Miki Kiyoshi

1. Introducción. 2. Modernización, tradicionalismo y sincretismo en el pensamiento japonés contemporáneo. 3. Liberalismo, conservatismo y primeras corrientes socialistas y feministas (1868-1912): La modernidad filosófica en el Japón Meiji. El debate en torno al término «filosofía». Imperialismo e ilustración. Contexto del liberal-conservatismo. Los reformistas de Meirokusha: liberalismo, gradualismo y evolucionismo social. Conservadurismo: reacción a los peligros de la occidentalización y a la pérdida de identidad. Los prematuros movimientos socialistas, anarquistas y feministas. 4. Subjetividad e ideología (1912-1945): Kitaro Nishida y la (...) pluralidad filosófica en el interior y más allá de la Escuela de Kioto. La significación de Nishida en el panorama filosófico japonés del siglo XX. La denominación de la «Escuela»: Tosaka y su descripción de la «filosofía de la escuela de Kioto». La experiencia pura nishidiana y el paradigma del «no-yo». El cuestionamiento nishidiano de los presupuestos de la epistemología en Estudio sobre el Bien. La filosofía nishidiana del no-yo, la iluminación y sus problemas éticos. La investigación crítica y el análisis del poder ideológico: Tosaka. 5. Pensar la postguerra: memoria y superación del ultranacionalismo. Superación del vacío a través del arrepentimiento: Tanabe. Superación del vacío a través de la comprensión del nihilismo: Nishitani. La autopsia filosófico-política del ultranacionalismo japonés: Maruyama. Movimientos y orientaciones posteriores a los años 1950. Panorama. Filosofía y denuncia del patriarcado y el nacionalismo: Ueno. Transcrítica y república mundial: Karatani. 6. Nota final. (shrink)

This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, and Charles (...) Taylor. The two Japanese philosophers, when brought into dialogue with the above contemporary Western thinkers, can contribute to this recent development of the imagination’s creativity into the collective sphere. Miki shows a connection between the imagination and a certain form-formlessness dynamic he inherits from Nishida. Nakamura in turn points to a connection between imagination and place via his development of the Aristotelian notion of common sense. Both have implications on how we understand the social imaginary. (shrink)

Original title : 「充足的経験論」『思想』[Pensée], avril 1941, pp. 1–24 ; repris dans mkz 5 : 284–319. La pagination des Œuvres complètes se trouve indiquée entre parenthèses.

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi.In this chapter Miki analyzes the significance of myth as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis in general, of which myth is one important product. The imagination gathers in myth material from the environing world lived by the social collectivity. Its formation (...) of images expresses the pathos of a people vis-a-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

This is an introduction to Miki Kiyoshi and his philosophy of the imagination and to the translation of the first chapter of his Logic of Imagination, "Myth," published in the same issue of the journal.

Dans la double conception du sujet que précise Tokieda Motoki dans sa théorie du processus langagier : sujet subordonné au prédicat et sujet d’action langagière volontaire, conception fondée sur une théorie linguistique inspirée principalement d’études grammaticales de la langue japonaise et qui s’est donc totalement émancipée du paradigme de la grammaire des langues européennes, on peut retrouver, de manière tout à fait paradoxale et frappante, le sens originaire du sujet, à savoir celui de son origine latine « subjectum » qui (...) est d’ailleurs la traduction du mot grec « ὑποκείμενον », à double titre : celui qui est assujetti ou soumis à une instance supérieure ou plus fondamentale et celui qui est susceptible de donner lieu ou occasion aux accidents, aux faits contingents. (shrink)

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi. In this chapter Miki analyzes the significance of myth (shinwa) as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis (production) in general, of which myth is one important product. The imagination gathers in myth material from the environing world lived by the social (...) collectivity. Its formation of images (Bilder) expresses the pathos of a people vis-à-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

