Contrasts classical Greek ontology ("the science of being in itself") with Confucian "zoetology" ("the art of living"). In Living Chinese Philosophy: Zoetology As First Philosophy (SUNY Press, 2025), Roger T. Ames uses comparative cultural hermeneutics as a method for contrasting classical Greek ontology ("the science of being in itself") with classical Chinese "zoetology" ("the art of living"), which is made explicit in the Yijingor Book of Changes. Parmenides, Plato, and Aristotle give us a substance ontology grounded in "being qua being" or "being per se" (to on he on) that guarantees a permanent and unchanging subject as the substratum for the human experience. This substratum or essence includes its purpose for being (telos) and defines the "what-it-means-to-be-a-thing-of-this-kind" (eidos) of any particular thing, thus setting a closed, exclusive boundary and the strict identity necessary for a particular thing to be "this" and not "that." In the Book of Changes, we find a vocabulary that makes explicit cosmological assumptions that are a stark alternative to this substance ontology. It also provides the interpretive context for the canonical texts by locating them within a holistic, organic, and ecological worldview. To provide a meaningful contrast with this fundamental assumption of on or "being," we might borrow the Greek notion of zoe or "life" and create the neologism "zoe-tology" as "the art of living" (shengshenglun). This cosmology begins from "living" (sheng) itself as the motive force behind change and gives us a world of boundless "becomings": not "things" that are but "events" that are happening, a contrast between an ontological conception of human "beings" and a process conception of what the author calls human "becomings." The Host's reading notes: "Being qua being" modality of dealing with change and no-change prioritizes no-change, mistakes stability as eternity, confuses order with hierarchy; zoetological paradigm of change and no-change encourages complexity-enhancing modes of how change happen, nurtures difference-enriching modalities of encounter, decodes stability as adaptability, and considers order as emergent, evolving patterns of co-living and becoming-with. If you are interested in continuing the conversation with Prof. Ames, please contact the host (xzu@usc.edu) for Prof. Ames's email address.

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Engages with the life and ideas of the twelfth-century Shaiva mystic and philosopher-poet Allama Prabhu.

In his last, profoundly innovative work Allama Prabhu and the Shaiva Imagination, D. R. Nagaraj (1954-1998) engages with the twelfth-century Shaiva mystic and philosopher-poet Allama Prabhu, whose enigmatic writings have perplexed many and thus resisted analysis. Nagaraj situates Allama in three intellectual contexts: the medieval philosophical world built around the worship of Shiva; the pan-Indian bhakti tradition; and, most broadly, Indian mystical thought. This framework enables a reconstruction of Allama through the poet's engagement with fellow poet-spiritualists (vachanakaras) such as Basava, as well as with the Kashmiri Shaiva philosopher Abhinavagupta and the founder of Hindu monasticism Gorakhnath. Nagaraj's close readings of Allama's vachanas offer a vision of Shaiva bhakti that seems to contradict the erotic and romantic expressive modes of Sringara rasa while tracing the limits of language for an understanding of the divine. Allama, Nagaraj suggests, is an epistemological iconoclast who expands the horizons of language and thought.

Through these explorations, Nagaraj decolonizes the standard modes of inquiry and critiques certain settled notions in Indian philosophy, revealing himself as a postcolonial scholar whose "hermeneutics of suspicion" leads to a novel understanding of Indian texts and traditions. Unifying literary criticism with critical theory, philosophical inquiry, and the history of ideas, the book's focus on a specific religious tradition--Virashaivism--is never singular, making it as much a work for scholars of Indian spiritualism and religious thought as for those interested in frameworks that transgress Eurocentricism. Translated into English by Kannada philosopher N. S. Gundur, this is a major contribution to studies of Indian philosophy and literature.

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Joel Dinerstein's The Last of the Ellis Island Jews (SUNY Press, 2026) is a tragicomic memoir of a dysfunctional, working-class Brooklyn Jewish family that illuminates both the vitality of urban life in the twentieth century and the social turmoil of white flight. As a child of immigrants born to older parents, Dinerstein has a unique perspective on four generations--from his grandparents escaping Russia's pogroms to his parents' embattled marriage to his older Boomer siblings (split between feminist and Republican politics) to his own hippie hopes. As a white teenager in majority Black public schools, Dinerstein's firsthand experience led to his academic career as a scholar of race and music. Yet his family fits no paradigm of Jewish success due to a father with rage and gambling problems, resulting in the four siblings escaping early to the Brooklyn streets. As a family growing up with a diasporic identity, the Dinersteins provide a primer of ethnic Jewish culture through iconic scenes: a selfish Seder, a chaotic Bar Mitzvah, a videotaped bris, an allergy attack at Dachau, a staring contest with the Rebbe. Most of all, The Last of the Ellis Island Jews is a chronicle of lost worlds.

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