering around things”. These qualities are based on mind-body perception and aesthetic realm. At the same time, it compares the similarities and differences between the sublime beauty of the West and the “fulfilling beauty” of the East and demonstrates that Mou Zongsan affirms people’s intellectual intuition.
The second chapter explores the philosophical foundation of Mou Zongsan’s establishment of the principle of aesthetic transcendence. Mou Zongsan’s aesthetics is based on the direct penetration of the creativity of heaven into the world of existence. The first section discusses the realm of the metaphysical structure and subjective philosophical characteristics of Mou Zongsan’s philosophy. The mind and matter are integrated, and its main characteristic is that its essence is gongfu. The second section introduces and explains Mou Zongsan’s understanding of the creative nature of “the way of heaven” and his theoretical creation of the integration of the way of heaven and nature on the objective side, and the mind and body on the subjective side. It also discusses the differences between several other mind-body practice theories and Mou Zongsan’s methodology, clarifying the uniqueness of Mou Zongsan’s methodology. The third section introduces the two-layer ontological structure of Mou Zong’s three-mind theory: the “ontology of persistence” of the finite mind and the “ontology of non-attachment” of the infinite mind. The two-layer structure of apparent coexistence ensures the possibility of connecting the two worlds of nature and freedom.
On the other hand, Mou Zongsan intends to break the isolation between Kant’s “things themselves” and the phenomenal world. Mou Zongsan believes that “things themselves” should not be a negative setting, and Kant’s negative limitation on it in pure reason does not affect the presentation of “things themselves” in practical rationality. The transformation of the value meaning of “things themselves” is a way to make the two realms of ontology and phenomenon intrinsic to each other and open up to each other. Section 4 introduces the main gongfu theories in Mou Zongsan’s philosophy. Gongfu theory is an inevitable requirement and core issue of practical philosophy. Mou Zongsan’s gongfu theory adopts the ontological gongfu of the unity of mind and nature and the sudden teaching gongfu of “counter-awareness and realization”.
The third chapter discusses the core issues of Mou Zongsan’s aesthetics. This part is the concentrated expression of Mou Zongsan’s aesthetic thoughts. The first section discusses the core concept of Mou Zongsan’s aesthetics: “intellectual intuition” Confucianism is a comprehensive intuition of the “round and divine” benevolence; Taoism is a comprehensive intuition of “xuanzhao” and “Uncanny”; and Buddhism is the land of “annihilation” where all laws are based on “non-dwelling”. The “intellectual intuition” of the three schools all penetrates the phenomenal world and the ontological world, embodying the beauty of “wonderful wisdom” in the interdependent relationship between “nature” and “freedom”. Since Mou Zongsan believes that Confucianism’s “intellectual intuition” is creative in the true sense, the structure of the three schools was “Confucianism as the mainstay, Taoism and Buddhism on the side.”
On the other hand, Mou Zongsan made separate statements on the three categories of truth, goodness and beauty. The realm of “truth” is the knowledge principles and concepts of the world based on perceptual and intellectual categories, and the realm of “goodness” is the obedience of free will (“xingti” in Chinese philosophy) to moral imperatives. The field of “beauty” is the state of “joy” and “leisure” in the intuitive process of integrating the two. In the field of “beauty”, the Taoist artistic realm of “self-appreciation” and “reflective judgment” is an important branch. Buddhist Zen and Hinayana also have their literary expressions. At the same time, “genius heroes” and “integrity” in secular society, the scholar also fully demonstrates a “comprehensive exhausting spirit” and “sublime beauty”. However, the reason why these aesthetic feelings are placed in the beauty of “differentiation theory” is because they do not have the transcendent “spiritual spirit” to complete the highest unity and enter the beauty of ontology.
The theory of perfect goodness is the ultimate solution to Mou Zongsan’s relationship with natural freedom. It is also the final presentation of the beauty of “perfection.” Mou Zongsan replaced Kant’s three postulates on the issue of “the highest good” with the Confucian “longitudinal teaching” and the Taoist and Buddhist “unconventional means” and other perfect teaching techniques: “God exists”, “Immortality of the soul”, “Free will”. The “roundness” of the body cuts off the progress of modernity, and is the joy of entering the ontological world in a leap from the limited moral practice of an instant. It is a gustatory method of perceiving the integration of mind and body.
