We show the faithful embedding of common knowledge logic CKL into game logic GL, that is, CKL is embedded into GL and GL is a conservative extension of the fragment obtained by this embedding. Then many results in GL are available in CKL, and vice versa. For example, an epistemic consideration of Nash equilibrium for a game with pure strategies in GL is carried over to CKL. Another important application is to obtain a Gentzen-style sequent calculus formulation of CKL and (...) its cut-elimination. The faithful embedding theorem is proved for the KD4-type propositional CKL and GL, but it holds for some variants of them. (shrink)

This paper provides a logic framework for investigations of game theoretical problems. We adopt an infinitary extension of classical predicate logic as the base logic of the framework. The reason for an infinitary extension is to express the common knowledge concept explicitly. Depending upon the choice of axioms on the knowledge operators, there is a hierarchy of logics. The limit case is an infinitary predicate extension of modal propositional logic KD4, and is of special interest in applications. In Part I, (...) we develop the basic framework, and show some applications: an epistemic axiomatization of Nash equilibrium and formal undecidability on the playability of a game. To show the formal undecidability, we use a term existence theorem, which will be proved in Part II. (shrink)

This paper provides a Genzten style formulation of the game logic framework GLm (0 m ), and proves the cut-elimination theorem for GLm. As its application, we prove the term existence theorem for GL used in Part I.

In order to capture the concept of common knowledge, various extensions of multi-modal epistemic logics, such as fixed-point ones and infinitary ones, have been proposed. Although we have now a good list of such proposed extensions, the relationships among them are still unclear. The purpose of this paper is to draw a map showing the relationships among them. In the propositional case, these extensions turn out to be all Kripke complete and can be comparable in a meaningful manner. F. Wolter (...) showed that the predicate extension of the Halpern-Moses fixed-point type common knowledge logic is Kripke incomplete. However, if we go further to an infinitary extension, Kripke completeness would be recovered. Thus there is some gap in the predicate case. In drawing the map, we focus on what is happening around the gap in the predicate case. The map enables us to better understand the common knowledge logics as a whole. (shrink)

Kaneko-Suzuki developed epistemic logics of shallow depths with multiple players for investigations of game theoretical problems. By shallow depth, we mean that nested occurrences of belief operators of players in formulae are restricted, typically to be of finite depths, by a given epistemic structure. In this paper, we develop various methods of surgical operations (cut and paste) of epistemic world models. An example is a bouquet-making, i.e., tying several models into a bouquet. Another example is to engraft a model to (...) some branches of another model. By these methods, we obtain various meta-theorems on semantics and syntax on epistemic logics. To illustrate possible uses of our meta-theorems, we present one game theoretical theorem, which is also a meta-theorem in the sense of logic. (shrink)

We develop a series of small infinitary epistemic logics to study deductive inference involving intra-/interpersonal beliefs/knowledge such as common knowledge, common beliefs, and infinite regress of beliefs. Specifically, propositional epistemic logics GL are presented for ordinal α up to a given αo so that GL is finitary KDn with n agents and GL allows conjunctions of certain countably infinite formulae. GL is small in that the language is countable and can be constructive. The set of formulae Lα is increasing up (...) to α = ω but stops at ω We present Kripke-completeness for GL for each α ≤ ω, which is proved using the Rasiowa–Sikorski lemma and Tanaka–Ono lemma. GL has a sufficient expressive power to discuss intra-/interpersonal beliefs with infinite lengths. As applications, we discuss the explicit definability of Axioms T, 4, 5, and of common knowledge in GL Also, we discuss the rationalizability concept in game theory in our framework. We evaluate where these discussions are done in the series GL, α ≤ ω. (shrink)

Nowadays virtual reality has gained extreme popularity among adolescents around the world, thanks to the possibility they offer to create a new life for their users. Especially for teenagers affected by the hikikomori syndrome, who experience struggles in establishing communication with others, virtual reality has become a tool to forsake their “adverse” reality, shaping fictitious safe environments and creating relationships with similar-minded users. This issue of virtual reality has been depicted in recent Japanese animation, whose country is mostly affected by (...) this issue. I will show mainly two approaches to the phenomenon: the one given in the anime series Sword Art Online (2012), in which virtual reality is perceived as the only place where true communication can happen; the second is the interpretation given by director Hosoda Mamoru in his animated features Summer Wars (2009) and Belle (2021), where virtual reality is a tool to support real life’s difficulties. (shrink)

