Posts Tagged ‘imperialism’
“Every solution tends to become the next problem”*…
Dingxin Zhao is sociologist who marshals history, historiography, and his own discipline to explain how ancient Chinese wisdom can shed light on the troubled times through which we’re living…
During a reading project I undertook to better understand the “third wave of democracy” — the remarkable and rapid rise of democracies in Latin America, Asia, Europe and Africa in the 1970s and 80s — I came to realize that this ascendency of democratic polities was not the result of some force propelling history toward its natural, final state, as some scholars have argued. Instead, it was the result of American political influence spreading around the world after the U.S. had established itself as the sole global superpower.
However, the U.S. endeavor to impose its political system in foreign lands where its policymakers did not have much knowledge facilitated the rise of many low-quality democracies, ethnic conflicts and refugee crises and triggered a global resurgence of authoritarianism and conservatism. Adding to such complexity, the crippled democratization movement, promoted under the banner of liberalism, inadvertently eroded the prominence of liberal ideologies — the very bedrock of enlightenment — across the world.
Upon arriving at this conclusion, I grappled with a sense of unease. I began to question whether I leaned too conservatively or possessed a certain authoritarian personality. Eventually, I realized that my conclusions were influenced by a Daoist perspective on history that had been imprinted on me during my upbringing in China.
Such a Daoist understanding of history contrasts with the teleological tenets found within the Judeo-Christian tradition and the symmetric cyclic interpretations that are also common in Western thought. And it could provide several insights in comprehending our increasingly intricate and uncertain world.
According to the Tao Te Ching, a succinctly composed text attributed to Laozi from the Warring States period (475-221 B.C.E.), history revolves around two pivotal elements. The first is that it unfolds in cycles that are characterized by perpetual transformations and negations. This cyclical perspective on historical development immediately sets the Daoist understanding of history apart from the linear and teleological understanding found in Judeo-Christian traditions, exemplified by narratives in the Bible and subsequently interpreted in diverse ways by theologians…
[Zhao explores the contrast, with both the teleological and the cyclical, using illuminating examples from St. Augustine, Hegel, Marx, Oswald Spengler, Neil Howe, Mancur Olson, Ibn Khaldun, and others]
… The second pivotal element within the Daoist understanding of historical development departs from this symmetry. The forces guiding each historical transformation and negation need not be the same: an “asymmetric cyclic theory.”
In the Tao Te Ching, Laozi famously wrote, “The Dao that can be stated cannot be the universal (or eternal) Dao.” This proclamation essentially asserts that symmetric cyclic theories cannot lay claim to universal or eternal truths. This is because the significance and function of any causal forces invariably change with different contexts.
In premodern China, Laozi’s precocious and highly sophisticated grasp of history often veered into mystical directions. Today, armed with the insights of modern social sciences, I would characterize the Daoist asymmetric cyclic theory of history as the “principle of reverse movement.”
This principle posits that as any organization, political system, idea, culture or institution gains ascendancy, the opposing, undermining forces concurrently intensify. In China, this has been visually conveyed through various forms of taiji diagrams. Among these diagrams, the one I believe best encapsulates the core of history’s asymmetric cyclical nature is also the simplest: Two forces of opposing nature undergo simultaneous change over time. As one force grows stronger, the other weakens, and vice versa.
To give some examples: In arenas of military and economic competition, entities that organize better and produce more efficiently tend to gain an edge. This nature of military and economic competition induces cumulative development — a form of societal change that bolsters humanity’s capacity to generate and accumulate wealth. In early modern Europe, heavily influenced by the linear historical outlook of Judeo-Christian traditions, thinkers often formulated theories that portrayed such cumulative developmental processes as progress toward a better future.
However, in the Daoist principle of reverse movement, as one actor in military or economic competition progressively secures the upper hand, opposing actors would also gather momentum. For instance, the dominant actor becomes increasingly susceptible to various errors — over-expansion, underestimating adversaries, disregarding internal vulnerabilities and potential crises. Meanwhile, weaker actors respond to their more formidable opponent by intensifying their desire to change, including learning from their opponent and striving for “self-strengthening.”…
[Zhao unpacks more examples]
… A Daoist understanding of history could contribute three key insights to the contemporary landscape of political theory and civilizational prosperity:
First, it asserts that historical transformations are not propelled by uniform forces, a perspective that challenges the concept of history being directed by a predestined end or ultimate purpose.