The last section discusses ontological awareness and “heavenly happiness”, which is the emotional basis of ethical aesthetics. The first section discusses the original emotion “Hui Gen Jue Qing” in Mou Zongsan’s system that is different from the Christian theological emotion. The second section discusses the attitudes of several main types of ethics towards moral emotions and the morality among these different types of ethics. It clarifies the importance of placing moral emotions in the ontological position in Mou Zongsan’s theory. The third section uses Scheler’s criticism of the shortcomings of Kant’s formal ethics to show that the perception of moral emotions has innate attributes, and demonstrates the rationality of Mou Zongsan’s ontological meaning of “awareness of emotion”. At the same time, the Taizhou School’s “Le Xue Ge” is used to illustrate the distinction between “Natural Optimism” and Scheler’s “Emotional Innateism”.
Chapter 4 discusses the significance of Mou Zongsan’s ethical aesthetics to the establishment of “the sacredness of the world” in contemporary culture. In the current cultural circle where “flatness” and “decentralization” tend to be obvious, the boundaries between beauty and pleasure are gradually shrinking, and many people have gradually forgotten the possibility of “transcendence” in beauty (the “sense of freedom” in the Kantian sense). Mou Zongsan’s construction of “worldly transcendence” in ethical aesthetics is a reflection on the contemporary ideological culture and aesthetic culture at this level. Mou Zongsan’s critical stance on Sartre and Heidegger shows his persistence in the “essentiality” and “transcendence” dimensions of human beings in the field of modern thought.Om de esthetische gedachte van Mou Zongsan (1905-1995) in de geschiedenis van de moderne Chinese esthetiek te implementeren, is het noodzakelijk om uit te gaan van de metafysische structuur van het domein en de vorm van zijn subjectiviteit, en tegelijkertijd te vertrouwen op de verrijking en vestiging van het innerlijke ‘morele geestsubject’. Dit is de moderne voortzetting van Lu Wangs filosofie van “geest is rede” en “geest en materie zijn één lichaam”. Het besef van schoonheid in de filosofie van Mou Zongsan is dat de hoogste realisatie van ‘vrijheid’ en ‘integratie’ uiteindelijk moet steunen op de theorie van de ‘Perfecte Doctrine’ (gongfu) in de Chinese filosofie, die wordt bepaald door de structurele kenmerken van de Chinese filosofie. Mou Zongsan gelooft dat alle drie de scholen van de Chinese filosofie geloven dat mensen het vermogen hebben van ‘intellectuele intuïtie’, dat wil zeggen het vermogen om ‘de dingen zelf’ intuïtief te begrijpen in de kantiaanse zin. Vanuit het perspectief van Mou Zongsan is oordeel in de kantiaanse zin slechts een symbool van deugd, een ‘enten’ van de relatie tussen waarheid, goedheid en schoonheid, en niet een fundamentele integratie. De reden is dat Kant alleen toegeeft dat mensen perceptuele intuïtie hebben en niet toegeeft dat mensen ‘intellectuele intuïtie’ hebben. Kant gebruikt epistemologie om de esthetiek te verenigen en kan de ‘vormloze’ aard van de esthetische werkelijkheid niet herstellen. Daarom kan een esthetisch oordeel alleen gebaseerd zijn op gevoeligheid en intelligentie. Ze oscilleert binnen categorieën en is tegelijkertijd als ‘theosofisch ontwerp’ gevangen in een epistemologische antinomie. ‘Intellectuele intuïtie’, als een alomvattende intuïtie van ontologie en verschijnselen, komt sterk overeen met de esthetische kenmerken van de oosterse levensesthetiek. Daarom is ze synoniem geworden met de ethiek van Mou Zongsan en heeft ze geleidelijk haar esthetische kenmerken getoond. Omdat Kants formele ethiek morele emoties uit de morele praktijk verdrijft, blijven in Kants praktische rede alleen absolute morele imperatieven over. Aan de andere kant, omdat achter het doel van het esthetisch oordeel Gods ontwerp schuilgaat, gaat het esthetische oordeel uit van esthetisch genot, maar leidt het uiteindelijk alleen maar tot de theologische emotie van ‘het ordenen van de wereld op een ordelijke manier’. Mou Zongsan gelooft dat het transcendente principe van ethiek, naast rationele imperatieven, een plezierige morele emotie ten opzichte van praktische morele wetten omvat. Deze morele emotie is niet empirisch, maar heeft een ontologische en transcendente betekenis. Met dit soort ‘ontologisch bewustzijn’ kan de morele praktijk de ‘spanning’ elimineren; het gevoel van onderdrukking en het bestaan van verschijnselen zijn wederzijds inherent en wederzijds geconditioneerd, en stijgen verder naar het uiteindelijke en harmonieuze esthetische rijk waar ‘schoonheid’ ligt. De plaats is noch ‘vergeten’, noch ‘ontsnapping’, noch ‘catharsis’. Het is het ‘principe van leven en ademen’ dat eindeloos is. De esthetische kenmerken van Mou Zongsans ‘morele metafysica’ zorgen ervoor dat ze een unieke vorm wordt in de geschiedenis van de moderne Chinese esthetiek.