La philosophie d'Henri Bergson fait l'objet d'une réception passionnée au Japon au début des années 1910, mais, étant donné un contexte spiritualiste critiquant la raison, elle est généralement interprétée comme un irrationalisme opposant l'intuition à l'intelligence. Le principal problème de la réception de 1941, à l'occasion de la mort de Bergson, est alors de montrer comment l'intuition en réalité collabore avec l'intelligence. Par l'examen de la notion d' « empirisme intégral », Miki Kiyoshi, qui a développé une philosophie dialectique influencée (...) par Karl Marx et Martin Heidegger, tente d'y apporter une solution en rapprochant l'intuition bergsonienne de l'imagination kantienne. In Japan, Henri Bergson's philosophy was received with passion in the early 1910's, but, given a spiritualist context criticizing reason, it was generally interpreted as an irrationalism opposing intuition and intelligence. The main problem concerning how Bergson's philosophy was received on the occasion of his death in 1941 was therefore to show how in reality intuition collaborates with intelligence. By examining the notion of « integral empiricism », Miki Kiyoshi, who developed a dialectical philosophy influenced by Karl Marx and Martin Heidegger, attempted to solve this problem by showing a close relationship between Bergsonian intuition and Kantian imagination. (shrink)

「近代の超克」から「近代の止揚」への“燎爛たる分裂”。西田幾多郎、三木清、戸坂潤の哲学を「個人‐市民‐大衆」形成論として捉える。.

This dissertation examines philosophical and literary configurations of "violence" in discourses of human freedom and imperial subjugation in Germany and Japan. The concept of "violence" marks the ethical limit of normative claims. Without a definition in itself, "violence" serves the critical function of disclosing norms orienting social and political life. Each of the authors studied in this dissertation turned toward a conception of human freedom founded in the confrontation of social norms disclosed by rhetorical violence. Chapter one examines the rhetoric (...) of Immanuel Kant's Zum ewigen Frieden in the historical context of its writing. Kant engages in a performative argument for publicity in his critique of Prussian imperialism and the censorship of revolutionary views. Through rhetorical gestures such as the title of his essay as an invocation of death and the clausula salvatoria as a hedge against his critics, Kant encodes the political upheavals of the historical exterior in the rhetorical movement of his essay. He argues for peace by performing violence in language. Whereas Kant's essay has been conventionally read apart from its historical context, Heinrich von Kleist's Die Herrmannsschlacht has been interpreted strictly in terms of the historical moment of its writing. Chapter two argues instead for a rhetorical reading of Kleist's play in which language emerges as both the central theme of the text and an agent of anti-imperial violence. Kleist concretizes metaphors of the body such that they perform the politics of absolute opposition. Freedom for Kleist means opposition to the other. Chapter three turns to an alternative conception of human freedom grounded in opposition. In his Phanomenologie des Geistes, Hegel produces a performative narrative of the development of subjectivity in relations of violence. As an "unhappy consciousness," the subject no longer opposes an external other but itself as an internal "enemy." The freedom that it attains is constituted in self-subjection. Chapter four examines the appropriation of Kant and Hegel by the Japanese wartime philosophers Miki Kiyoshi and Tanabe Hajime. Both defend the project of Japanese imperialism by arguing for a form of freedom in which the subject negates its attachment to the imperial state. This negation inverts into a performance of subjectivity as the movement of self-subjection. (shrink)

The thesis is a historical and philological study of the mature political theory of Miki Kiyoshi focused on Philosophical Foundations of Cooperative Communitarianism, a full translation of which is included. As the name suggests, it was a methodological and normative communitarianism, which critically built on liberalism, Marxism and Confucianism to realise a regional political community. Some of Miki’s Western readers have wrongly considered him a fascist ideologue, while he has been considered a humanist Marxist in Japan. A closer reading cannot (...) support either view. The thesis argues that the Anglophone study of Japanese philosophy is a degenerating research programme ripe for revolution in the sense of returning full circle to an original point. That means returning to the texts, reading them contextually and philologically, in principle as early modern European political theory is read by intellectual historians, such as the representatives of Cambridge School history of political thought. The resulting reading builds critically on the Japanese scholarship and relates it to contemporary Western and postcolonial political theory and the East Asian tradition, particularly neo-Confucianism. The thesis argues for a Cambridge School perspective radicalised by the critical addendum of geo-cultural context, supplemented by Geertzian intercultural hermeneutics and a Saidian ‘return to philology’. As against those who have seen radical reorientations in Miki’s political thought, the thesis finds gradual progression and continuity between his neo-Kantian, existentialist, Marxian anthropology, Hegelian and finally communitarian phases. The theoretical underpinnings are his philosophical anthropology, a structurationist social theory of praxis, and a critique of liberalism, Marxism, nationalism and idealism emphasising concrete as opposed to abstract theory and the need to build on existing cultural traditions to modernise rather than westernise East Asia. This post-Western fusion was imagined to be the beginning of a true and pluralistic universalism. (shrink)