Explain how the Yin-Yang and Hegelian models of interaction/transformation could be complementary.
Briefly characterize the Ying-Yang model of interaction/transformation.
Give a comparative examination of Confucius’s and Christian versions of the Golden Rule.
Confucius maintains love with distinction while Mo Zi insists on universal care for each; would you think Confucius can respond to Mo Zi’s challenge by maintaining both universal love/care and love with distinction in a consistent way?
Give a brief explanation of the relation among ren, li, and yi in Confucius’ doctrine.
What are the major points of Mencius’s and Xun Zi’s distinct views on human nature?
What are their major arguments for their views on the issue?
What are Mencius’s and Xun Zi’s distinct models of moral self-cultivation?
Give a briefly explanation of the relation between Mo Zi’s two basic positions against Confucius’s doctrine.
What is the difference between Yangzhu (Yang Zi) as a hermit and the Unabomber as a hermit?
What is the point of Hui Shi’s proposition that “the moment the sun reaches the zenith at noon, it is declining; the moment the creature is born, it is dying” ?
What is the point of Hui Shi’s proposition that “Connected rings can be in separation” ?
What are differences and connections between three methodological things involved in how to approach an object of study?
What are two morals we can draw about their relation?
With the exemptions of Dorotea and Zoraida, the ladies in the First Part of Don Quixote are frail willed, subservient animals who depend on their spouses as bosses. Be that as it may, even Dorotea charms and mortifies herself keeping in mind the end goal to win back Fernando's fondness. Zoraida, then again, at first emerges as the one appearing exemption to this model, since she has the will to take from her dad so as to flee from home with the hostage. Zoraida, or Maria on the off chance that you favor, is "a female figure who is half Moor (the body) and half Christian (the spirit)" and "goes into deliberate outcast from her home culture with a specific end goal to complete a covered up and purportedly European self" (Garrett 141). Zoraida relinquishes her dad on an abandoned island during the time spent completing her journey for the Christian world (Garrett 141). As a Moor, she can advance outside the limits of the ordinary parts overseeing the lives of Cervantes' ladies. In any case, Zoraida talks just once, and afterward it is in energized modification of her name: "No, Zoraida no: Maria, Maria!" (Cervantes 353). Renamed Maria, Zoraida's Moorish character would be supplanted by a Christian perfect of female modesty, yet her muteness symbolizes her absence of intensity. Thusly, despite the fact that her ethnicity and religious energy make her irregular and recommend that she may fill in as the model for another sort of lady in the novel, she stays as much a question as the other female characters. The Captive's Tale features a lady's part in "current" Spain. From the principal, Zoraida is spoken to as a question unfit to exhibit a feeling of self. Rather than the hostage, who effectively collaborates with the hotel's visitors and characterizes himself as a component of their locale, Zoraida is inactive and quiet and separated. She ends up noticeable to her new friends simply after the hostage interprets for her for a particularly Christian group of onlookers. The accomplishment of Zoraida's diverse adventure relies upon the hostage. (Garrett 142) Zoraida enters Cervantes' content as an exacting portrayal of a sentimental maid in-trouble. Her landing takes after Dorotea's pantomime of Princess Micomicona, a fanciful build contrived by the cleric and the hair stylist to put a conclusion to Don Quixote's misfortunes (Garrett 142). An once incredible woman, the princess is said to require a knight's support of reestablish her and her family from the tyrannous hold of a "congested goliath" (Cervantes 274). In an intriguing parallel, Zoraida, having progressed toward becoming herself a diminished and helpless lady, gives a genuine mirror to the princess. A ready exile from her home culture, Zoraida enters the story in the wake of having been alleviated by privateers of her bangles, pearls, and rubies, and showing up a physically devastated Christian change over (Garrett 142). Her flexibility relied upon selling out, and after that double-crossing she lost her financial and rambling force. At last, all that she holds is her appeal as a Muslim lady looking for another country. Where the fanciful Micomicona is secured by the frantically sentimental Don Quixote, Zoraida is ensured by the Christian hostage. Together, Zoraida and the hostage land at the motel as sensible figures of a cutting edge Christian knight and his purely quiet woman. Zoraida speaks to the potential for ladies' centrality in the meantime she uncovers the breaking points of ladies' entrance to control. Both as far as financial matters and talk, she is contained subsequent to offering herself up for trade. In Cervantes and the Material World, Carroll Johnson recommends that "Zoraida ventures from etymological and financial strengthening in protocapitalistic Algiers to voicelessness and neediness in feudo-agrarian Spain, where the old request triumphs and Zoraida is guaranteed, best case scenario, a situation as an inferior morisca resident" (126). Cervantes utilized masculinist scholarly models to shape his novel, yet he occupied with a completely new sort of artistic action that connected with a developing perusing populace by "situating Zoraida at the focal point of the exchange of race, class, and distinction in early present day Spain" (Vollendorf 322). Zoraida can't steamed any classification, for hers is the quintessential recorded story of transformation, uprooting, and quiet.>GET ANSWER