De afgeleide van de confucianistische morele orde, die de bestaansorde van het universum is, en het vreemde en prachtige gebruik van taoïstische ‘xuanzhi’ en boeddhistische ‘lege wijsheid’ tonen de unieke wijsheid van Mou Zongsan in de integratie van natuur en vrijheid. De confucianistische geest kent de ‘vormloze volmaakte geest’ van de vage eenheid van dingen, de taoïstische ‘niet één en dezelfde’ van bestaan en niet-bestaan is één, sporen van duisternis en harmonie, en de boeddhistische ‘één gedachte van de onverklaarde dharma-natuur” is dezelfde entiteit van leegte en vermenigvuldiging. Vermenigvuldiging is de hoogste perfectie van ethische esthetiek: de esthetiek van perfecte goedheid. Mou Zongsan ontwikkelt een kritische dimensie in het licht van de ongebreidelde tendens van vlakheid, decentralisatie en de prevalentie van nihilisme in het hedendaagse denken en de cultuur. Zijn esthetiek herstelt de relatie tussen ‘schoonheid’ en heiligheid. Gebaseerd op het contrast tussen esthetische opvoeding en persoonlijkheid, gebruikt Mou Zongsan ethische esthetiek om de ‘esthetische religie’ om te keren en terug te keren van de vrijheid van het ‘artistieke subject’ naar de vrijheid van het ‘morele subject’. Mou Zongsan promoot de ontwikkeling van de levensesthetiek verder met de esthetiek van ‘perfecte goedheid’. De esthetiek van Mou Zongsan is ook een esthetische geest en ‘ethische genezing’.
Dit proefschrift is verdeeld in vier hoofdstukken, waarvan de inhoud als volgt is:
Het inleidende deel introduceert de betekenis van Mou Zongsans filosofie in de moderne Chinese filosofie en beschrijft het proces van de vorming van Mou Zongsans esthetiek binnen dit filosofische raamwerk. Dit proefschrift vat kort de ontwikkelingsrichting en belangrijkste kenmerken van de Chinese esthetiek sinds de moderne tijd samen, en legt de mogelijke bijdrage en toekomstige richting van Mou Zongsans esthetiek in dit ontwikkelingsproces uit.
Het eerste deel van hoofdstuk 1 introduceert Mou Zongsans evaluatie van het westerse humanisme, waarbij hij het gebrek aan een ‘moreel mentaal subject’ in de ontwikkeling van het westerse humanisme schetst, en de rol uiteenzet van het morele subject van het westerse humanisme dat door Kant en Hegel werd gecreëerd bij het verrijken van het innerlijke leven van de westerse cultuur. In het ontwikkelingsproces van de geschiedenis van de westerse esthetiek werd de betekenis van ‘schoonheid’ bij het verbeteren en verrijken van het innerlijke leven pas ontdekt door Kant, Schiller en andere klassieke esthetische meesters. Mou Zongsans conclusie over de ontwikkeling van het westerse humanisme is eveneens van toepassing als hij dieper ingaat op de ontwikkeling van de geschiedenis van de westerse esthetiek. Mou Zongsans transformatie van Kants esthetiek is precies een kans om de ontbrekende dimensie in de geschiedenis van de westerse esthetiek vanuit het perspectief van de Chinese esthetiek goed te maken. Het tweede deel introduceert de kritiek op het esthetisch oordeel als rechtvaardiging van cognitieve vaardigheden in Kants filosofie. Mou Zongsan bekritiseert de relatie tussen esthetisch oordeel en teleologie, en het vestigen van universaliteit in de esthetiek met behulp van esthetisch gezond verstand. Mou Zongsan toont de kritiek op de mazen in de logische structuur van de epistemologische esthetiek. Het derde deel introduceert de oorsprong en kenmerken van de traditionele Chinese esthetiek, opgenomen in de esthetiek van Mou Zongsan: ‘sentiment’ en ‘ronddwalen in de dingen’. Deze kwaliteiten zijn gebaseerd op de perceptie van lichaam en geest en op het esthetische domein. Tegelijkertijd vergelijkt het de overeenkomsten en verschillen tussen de sublieme schoonheid van het Westen en de ‘vervullende schoonheid’ van het Oosten en toont het aan dat Mou Zongsan de intuïtie van wijsheid van mensen bevestigt.
