DATE

5/21/25

TIME

12:01 PM

LOCATION

Oakland, CA

Origins of "Politics"

词源朔源

A:

政治。字面意思,就是以政策治理国家的意思。我查了一下,“政治”这个词最早可以追溯到先秦时期,《尚书 周官》中写到:“政治得失,其可知也”。“政”在古汉语中本意是“治理、管理国家事务”,行政、执政等,都是这个政:进行治理国家的行为、执行治理国家的政策。而“治”,是“安定、整治”的意思。也就是说,哪些地方乱了、或者民不聊生、百姓怨声载道、大家不快乐,都是得通过“治理”改进。有coordinate资源、协调管理方案、人事,推动国家进步的意思。“政治”本身,是一种非常具体的协调、计划、整理不管是sovereign、 republic、还是empire的行为,而非抽象学科。这是有学问的,是可以体现能力、眼光、思维、优先级排序能力、经验的非常具体的学科,也需要非常特定的人才。

而 “politics",源自于希腊语 “polis”,即“πόλις”意为“城邦、城市国家”;“politikos”,即“πολιτικός”指的是“有关城邦事务的”,即治理国家或公共事务的;亚里士多德的《政治学》,原文是《Πολιτικά》,意为“关于城邦事务的学问”。“Politics”的词源重在公共事务的参与与治理,本质上强调的是公民参与城邦管理的活动。也就是大家都来参与,大家都有权利,大家一起商量。把权利、责任和义务都平均分摊到每个公民身上,当然这个时候的公民还不包括妇女、未成年和奴隶。


B:中国的“政治”是君王之术。自先秦至清代的中国传统中,政治的意思是从君王、到官僚、到百姓,自上而下的治理。不是平等的、协调、资源调度,是有低头看的意思在里面的。儒家思想里,强调“修身、齐家、治国、平天下”,合法性来自“天命”或“道统”。韩非子强调“法治”、甚至术、法、势三位一体: 政治本质是统治术与操控术,统治者不应讲仁义,而应通过“法”制服人性,通过“术”防止被欺,通过“势”震慑群臣。韩非子可能是个pua大师。

而礼记强调“礼治”在《礼记》中,“礼”不是狭义上的祭祀仪式,而是涵盖家庭伦理、社会等级、政治制度、行为规范的大系统。在做《封神》的时候因为工作内容了解到这些“礼节”,真的很繁复。祭祀的时候几十几百种乐器,衣服也是各种各样,铺张浪费。这里的“礼”被视为天道与人道之间的桥梁,是社会如何有秩序地运转的方式。《礼记》的核心政治理念是:一个良好的社会,不是靠刑罚镇压,也不是靠法规,而是靠人们自觉地恪守等级、分寸与行为规范。这在我看来,也是天方夜谭。如何可能大家自觉?以及,这么多繁文缛节多浪费时间,效率太低。把所有人都困在这些礼节里,谁还有时间去做正经事?这样看来,日本受这方面的影响也挺深。

虽然现实操作中还有人治、城管治、防火墙治等等,但总而言之“政治”从最开始,就没有“公民”的概念在里面。有的只是“百姓”和“官僚”的概念,是上层技术,不是全民可以参与的公共事务。因此所谓的“经济基础决定上层建筑”,也是说底下的经济基础,会决定这些上层的建筑。也就是经济到底好不好,跟非上层的人没什么关系。对于普通人来说,自给自足也可以很开心,经济基础并不决定下层建筑、中层建筑。


C:“politics”里面的古希腊语“polis”是城邦的意思,也就是是自由公民直接参与政治的空间:比如metropolis:metro是母亲的意思,即母题、主要;megalopolis:mega是超大的意思;cosmopolis是国际大都市;minneapolis:mini是Dakota语里“水”的意思,所以这个词是明尼苏达的城市。

从罗马共和国开始,经由启蒙运动到现代,politics主要的概念有:主权在民、权利制衡、代议民主。亚里士多德说:“人是政治的动物”,意指人必须活在公共生活中,通过理性协商构建共同体(不包括女性、未成年、奴隶)。Politics有各方博弈、各自宣传自己的思想、或者有权利影响的人为自己私利swing大众看法、争执利益等意思。在古希腊,“不参与政治的人”被称为“idiotēs”,即“私人人”,后来变成“idiot”,意指愚人。这样的制度下,如果你不参与议政,别人就会替你做决定,不参与政治生活确实有点不合适。


D:而中国的政治,有“成败论英雄”、谁厉害谁上、随时可以推翻、当上君主就是一人之下万人之上的概念,至少我爸妈都非常认可这一套。他们不在乎“君王”是如何当上君王的,不管是铲除异己、清理曾经为自己卖命的人也好,还是暴力镇压、给人洗脑,或者假装自己是社会主义、保有现在的status quo、不惊动特权人群的情况下,由主席代表的中央,平衡整个国家的所有事情。中央做不了完、做不了的,就语焉不详的由一些大话、所谓指令、所谓思想,把任务下放到地方。这如果是个小国还行,中国这么大,人这么多,文化、语言差别这么大,这恐怕不是最佳的方案。因此行政成本超高,1亿党员参与治理。

A:

Politics “政治”, literally, means governing a country through policies. I looked into it—the Chinese term “政治” (zhengzhi) can be traced back to the pre-Qin period. In the Book of Documents (Shangshu: Zhou Guan), it is written: “The gains and losses of the government are knowable.” In Classical Chinese, “政” means to govern or manage state affairs. Terms like administration and governing all stem from this idea: the act of managing a nation and implementing state policies. The character “治” implies bringing order and stability. In other words, when disorder arises, when people are starving, when resentment spreads, when the population is unhappy—these are signs that governance must improve. It implies coordinating resources, managing personnel and strategies, and facilitating national development.