Second, it imparts a sense of humility upon influential social actors as their power ascends, encouraging them to gain insight into potential pitfalls and shifts that might undermine their status and avoid the fallacy of justifying their power supremacy by some teleological and thus moral rationale.
Third, it cautions us against the hubris of making linear predictions about upward-trending social tides and urges us to embrace the intricacies of complexity and acknowledge the multifaceted interplay of diverse forces. By doing so, we are compelled to appreciate the heterogeneous nature of historical change.
Belief in a linear or teleological understanding of history imparts a stronger sense of purpose in life, allows believers to create a more committed moral community and compels individuals within that community to act in a more principled manner. However, “true believers” can be convinced that they alone possess the correct beliefs and are aligned with the right course of history, that they hold a moral high ground to convert, exclude or even resort to violence against those deemed to be on the “wrong side.” Numerous times in centuries past, this belief has led to genocide, imperialism, racist governance, political purges and cultural conflict.
…
The Daoist principle of asymmetric reverse movement not only rejects the imposition of a direction onto history but also negates the existence of any specific, law-like forces underpinning the apparent cyclic patterns of historical events. Laozi’s concept of wuwei has prompted some scholars, like Charles Hucker, to interpret it as an ancient anarchist ideology that has “little to offer in the way of a governmental program.” However, in truth, Laozi is advocating for a form of statecraft characterized by profound humility. This humility is a rare trait, especially among powerful social actors — particularly very resourceful state actors. It becomes even scarcer within cultures dominated by a teleological comprehension of history…
Understanding the principle of reverse movement in history: “Daoist History” in Noema— eminently worth reading in full. And usefully accompanied by “A Daoist Take On The World Gone Sideways,” by Noema editor Nathan Gardels.
* your correspondent
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As we honor humility, we might recall that it was on this date in 1890 that journalist Nellie Bly began her 72-day trip around the world.
In 1888, Bly suggested to her editor at the New York World that she take a trip around the world, attempting to turn the fictional Around the World in Eighty Days into fact for the first time. A year later, at 9:40 a.m. on November 14, 1889, with two days’ notice, she boarded the steamer Augusta Victoria, and began her 24,899-mile journey.
She brought with her the dress she was wearing, a sturdy overcoat, several changes of underwear, and a small travel bag carrying her toiletry essentials. She carried most of her money (£200 in English bank notes and gold in total as well as some American currency) in a bag tied around her neck.
Bly traveled through England, France (where she met Jules Verne in Amiens), Brindisi, the Suez Canal, Colombo (Ceylon), the Straits Settlements of Penang and Singapore, Hong Kong, and Japan. Just over seventy-two days after her departure from Hoboken, having used steamships and existing railway lines, Bly was back in New York; she beat Phileas Fogg‘s time by almost 8 days.

“Her Majesty’s government should do nothing to place in peril our opium revenues. As for preventing the manufacturing of opium, and the sale of it in China, that is far beyond your power.”*

An excerpt from Linda Jaivin‘s The Shortest History of China…
European traders had been trying to get a foothold in China for centuries. As eager as the Europeans were for Chinese tea, silk, and porcelain, the Chinese remained indifferent to European goods. The Qing restricted access to ports, confining foreign merchants to Guangzhou (Canton), from October to March. Foreign traders resented this, as well as having to work with licensed Chinese intermediaries and abide by local law. In 1793, the British sent an experienced diplomat, Lord George Macartney, to Qianlong’s court carrying a letter arguing for greater access to the empire’s markets, including a reduction in tariffs, the ability of merchants to live in China year-round, and the stationing of an ambassador in Beijing.