Het tweede hoofdstuk onderzoekt de filosofische basis van Mou Zongsans vaststelling van het principe van esthetische transcendentie. De esthetiek van Mou Zongsan is gebaseerd op de directe penetratie van de creativiteit van de hemel in de wereld van het bestaan. Het eerste deel bespreekt het domein van de metafysische structuur en subjectieve filosofische kenmerken van de filosofie van Mou Zongsan. De geest en de materie zijn geïntegreerd, en het belangrijkste kenmerk ervan is dat de essentie ervan gongfu is. Het tweede deel introduceert en verklaart Mou Zongsans begrip van de creatieve aard van ‘de weg van de hemel’ en zijn theoretische creatie van de integratie van de weg van de hemel en de natuur aan de objectieve kant, en de geest en het lichaam aan de subjectieve kant. Het bespreekt ook de verschillen tussen verschillende andere theorieën over de praktijk van lichaam en geest en de methodologie van Mou Zongsan, waardoor het unieke karakter van de methodologie van Mou Zongsan wordt verduidelijkt. Het derde deel introduceert de tweeledige ontologische structuur van Mou Zongsans theorie van de drie geesten: de ‘ontologie van volharding’ van de eindige geest en de ‘ontologie van niet-gehechtheid’ van de oneindige geest. De tweeledige structuur van schijnbare coëxistentie zorgt voor de mogelijkheid om de twee werelden van natuur en vrijheid met elkaar te verbinden.
Aan de andere kant wil Mou Zongsan het isolement tussen Kants ‘dingen zelf’ en de fenomenale wereld doorbreken. Mou Zongsan is van mening dat ‘de dingen zelf’ geen negatieve setting mogen zijn, en Kants negatieve beperking daarop in de p
Bergera kwangsiensis F. J. Mou 2023, comb. nov.
No full textBergera kwangsiensis (C.C.Huang) F.J.Mou, comb. nov. urn:lsid:ipni.org:names:77314675-1 Fig. 8 Clausena kwangsiensis C.C.Huang, Acta Phytotaxonomica Sinica 8 (1): 90 (Huang 1959). – Murraya kwangsiensis (C.C.Huang) C.C.Huang, Acta Phytotaxonomica Sinica 16 (2): 85 (Huang 1978). – Type: CHINA • Guangxi, Baise, Baiguoshan; alt. 830 m; R.C. Ching 7667; holotype: PE[00022500] image!; isotype: NAS[NAS00404843] image!. Etymology The specific epithet is derived from the type locality, Guangxi in China. Material examined CHINA • Guangxib Province; 5 Sep. 1928; R. C. Ching 7667; NAS image! • 1958; Nanning Institute of traditional Chinese Medicine 11744; GXMG! • 1960; Nanning Institute of traditional Chinese Medicine 11758; GXMG! • 1964; Y.X. Gan 68238; GXMG! • 8 Jun. 1983; J. Y. Luo & J. X. Ling 76250; GXMI! • 17 Dec. 1985; L. Ou & A. N. Mo 000748; GXMI! • 25 Sep. 1990; D. Fang & L. Zeng 169; GXMI! • Shanglin, Mushan; 9 Jun. 2014; J. B. Teng et al. 450125140609023 LY; GXMG! • Long’an, Chengxiang; 19 Jan. 2013; Long’an General Expedition 450123130119033 LY; IBK! • 9 Nov. 2013; Long’an General Expedition 450123130119033 LY; GXMG! • 25 Jun. 2014; Long’an General Expedition 450123140625098 LY; IBK!, GXMG! • Nanwei; 3 Dec. 2012; Long’an General Expedition 450123121203008 LY; IBK!, GXMG! • Dujie; 6 Nov. 2013; Long’an General Expedition 450123130116012 LY; IBK!, GXMG! • 27 Jun. 2014; Long’an General Expedition 450123140627072 LY; IBK!, GXMG! • Pinshan, Longhushan; 24 Jul. 2013; Long’an General Expedition 450123130724004 LY; IBK! • Longhushan; 13 Oct. 1981; Expedition 11321; GXMG! • 11 May 2008; Guangxi Expedition of Chinese Plant Combination 0162; IBK! • Xinguang; 12 Nov. 2011; J. C. Yang & Y. B. Liao LH 1316; IBK! • Yali; 22 Nov. 2011; J. C. Yang & Y. B. Liao LH 1765; IBK! • Wuming; 23 Jun. 1955; Guangxi Team 528; PE image! • 16 Dec. 