This work studies three major eighteenth-century nativist scholars in Japan: Kada no Azumamaro, Kamo no Mabuchi, and the celebrated Motoori Norinaga.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

Daoist Identity is an exploration of the various means by which Daoists over the centuries have created an identity for themselves. Using modern sociological studies of identity formation as its foundation, it brings together a representative sample of in-depth analyses by eminent American and Japanese scholars in the field. The discussion begins with critical examinations of the ways identity was found among the early movements of the Way of Great Peace and the Celestial Masters. The role of sacred texts and (...) literary culture in Daoist identity formation is discussed. The volume then focuses on lineage formation and the increasing role of popular religious practices, such as spirit-writing, in modern Daoism since the Song dynasty. Finally it discusses the Daoist adaptation and reinterpretation of Buddhist rites, such as the feeding of souls in hell and the use of ritual gestures, and the changes made in contemporary Daoism in relation to traditional rites and popular practices. Contributors: Asano Haruji, Suzanne Cahill, M. Csikszentmihalyi, Edward L. Davis, Terry F. Kleeman, Livia Kohn, Mabuchi Masaya, Maruyama Hiroshi, Mitamura Keiko, Mori Yuria, Peter Nickerson, Charles D. Orzech, Harold D. Roth, Shiga Ichiko, Tsuchiya Masaaki. (shrink)

Daoist Identity is an exploration of the various means by which Daoists over the centuries have created an identity for themselves. Using modern sociological studies of identity formation as its foundation, it brings together a representative sample of in-depth analyses by eminent American and Japanese scholars in the field. The discussion begins with critical examinations of the ways identity was found among the early movements of the Way of Great Peace and the Celestial Masters. The role of sacred texts and (...) literary culture in Daoist identity formation is discussed. The volume then focuses on lineage formation and the increasing role of popular religious practices, such as spirit-writing, in modern Daoism since the Song dynasty. Finally it discusses the Daoist adaptation and reinterpretation of Buddhist rites, such as the feeding of souls in hell and the use of ritual gestures, and the changes made in contemporary Daoism in relation to traditional rites and popular practices. Contributors: Asano Haruji, Suzanne Cahill, M. Csikszentmihalyi, Edward L. Davis, Terry F. Kleeman, Livia Kohn, Mabuchi Masaya, Maruyama Hiroshi, Mitamura Keiko, Mori Yuria, Peter Nickerson, Charles D. Orzech, Harold D. Roth, Shiga Ichiko, Tsuchiya Masaaki. (shrink)