The eighty-year-old Qianlong agreed to receive the Englishman at his imperial hunting lodge at Chéngdé, northeast of Beijing. The protocol of an imperial audience demanded a kowtow. Macartney refused, instead bowing on one knee before Qianlong, just as he did with his own sovereign, King George III. Qianlong received him courteously anyway, but once Macartney left and his letter was translated, Qianlong instructed his ministers to bolster the Qing’s coastal defenses, predicting that England, ‘fiercer and stronger than other countries in the Western Ocean,’ might ‘stir up trouble.’ To Macartney he prefaced his reply by saying that the Qing had everything it needed in abundance: ‘I set no value on objects strange or ingenious, and have no use for your country’s manufactures.’
The British East India Company, which enjoyed a British monopoly on East Asian trade, had something for which at least some Chinese had use: opium, grown in British-controlled India. Opium was already cultivated in China, but in small quantities — soldiers and manual laborers relied on it for pain relief, and some of the idle rich smoked it for pleasure. In 1729, the British sold two hundred chests of opium into China, each containing almost sixty kilograms of the drug. In 1790, three years before Macartney’s visit, they sold 4,054 chests. That number increased steadily.
Qianlong retired in 1796 in a gesture of filial piety, not wanting his reign to outlast that of his revered grandfather, Kangxi. This left the problem of opium to his successor, Jiāqìng (r. 1796-1820).
In 1815, the British sent another envoy, Lord Amherst, to Beijing. Jiāqìng expelled him after another tussle over the kowtow.
Opium addiction began to damage the fabric of Chinese society. The illegal trade fostered corruption, and silver drained from the imperial coffers. Debate raged in the court of Jiāqìng and his successor, Dàoguāng (r. 1821-1850), over whether to legalize opium — encouraging domestic production and limiting trade-related corruption — or ban it. In 1838, Daoguang decided on prohibition. In March 1839, the emperor sent the official Lín Zéxú (1785-1850) to Guangzhou, the hub of the opium trade, to implement the ban. By July, Lin had arrested thousands of addicts and confiscated almost twenty-three thousand kilos of opium, as well as seventy thousand pipes.
Lín Zéxú demanded that the 350 or so foreign traders in Guangzhou surrender their opium. As tensions rose, he locked them in their warehouses. Chinese soldiers blew horns and banged gongs to increase the pressure on them. It took six weeks, but the foreigners handed over twenty thousand chests. Now in possession of almost 1.4 million kilos of opium, Lín Zéxú had it mixed with water, salt, and lime and flushed out to sea.
In response, British warships blockaded the entrance to Guangzhou’s harbor, smashed through Chinese defenses, and captured ports including Shanghai and Ningbo, blocking maritime traffic on the Grand Canal and lower Yangtze. This became known as the First Opium War.
Under duress, the Qing signed the Treaty of Nanjing in 1842, which granted the British access to Guangzhou, Shanghai, and three other ‘treaty ports.’ It also ceded the island of Hong Kong — ‘fragrant port,’ named for the spice trade — to the British in perpetuity. (The British foreign secretary at the time, Lord Palmerston, questioned the wisdom of acquiring ‘a barren island with hardly a House upon it’ that would never become a great ‘Mart of Trade.’) It imposed indemnities on the Qing totaling twenty-one million silver dollars. The United States, France, and other nations piled on with their own demands, including ‘extraterritoriality’ exemption from local justice for foreigners who committed crimes in China. Chinese law would not apply within ‘concessions’ those parts of the treaty ports controlled by foreign powers. These agreements were the first of what are called the Unequal Treaties, beginning a century of China’s humiliation at the hands of various imperialist powers. They heralded the beginning of the end, not just of the Qing, but of the dynastic system by which China had been ruled for thousands of years…
Via the invaluable Delancyplace (@delanceyplace): “The Opium Wars.”
* Lord Ellenborough, 1843
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As we contemplate colonialism, we might recall that it was on this date in 1812 that President James Madison signed the declaration of war against Great Britain that formally launched the War of 1812.