1991; B. S. Huang 22767; GXMI! • Tengxiang; Jun. 1970; S. Q. He s.n.; IBK! • Taiping; 29 Jan. 1975; J. J. Wang 6578; GXMI! • 21 Jul. 1985; Q. Li 166; SYS! • 14 Nov. 1985; Q. Li 173; SYS! • Chengxiang; 12 Decembr 2013; J. B. Teng et al. 450122131212004 LY; GXMG! • Ningwu; 14 Jul. 2010; K. J. Yan 22707; GXMI! • 19 Nov. 2014; J. B. Teng et al. 450122141119007 LY; GXMG! • Yongning; 26 Jul. 1958; S. Q. Zhong A62018; KUN!, IBK! • 16 Sep. 1964; J. Q. Ge & Y. Wang 17638; GXMI! • Dingtun; 20 Jul. 1985; Q. Li 167; SYS! • Chongzuo, Heping; 13 Nov. 1997; D. R. Liang & B. S. Huang 02570; GXMI! • Ningming; 14 Dec. 1977; G.D. Guo 15489; HITBC! • Nongrui; 29 Apr. 1980; Nonggang Comprehensive Expedition 11881; IBK! • 26 Jul. 2011; Y. S. Huang & Y. B. Liao NM1369; IBK! • 30 May 2013; B. Y. Huang et al. 451422130530024 LY; GXMG! • Tuolong; 8 Dec. 2012; H. Z. Lü et al. 451422121208075 LY; GXMG! • Tingliang; 2 Nov. 2013; H. Z. Lü et al. 451422131102031 LY; GXMG! • Chengzhong; 26 Dec. 2012; B. Y. Huang et al. 451422141226027 LY; GXMG! • 4 Nov. 2013; H. Z. Lü et al. 451422131104016 LY; GXMG! • Longzhou, Jinlong; 3 Jul. 1960; C. J. Liang 21533; GXMI! • Shangjin; 31 Oct. 1979; Nonggang Comprehensive Expedition 20565; GXMI! • 17 Aug. 1989; K. J. Yan & W. Y. Rao 76364; GXMI! • Nonggang, Nonghu; 24 Sep. 1979; Nonggang Comprehensive Expedition 10310; IBK! • Shida; 5 Oct. 1979; Nonggang Comprehensive Expedition 10790; IBK! • Pingxiang, Xiashi; 21 Dec. 1959; X. F. Deng 10670; IBK! • Xiangshui; 8 Jun. 1979; Investigation team of Longzhou Medical Institute 0024; GXMI! • 14 Jun. 1979; Investigation team of Longzhou Medical Institute 0264; GXMI! • 30 Dec. 1986; Y. P. Tao 80172; GXMI! • Daxin, Taiping, Anmin; 21 Jun. 1977; Y. Z. Zhang Da-127; GXMI! • Longlin; 15 Apr. 1979; S. Q. Lin & M. F. Qin 2132; IBK! • Youjiang, Banshui; 18 Jul. 2014; Youjiang General Expedition 451002140718024 LY; GXMG! • Jinxi, Kuiwei, Dezhou; 11 Oct. 2013; X. Y. Huang et al. 451025131011014 LY; GXMG! • Napo Dingye; 20 Jun. 2010; Y. F. Huang & J. Huang HYF0165; GXMG! • Yunnan Province, Funing, Bo’ai; 21 Oct. 1958; H. T. Tsai 8813; KUN! • Guichao; 4 Mar. 2007; F. J. Mou 75, 77; IBSC! • Guichao; 20 Jul. 2007; F. J. Mou 140; IBSC! • 19 Sep. 2016; F. J. Mou 528; SWFC! • Wenshan, Xishan; 14 Oct. 1958; H. T. Tsai 8444; KUN! • Mengla, Menglun, cultivated; 3 Feb. 2007; F. J. Mou 41, 42; IBSC!. Description Shrub, 1–2 m tall. Leaves are 3–11-foliolate, 3–10 × 2.5–6.5 cm; rachises and petiolules covered with soft hairs; leaflet blades alternate, ovate-oblong, coriaceous, dispersively oil-glandular, dark green and shining adaxially and yellowish green abaxially, lower surface covered densely with white soft hairs abaxially, apex obtuse to rounded, margin crenulate; petiolules 2–3 mm. Inflorescences are terminal. Flowers are 5-merous, ellipsoid in bud; sepals broadly ovate, ca 1 mm; petals ca 4 mm, dispersing oil glands. Stamens are 10; filaments flat and widening down; filaments and anthers ciliate. Ovaries are oblong, as long as styles; stigmas not prominent. Fruits are globose, ca 1 cm in diam., and red when ripe. Phenology Flowering between June and July, while fruiting from October to November. Distribution and habitat China: Guangxi (Longzhou, Ningming, Wuming, Yongning, Fushui, and Baise), Yunnan (Wenshan and Funing); Vietnam: Quỳ Chau. Growing in the shrub or forestry of limestone areas, alt. 100–800 (1400) m. Remarks The leaves and fruits of this species have a strong, pleasant scent.Published as part of Mou, Feng-Juan & Cuong, Nguyen Manh, 2023, Taxonomic revision of Bergera J. Koenig ex L. (Rutaceae) based on the molecular phylogeny and morphology, pp. 141-180 in European Journal of Taxonomy 860 on pages 163-165, DOI: 10.5852/ejt.2023.860.2057, http://zenodo.org/record/768937