So “政治” (politics) in its original Chinese sense is a concrete practice of coordination, planning, and organizing—whether in a sovereign state, republic, or empire—not an abstract discipline. It is a field requiring competence, judgment, prioritization, and experience. It demands highly specific talents.

In contrast, the English word “politics” comes from the Greek word polis (πόλις), meaning city-state; politikos (πολιτικός) means “pertaining to the affairs of the city-state,” that is, the governance of public affairs. Aristotle’s Politics (Πολιτικά) literally means “the knowledge of civic affairs.” The etymology of “politics” emphasizes citizen participation in governing the polis. It is fundamentally about public involvement: everyone has a right, everyone has a voice, and everyone engages in deliberation. Rights, duties, and responsibilities are meant to be distributed among all citizens—though, of course, “citizens” at that time excluded women, minors, and slaves.


B:

In China, ““政治”” has always been the art of the ruler. From the pre-Qin era to the Qing dynasty, Chinese political tradition was built on top-down governance, from the monarch to the bureaucracy to the common people. It was not about equality, coordination, or resource allocation. It always contained the idea of looking down from above.

In Confucianism, the path to legitimacy lies in “cultivating the self, regulating the family, governing the state, and bringing peace to the world.” Rule is legitimized by heavenly mandate or moral tradition. Legalist thinker Han Feizi, on the other hand, emphasized rule of law—or rather, the unity of law, strategy, and power. To him, politics was about control and manipulation. The ruler should not preach virtue and compassion but should suppress human nature through law, prevent betrayal through secretive strategy, and intimidate officials through power. Frankly, Han Feizi might’ve been a master of psychological manipulation.

The Book of Rites (Liji) emphasized governing through ritual. In it, “ritual” does not only refer to religious ceremonies, but encompasses the entire system of familial ethics, social hierarchy, political order, and behavioral norms. While working on the film Creation of the Gods, I learned about many of these rituals—complicated and extravagant. Sacrifices involved dozens or even hundreds of instruments, and the garments alone were excessively elaborate. Ritual here was seen as a bridge between heaven and humanity, a way to maintain cosmic and social order.

The political idea at the heart of Liji is that a well-functioning society should not rely on punishment or laws, but on people’s conscious adherence to hierarchy, boundaries, and decorum. But to me, this sounds completely detached from reality. How could people follow all these rules on their own accord? How can society be expected to function under such an elaborate system of rituals, which wastes so much time and kills efficiency? If everyone’s entangled in ceremonial behavior, who’s actually getting work done? Japan, clearly, inherited quite a bit of this.

Though today China also employs rule by man, by urban management, or even by firewall, the concept of “politics” in Chinese never included citizenship in its original form. It was about commoners and officials, about governance from above, not public participation. That’s why when we say “the economic base determines the superstructure,” what we’re really saying is: the foundation of the economy determines the structure above. Whether the economy is doing well has little to do with those outside the ruling class. For ordinary people, self-sufficiency can be a happy life. The economic base does not necessarily determine the “middle” or “lower” structures of society.


C:

The “polis” in politics refers to a space for free citizens to directly participate in political life. Consider words like:
• Metropolis — “metro” means mother, i.e., central or primary city
• Megalopolis — “mega” means large or expansive
• Cosmopolis — a global or international city
• Minneapolis — “mini” comes from the Dakota language meaning “water,” hence the city of Minnesota

From the Roman Republic through the Enlightenment to the modern day, the core ideas in Western politics are popular sovereignty, separation of powers, and representative democracy. Aristotle said: “Man is a political animal,” meaning humans must live in public life, using reason and dialogue to build a community. (Again, this did not include women, minors, or slaves.)

Politics involves power struggles, ideological persuasion, and people with influence swaying public opinion for personal or group interest. In ancient Greece, those who did not participate in politics were called idiotēs (private person), a term that evolved into “idiot”—a fool. Under such a system, if you don’t participate, someone else will make decisions for you, and yes, choosing not to engage in public affairs does seem rather foolish.


D:

In contrast, Chinese politics is about who wins and who loses, who seizes power, and who can be overthrown at any time. To become the ruler means to stand “above all others but one.” My parents, for instance, fully buy into this system. They don’t care how a ruler comes to power—whether by purging rivals, betraying allies, suppressing dissent, or brainwashing the public. As long as the central leadership, represented by the chairman, maintains overall balance without disturbing the privilege-holding elite, everything is “stable.”

When the central government cannot handle something, vague slogans, directives, or ideology are used to offload responsibilities to local governments. This might work in a small country, but for China—with its massive population, geographic size, cultural and linguistic diversity—this is probably not an optimal strategy. The administrative cost is massive, with 100 million Party members participating in governance, and yet… it’s unclear how well things are really governed.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。