A post-photographic cinema. The myth of "the myth of total cinema" -- The matrix: "a prison for your mind" -- The new realness -- Quid est veritas: the reality ofunspeakable suffering -- Social network -- Postscript: total cinema redux -- A chronicle of theBush years. 2001: after September 11 -- 2002: the war on terror begins -- 2003: invading Iraq-- 2004: Bush's victory -- 2005: looking for the Muslim world -- 2006: September 11, theanniversary -- 2007: what was Iraq and (...) where? -- 2008: the election -- Notes toward a syllabus.In praise of love (Jean-Luc Godard, 2001) -- Avalon (Mamoru Oshii, 2001) -- Avant-garde goesdigital: Corpus callosum, Cotton Candy, and Razzle Dazzle -- Russian ark (AlexanderSokurov,2002) -- Ten (Abbas Kiarostami, 2002) -- Goodbye Dragon Inn (Tsai Ming-Liang,2002) -- Dogville (Lars Von Trier, 2003) -- The world (Jia Zhangke, 2004) -- Battle in heaven(Carlos Reygadas, 2005) -- The death of Mr. Lazarescu (Cristi Puiu, 2005) -- Day night daynight (Julia Loktev, 2006) -- Southland tales (Richard Kelly, 2006) -- Inland empire (DavidLynch, 2006) -- Between darkness and light (after William Blake) (Douglas Gordon, 1997/2006)-- Lol (Joe Swanberg, 2006) -- Flight of the red balloon (Hou Hsiao-Hsien, 2007) -- Hunger(Steve McQueen, 2008) -- Opening ceremonies, Beijing Olympics (August 8, 2008) -- Carlos(Olivier Assayas, 2010) -- The strange case of Angelica (Manoel de Oliveira, 2010) -- Onceupon a time in Anatolia (Nuri Bilge Ceylan, 2011). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese AnimationJoseph MurphyAnime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan Napier. New York: St. Martin's Press, 2001. Pp. vii + 320.Certain progressions can be marked from Antonia Levi's Samurai from Outer Space in 1996 to Susan Napier's Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation in 2001. While both survey the phenomenon of Japanese (...) animation as consumed in North America, the palpable underdog subcultural context and sense of mission in Levi's earlier work has given way to a confident mainstream appreciation in Napier's, with the term "Japanese animation" replaced in English by the naturalized anime (a-ni-mé, pl. anime). In a fast-moving media phenomenon both were dated as soon as they were published; however, bolstered by the worldwide critical and financial success of Miyazaki Hayao's work, and contemporary with the exposure to youth by the rise of 24/7 cartoon networks and the runaway success of the card game-anime nexus, Napier's Anime finds itself still in the right historical moment. Though the book has limitations in terms of both its own systematicity and its treatment of potentially interesting philosophical themes in anime, it is a reliable and sometimes inspired guide to a new phenomenon that forms an increasingly important default in the background your students bring.Napier is concerned not so much with accounting for the visual and perceptual properties of anime as with its narrative qualities: "Japanese animation merits serious consideration as a narrative art form and not simply for its arresting visual style.... Much of this book will be an investigation into the themes, imagery, and ideas of some of the most memorable anime created over the last two decades" (p. 10). The strengths and weaknesses of this book are nicely summed up here. Concentrating on narrative—a formal property of storytelling transposable across media—allows a broad and well-chosen survey of themes, images, and ideas. However, there is some question as to whether this will allow the reader to satisfy the ambition to "understand what makes anime the distinctive art form it is" (p. 10).The book is comprised of twelve chapters in four parts. Part 1 is an introduction that argues for the importance of anime and sketches a quasi-Aristotelian method as the basis for Napier's taxonomy. Parts 2-4 cover major thematic divisions that characterize the particular obsessions, power, and drama of anime, and these are particularly well-chosen to reflect not just the relatively palatable work deemed suitable for TV or subtitled for video distribution in the United States but also the anarchic diversity of the phenomenon as it circulates in Japan. Part 2 is on the essential theme of the changeable body and includes discussion of the monstrous adolescent body, pornographic anime, and the cybernetic body, and will allow you to catch up with classic anime like Akira (1988), Ranma 1/2 (TV version, 1990s), and Ghost in the Shell (theater version, 1996). Part 3 is on fantasy and romance as genres and the unusual [End Page 493] space in anime for female leads, and includes discussion of Miyazaki's pastoral work and the comedy TV series Urusei Yatsura (1980s), Oh My Goddess (1980s), and Video Girl Ai (1990s). Part 4 discusses anime that have sought to make a self-conscious contribution to historical debate, including Barefoot Gen (1983) and Grave of the Fireflies (1988), on the bombing of Japanese cities in World War II, and Miyazaki's Princess Mononoke (1997), which presents a multicultural picture of Japan's past produced in consultation with Japan's leading ethnologists. Discussions are balanced and entertaining, introducing the major auteurs of the last twenty years (Oshii Mamoru, Otomo Katsuhiro, Takahashi Rumiko, etc.) and creating the sharp impression that the genre of anime is not the same as the American concept of "cartoons."Though the anime phenomenon raises interesting sociocultural and critical questions about narrative and image culture, it is not immediately certain that there is a philosophical issue to anime. One might seek this philosophical content within the medium itself or in a systematic quality... (shrink)