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In the Confucian political tradition, badao (the Way of the hegemon) is commonly identified as the mode of statecraft that is squarely opposed to the Kingly Way, the ideal statecraft that relies on virtue and ritual, allegedly practiced by the ancient sage-kings.
In the previous chapter, I argued that while Mencius’s staunch normative dichotomy between the Kingly Way and badao is propelled by his unswerving commitment to strong virtue monism, Xunzi’s (and Confucius’s) far more nuanced attitude toward badao is attributable to his embrace of tempered virtue monism, which recognizes the potential tension between personal moral virtue and good political consequences.
Surprisingly little is known about what ancient Confucian thinkers struggled with in their own social and political contexts and how these struggles contributed to the establishment and further development of classical Confucian political theory. Leading scholar of comparative political theory, Sungmoon Kim offers a systematic philosophical account of the political theories of Mencius and Xunzi, investigating both their agreements and disagreements as the champions of the Confucian Way against the backdrop of the prevailing realpolitik of the late Warring States period. Together, they contributed to the formation of Confucian virtue politics, in which concerns about political order and stability and concerns about moral character and moral enhancement are deeply intertwined. By presenting their political philosophies in terms of constitutionalism, Kim shows how they each developed the ability to authorize the ruler's legitimate use of power in domestic and interstate politics in ways consistent with their distinctive accounts of human nature.
This study examines the masculinity of Chinese male migrants who earn their living as “dance hosts.” Dance hosts partner middle-aged women in dance halls, sell experiences of intimacy and engage in ongoing romantic relationships with their female clients. This article seeks to capture an intimate and “up-close” portrait of (heterosexual) male dance hosting, and then further addresses dance hosts’ masculine subjectivity by examining the coping strategies they use to overcome the stigma attached to their profession and to assert their masculinity. Ultimately, the article argues that the process of masculine subjectivity formation in the case of male dance hosts is structured by dominant norms of Chinese masculinity. Although seemingly highly subversive, the relationship between dance hosts and clients in fact fulfils conventional gender ideals and encourages the perpetuation of traditional gender roles in China's patriarchal society. This work seeks to offer an understanding of traditional gender norms (or ideals) through the lens of normative Chinese masculinity within the context of a stigmatized occupation.