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Majlis Menandatangani MoU Antara UniMAP dan Universitas Padjadjaran (UNPAD) Bandung, Indonesia
No full textMajlis Menandatangani MoU Antara UniMAP dan Universitas Padjadjaran (UNPAD) Bandung berlangsung pada 25 Jun 2011
論唐君毅與牟宗三對朱子系統型態的闡釋 = On Tang Jun-yi's and Mou Tsung-San's interpretation of Zhuzi's system
No full textThe article aims at comparing Tang Jun-yi and Mou Tsung-San interpretations of Zhuzi’s philosophical system, and exploring the possibility of reconciliating the differences of them. Due to different approaches, angles, methods and etc. , the difference between Tang and Mou seems to be irreconcilable. Mou proposes Zhuzi’s system is a system of heteronomy, while Tang argues it is a system of autonomy. The difference between the two great philosophers are surely controversial and intense, and thus full of inspiration. The interpretation by the two thus is to be reckoned with for those who desire to understand Zhuzi’s thoughts. The article shall demonstrate the process of thoughts of Tang and Mou, and the controversies related to two possible types of Zhuzi’s system. Moreover, it is expected to interpret Zhuzi’s system with teleology, in order to make an attempt in solving the disagreement between Mou and Tang. This leads to reflection on Zhuzi’s place in the history of philosophy.</p
Bergera tetramera F. J. Mou 2023, comb. nov.
No full text<i>Bergera tetramera</i> (C.C.Huang) F.J.Mou, comb. nov. <p>urn:lsid:ipni.org:names:77314674-1</p> <p>Fig. 13</p> <p> <i>Murraya tetramera</i> C.C.Huang, <i>Acta Phytotaxonomica Sinica</i> 8 (1): 102, pl. 13 (Huang 1959). – <b>Type</b>: CHINA • Yunnan, Mangshi (Luxi); <i>H. T. Tsai 57277</i>; lectotype: PE [00022518] image!; isolectotypes: PE [00022517] image!, IBSC [0409247]!, NAS [NAS00071351] image!. <b>Designated here</b>.</p> Etymology <p>The specific epithet refers to the 4-merous flowers.</p> Material examined <p> CHINA • Yunnan Province; 1933; <i>H. T. Tsai 57277</i>; NAS image!, PE image!, A image! • <i>H. T. Tsai 57287</i>; KUN!, SWFC!, NAS image!, PE image!, A image! • <i>H. T. Tsai 57525</i>; KUN!, PE image!, A image! • <i>H. T. Tsai 57453</i>; KUN! • 20 Oct. 1933; <i>H. T. Tsai 56249</i>; KUN!, NAS image! • 23 May 1940; <i>C. W. Wang 89515</i>; KUN!, IBSC!, PE image! • Yanshan; 26 Oct. 1932; <i>H. T. Tsai 51453</i>; NAS image!, PE image! • 19 Sep. 1939; <i>C. W. Wang 83565</i>; KUN!, IBSC!, PE image! • <i>83595</i>; KUN!, IBSC!, WUK image!, PE image! • 24 Oct. 1939; <i>C. W. Wang 83520</i>; KUN!, WUK image!, PE image! • 30 Oct. 1939; <i>C. W. Wang 83555</i>; KUN!, PE image! • Bayao; 6 Nov. 1939; <i>Q. W. Wang 84818</i>; KUN!, PE image! • Xinghua; 5 Nov. 1958; <i>H. T. Tsai 589112</i>; KUN! • 18 Jun. 1964; <i>S. Z. Wang 775</i>; KUN! • 2 Oct. 2016; <i>F. J. Mou 547</i>; SWFC! • Malipo; 20 Feb. 1940; <i>C. W. Wang 86992</i>; KUN!, PE image! • Tingting; 23 Sep. 1947; <i>K. M. Feng 11965</i>; KUN!; PE image!, A image! • 22 Nov. 1947; <i>K. M. Feng 13555</i>; KUN! A image! • Tungting; 18 Nov. 1947; <i>K. M. Feng 13367</i>; KUN! A image! • Xichou, Yaobang; 27 Dec. 1939; <i>C. W. Wang 86068</i>, <i>86094</i>; KUN!, PE image! • Fadou; 16 Nov. 1960; <i>Q. A. Wu 90</i>; KUN! • 3 Jun. 1964; <i>S. Z. Wang 650</i>; KUN! • 14 Dec. 