Three U.S. incursions into Canada launched in 1812 and 1813 had been handily turned back by the British despite the fact that the bulk of British force was tied up in an unpleasantness with the Emperor of France and his troops. But the decline of Napoleon’s strength freed the English to devote more resources to the West… leading to the 1814 burning of the White House, the Capital, and much of the rest of official Washington by British soldiers (retaliating for the U.S. burning of some official buildings in Canada). Still, by the end of 1814 a combination of naval and ground victories by the Americans had driven the British back to Canada, and on December 14, 1814 the Treaty of Ghent, ending the war, was signed… sadly for the British, word of the accord did not reach troops on the Gulf Coast in time to head off an attack (on January 8, 1815) on New Orleans– which was turned back by American forces led by Andrew Jackson. Jackson became a national hero, who rode his fame to the (rebuilt) White House; Johnny Horton got a Number One record out of it (Billboard Hot 100, 1959)… and the English had to console themselves with their victory at Waterloo later that year– on this date in 1815…

“We are each our own devil, and we make this world our hell”*…

Artist unknown (Cristovão de Figueiredo?), Hell, Museu da Arte Antiga, Lisbon, ca. 1515. Oil on oak, 119 x 217.5 cm.
Naked people are tumbling into the picture through a circular opening at top right, their features immediately blurred by rising heat and smoke. Below, various bodies are being put to the flames, a traditional punishment for those consumed by lust in their lifetimes…
No one knows who painted this depiction of hell, or who asked for it to be made, or even what purpose it served. We only know that it was done in about 1515 in Lisbon. To my eye, the facial types resemble those of the royal painter Cristovão de Figueiredo, who died in 1525. Several of the strange motifs—the figure with bent knee on a crutch, the pig orifice, the spurting fire, the beak-nosed figure, and the albino monster—are closely drawn from a triptych by Hieronymus Bosch that was in Portugal (probably in the Portuguese royal collection) at the time, and now hangs in the same museum as this painting.
Our painting of hell is big, much bigger than you might expect from looking at a photo. It doesn’t fit clearly into any category of picture known at the time. It is an independent panel, not a scene in a fresco cycle that gains meaning from the larger program. It’s not an altarpiece, nor is it a typical private devotional image, which would have been smaller. Its oblong shape suggests it was not part of a larger structure, as in triptychs by Bosch and others, where hell occupies one compartment, one part of a larger statement about human life and the world. This is a big stand-alone painting of a subject that normally didn’t stand alone. The painting lowers you right down to the sub-basement of hell and lets you look. The looking begins as voyeuristic fascination and then sinks into self-reflection…
There had been paintings of hell before, showing people (much like the people for whom the paintings were made) undergoing various punishments for their sins. But this painting no longer represents generic humanity. Here, the tortured are marked as white Europeans, being punished by mostly swarthy monsters with distinctly exotic trappings drawn from the newly encountered inhabitants of the farthest ends of the world—all the way down the African coast, all the way across the (Atlantic) Western Ocean, and, possibly, as far as India. And the punishments seem to concentrate on the sins unleashed by the European expeditions, the sins of rapaciousness: lust, gluttony, and greed. The monks and friars who accompanied these expeditions, tacking missionary work onto commercial exploits, are emphatically included among the damned…
Turning the colonial gaze back on the colonizers, the painting presents the hairstyles of the Europeans, such as the tonsures, in the manner of recent European reports and images depicting the strange hair and stylings of outlandish natives. Here, Europeans themselves go naked, just as bestselling accounts were then describing the inhabitants of America, Africa, and India. Here, white people are the rapacious ones, the lusty ones, the ridiculous ones, and the defeated ones. Two faces, the albino monster to the left and the flame mask to the right, turn toward us as if to say, yes, I know you’re enjoying watching this, and have you considered this might be you?
Some images from the period—just a few—show the costs of subjection and colonization for the native populations of America, Asia, and Africa. Almost none, apart from this one, prod their viewers to imagine the costs for the colonizers themselves…
Alexander Nagel offers a close reading of a remarkable work, a 1515 painting that turns a mirror on its viewers: “Hell is for White People” (much larger reproduction of the painting available there).
* Oscar Wilde
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As we see ourselves in others, we might recall that Spanish conquistador Francisco Pizarro González died on this date in 1541. In the event Pizarro was assassinated in the palace he’d built himself to rule over Peru, after he’d conquered the Incas (and executed their leader Atahuapla). Pizarro’s death was in retaliation for his own murder of an old partner, then rival, Diego de Almagro.






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