1964; <i>Q. A. Wu 10013</i>, <i>Z. W. Lin 685</i>; KUN! • 8 Oct. 2011; <i>Q. R. Liu & S. Y. Meng 2011-10-122</i>; BNU image! • Nanchang; 10 May 1959; <i>Q. A. Wu 5093</i>; KUN! • Mengla, Yiwu; 9 Sep. 1959; <i>S. J. Pei 10092</i>; KUN! • Mengyuan; 21 Jun. 1973; <i>P. Z. Zhu 8650</i>; HITBC!; IBSC! • 31 May 1982; <i>Expedition 32673</i>; HITBC! • 9 Dec. 1982; <i>Expedition 34392</i>; HITBC! • Jinghong, Jinuo; 1 Jun. 1961; <i>Y. H. Li 3309</i>; HITBC! • 7 Dec. 1961; <i>Y. H. Li 3716</i>; HITBC! • 31 Jul. 1977; <i>G.D. Tao 15722</i>; HITBC!, PE image! • Menghai; 20 Apr. 1959; <i>Z. D. Wang 57991</i>; KUN! • Jianshui; 16 Mar. 1941; <i>S. E. Liu 018293</i>; PE image! • Ning’er, Dehua; 28 Jan. 1991; <i>G. D. Tao 44127</i>; HITBC! • Mengzi; <i>A. Henry 9651 D</i>; L image!, LE image! • <i>A. Henry 9651</i>; LE image! • 27 Nov. 2016; <i>F. J. Mou 558</i>; SWFC! • Mile, Xi’er, Nuozu; 29 May 1990; <i>Investigation group of plant resources in Mile County 400</i>; KUN! • Shilin, Naigu; 30 Oct. 2016; <i>F. J. Mou 548</i>; SWFC! • Eshan, Chahe; Jan. 1979; <i>Yüxi Plant Expedition s.n.</i>; KUN! • 17 Dec. 2012; <i>J. Cai et al. 12 CS5744</i>; KUN! • Yimen; 6 Agu. 2018; <i>F. J. Mou 640-2</i>; SWFC! • Lanping; 19 Sep. 1964; <i>S. G. Wu 8980</i>; KUN! • 5 Nov. 2006; <i>T. Zhang et al. SCSB-B-000208</i>; KUN! • Weixi; 6 May 1960; <i>Anonymous 8658</i>; KUN! • Fugong, Pihe; 30 May 1978; <i>Bijiang Expedition 0252</i>; KUN! • Fugong, Pihe; 2 Feb. 2017; <i>F. J. Mou 562</i>; SWFC! • Guizhou Province, Anlong; 20 May 1960; <i>Z. S. Zhang & Y. T. Zhang 3703</i>; IBK! • 20 May 1960; <i>Guizhou Expedition 3730</i>; IBSC! • 12 Mar. 2009; <i>F. J. Mou 233</i>; IBSC! • Longshan; 9 Jun. 1960; <i>Z. S. Zhang 3183</i>; IBSC!, HGAS image! • 12 Jun. 1960; <i>Guizhou Expedition</i> 4346; IBSC! • 23 Jun. 1960; <i>Guizhou Expedition</i> 5758; IBSC! • Pingle; 23 Apr. 2014; <i>C. Y. Deng 522328140423700 LY</i>; GZTM image! • Xishui; 10 Apr. 2003; <i>C. W. Wu 1153</i>; PE image! • 9 May 2003; <i>1192</i>; PE image! • Renhuai; 16 Apr. 2003; <i>X. L. Wang & M. T. An 2130</i>; PE image! • 14 May 2003; <i>X. L. Wang 2166</i>; PE image! • Xingyi; 7 Aug. 1959; <i>Anshun Expedition 867</i>; KUN! <i>•</i> <i>869</i>; HGAS image! • 26 Jul. 1960; <i>Guizhou Expedition 6547</i>; IBK!, IBSC!, NAS image! • Xingren; 4 Dec. 1980; <i>C. Z. Dang 80526</i>; HGAS image! • Libo; 8 May 1981; <i>M. Z. Yang 810258</i>; HGAS image! • Wangmo; 23 Apr. 1960; <i>Guizhou Expedition 1221</i>; IBSC! • 8 Nov. 1986; <i>Longtan Expedition 00751</i>; IBK! • Zhenfeng; 8 Oct. 1982; <i>D. J. Liu 622</i>; HGAS image! • 23 Oct. 1982; <i>D. J. Liu 847</i>, <i>848</i>; HGAS image! • Huishui, Heping; 16 Oct. 2010; <i>F. L. Zou ZouFL0155</i>; KUN!.</p> Description <p>Small trees, 3–7 m high. Branches, leaves pedicel and peduncle covered sparsely with hairs, becoming glabrous later; strongly fragrant. Leaves are 5–11-foliolate; leaflet blades narrowly lanceolate, 2–5 × 0.8–2.0 cm, usually yellow-green, becoming dark brownish-black and oil glands slightly swelling when dry, slightly asymmetrical or symmetrical at the base, and apex acuminate; petiolules 2–4 mm, reddish usually. Inflorescences are terminal cymes. Flowers are white; 4-merous; sepals ovate, less than 1 mm, connate at base; petals white, oblong, 4–5 mm, and revolute when open. Stamens are 8, alternate with long and short, filaments ca 4 mm long and slim. Ovaries are ellipsoid, ca 1 mm; styles ca 2 mm long. Fruits are reddish, globose, 1.0– 1.2 cm in diam., with many oil glands, brown after drying, 1–3-seeded. Seed coats are membranous and smooth.</p> Phenology <p>Flowering between March and April, while fruiting from July to August.</p> Distribution and habitat <p>China: W Guangxi (Baise and Debao), SW Guizhou (Anlong), Yunnan (Yanshan, Funing, Wenshan, Xichou, Malipo, Jinghong, Mengla, Menghai, Ninger, Menglian, Eshan, Yuanyang, Yuanjiang, Mengzi, Jianshui, Mile, Weixi, Lanping, Fugong, and Mangshi). Often growing at the sunny top of limestone hills.</p> Remarks <p> Morphologically, this species is relative to <i>B. euchrestifolia</i>, but the plants are characterized with heavier smell and flowers are 4-merous stably. Two species have different distributions.</p>Published as part of <i>Mou, Feng-Juan, Hu, Xiu, Ha, Bui Thu & Cuong, Nguyen Manh, 2023, Taxonomic revision of Bergera J. Koenig ex L. (Rutaceae) based on the molecular phylogeny and morphology, pp. 141-180 in European Journal of Taxonomy 860</i> on pages 171-173, DOI: 10.5852/ejt.2023.860.2057, <a href="http://zenodo.org/record/7689375">http://zenodo.org/record/7689375</a>
MTUN meterai MoU dengan JPKK perkasa TVET negara
No full textBANGI, 2 Jun 2022 - Dalam usaha memartabatkan pendidikan teknikal negara, satu jalinan dan kerjasama strategik dimeterai antara Jabatan Pengajian Politeknik dan Kolej Komuniti (JPKK) dan Rangkaian Universiti Teknikal Malaysia (MTUN) melibatkan empat universiti iaitu Universiti Malaysia Pahang (UMP), Universiti Malaysia Perlis (UniMAP), Universiti Tun Hussein Onn (UTHM) serta Universiti Teknikal Malaysia Melaka (UTeM)
Proline-rich tyrosine kinase 2 mediates gonadotropin-releasing hormone signaling to a specific extracellularly regulated kinase-sensitive transcriptional locus in the luteinizing hormone beta-subunit gene
No full textG protein-coupled receptor regulation of gene transcription primarily occurs through the phosphorylation of transcription factors by MAPKs. This requires transduction of an activating signal via scaffold proteins that can ultimately determine the outcome by binding signaling kinases and adapter proteins with effects on the target transcription factor and locus of activation. By investigating these mechanisms, we have elucidated how pituitary gonadotrope cells decode an input GnRH signal into coherent transcriptional output from the LH beta-subunit gene promoter. We show that GnRH activates c-Src and multiple members of the MAPK family, c-Jun NH2-terminal kinase 1/2, p38MAPK, and ERK1/2. Using dominant-negative point mutations and chemical inhibitors, we identified that calcium-dependent proline-rich tyrosine kinase 2 specifically acts as a scaffold for a focal adhesion/cytoskeleton-dependent complex comprised of c-Src, Grb2, and mSos that translocates an ERK-activating signal to the nucleus. The locus of action of ERK was specifically mapped to early growth response-1 (Egr-1) DNA binding sites within the LH beta-subunit gene proximal promoter, which was also activated by p38MAPK, but not c-Jun NH2-terminal kinase 1/2. Egr-1 was confirmed as the transcription factor target of ERK and p38MAPK by blockade of protein expression, transcriptional activity, and DNA binding. We have identified a novel GnRH-activated proline-rich tyrosine kinase 2-dependent ERK-mediated signal transduction pathway that specifically regulates Egr-1 activation of the LH beta-subunit proximal gene promoter, and thus provide insight into the molecular mechanisms required for differential regulation of gonadotropin gene expression
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