The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in (...) transition,” the essays reveal novel modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

Life is short and transient--Japanese people call this sentiment mujokan. However, what if we could sweep away the "despair" looming over the present age by proactively accepting this mujo (transience)? Perusing the thought of mujo from the perspectives of philosophy, literature, art and religion, Takeuchi delves into the view of life and death unique to the Japanese people who have shared "grief" and "pain" with each other, as well as into the very core of their underlying spirit." (...) -- Publisher's description. (shrink)

In American universities, even Asian Philosophy is still often taught following methods adapted from European universities of the nineteenth century. Whether or not this approach is well-suited to philosophy as it was conceived in that era, it is inadequate if the aim is to develop a deep appreciation of Japanese philosophy. To limit what we consider Japanese philosophy to only what bears a distinct resemblance to academic Western philosophy, and accordingly to approach (...) class='Hi'>Japanese philosophy purely theoretically, is to risk missing the greater part. Much of Japanese philosophy is applied philosophy, or in other words, what Pierre Hadot calls a “way of life,” and to appropriate it meaningfully requires practice rather than mere intellectual study alone. Thus, I contend that a proper means for introducing Western students is a more holistic method grounded in practicing traditional arts, such as composing haiku. I argue that the seventeenth century poet Matsuo Bashō can serve as a valuable resource in this process. I conclude with a description of the methods that I use in my efforts at teaching Japanese philosophy to undergraduate university students in South Texas. (shrink)

Comparative environmental philosophy is valuable in many ways. Perhaps it is most valuable because it reveals some of the foundational assumptions that run so deep in the poles of comparison that they might otherwise have gone unnoticed. These revelations may invite us to challenge those assumptions that have led to the kind of thinking responsible for much of the environmental degradation that we see today. Japanese Environmental Philosophy gathers papers focused on the environmental problems of the twenty-first (...) century. Drawing from Japanese philosophical traditions they investigate our relationships with other humans, nonhuman animals, and the environment. The heart of the book consists of chapters written by fifteen top scholars from Japan, the United States, Europe, and Australia. The essays cover a broad range of topics drawn from various strains of Japanese thought—including Zen Buddhism, Shintoism, the Kyoto school, and Japanese philosophy of art and aesthetics—as well as from traditional Japanese culture and the contemporary science of planning for natural disasters. These articles demonstrate that Japanese scientific, philosophical, religious, and cultural traditions can provide meaningful insight to address the current global environmental crisis. (shrink)

Nature and time have long been key concepts of educational thought. Educational thinkers from both the East and the West have tried to imitate and follow nature. They have also considered time in relation to human formation and growth. This article attempts to connect these two key concepts of education through the medium of the seasons. The seasons bridge both time and nature. Our experience of nature is temporal and manifests itself in the transition of the seasons. On the other (...) hand, our experience of time is conditioned by the seasons. Seasons are a concrete manifestation of time and nature. It seems that philosophy has not paid enough attention to this. In this article, Japanese arts are used as the examples of how the arts can help to form our sensibility toward the seasons, which has ethical and educational implications. The article also asks questions about contemporary environmental discussions that, in the aspiration to be global and universal, often overlook concrete experience of the seasons conditioned by local climate. (shrink)

The Japanese arts (dō) provide a rigorous, ritual-like set of structures which involve moral and aesthetic training, as well as providing techniques for body-mind synchronization (constituting as such: meditation-in-action). The article explores the links between the Japanese arts and Zen Buddhist ideals (particularly Sōtō Zen) of enlightenment being nothing other than the consistent practice of one's art. Japanese archery (kyudō) will be highlighted to illustrate this, as will the Japanese lifelong learning philosophy (shugyō). The article (...) concludes by bringing into contrast two very different notions of what spiritual development consists in, one of which is highly conservative with respect to its traditions (per the Japanese arts), and the other which explicitly characterizes spiritual development as a process of renewing one's tradition as one practices it (per Margaret Masterman and Richard Sennett). It is suggested that, for better or worse, maintaining the extreme purity of one's practices is unrealistic in today's profoundly interconnected world. (shrink)

What makes Japanese art unique? In The Japanese Sense of Beauty, art critic and historian Takashina Shūji reflects on the aesthetic and philosophical sensibilities underlying Japanese art throughout its history, from the earliest calligraphy and painted screens to modern masters like Hishida Shunso and Yokoyama Taikan. Along the way, Takashina explores themes such as the relationship between subjective perspective and "flat" composition and the playful intermingling of word and image throughout the plastic arts of Japan. He also (...) offers fresh critical perspectives on many individual artists, including Takeuchi Seihō, one of the first to fuse traditional techniques with Western realism, and Takahashi Yuichi, who combined a vivid mastery of texture with deceptively traditionalist compositions. Other essays in this wide-ranging collection touch on everything from the symbolism of Mount Fuji to the ancient music known as gagaku, showing how even the most disparate topics can shed new light on what is essential to Japanese culture. The Japanese Sense of Beauty is an important contribution to the study of aesthetics and cultural history, offering insights that will change the way you think about Japanese art." -- Publisher's description. (shrink)

Far Eastern calligraphy has always been regarded by the Occident as an “esoteric” issue, laden with a peculiar “mysticism,” which presents spiritual and philosophical aspects too outlandish to truly comprehend. That is probably the reason why calligraphy was amongst the last artistic “disciplines” to gain access to the international world of the arts. This study focuses on Japanese calligraphy as a visual and verbal image, conducting a hermeneutic investigation into the nature and function of this type of image, into (...) the value and significance of this way of representing the sacred in accordance with Japanese spirituality. Undertaking an unusual exploration, this research draws together the symbolism of calligraphic art and that of Byzantine icons, looking for similarities and differences between them, seeing them as intuitive gateways to the mysteries of the universe, to revelations of an ontologically superior nature. (shrink)

This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than (...) seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations. (shrink)

At the core of Félix Guattari’s ethico-aesthetic paradigm is a conception of subjectivity that somehow relies upon the notion of animism. Even though this apparently Romantic return to animism may seem vague and perhaps even naive, it forms the very framework that Guattari asks us to pass through, at least provisionally, in order to fully grasp his last project. I will therefore attempt to demystify this important concept theoretically before showing how the aesthetic machines of Japanese contemporary art – (...) and more specifically, the conceptual art of Yoko Ono – stage one key aspect of Guattari’s animism: machinic heterogenesis. Guattari travelled to Japan many times in the years leading up to the publication of Chaosmosis and Japanese contemporary art allowed him to bolster some of its theoretical claims with concrete examples. I will argue that it is through the lens of Japanese contemporary art that Guattari’s ethico-aesthetic paradigm might propel us beyond the old-guard strategies of modernism. Just as we are asked to pass through a certain notion of animism to understand the relational onto-logic of Chaosmosis, Japanese contemporary art itself demands a similar conceptual framework in order to be disappropriated from an all-too-Western canon. To this end, I supplement Guattari’s work with speculative readings of Japanese philosophy. (shrink)

The analysis of the reciprocal relations of the discipline of philosophy and other cultural phenomena requires a few disclaimers. First of all, the characterization of philosophy as a cultural phenomenon along with literature, music and theater, or culinary arts, fashions and sports, rejects claims that philosophy somehow relates to absolute truths which transcend the limits of any particular cultural context and mean the same things for anyone who manages to reach the heights and/or depths necessary for that (...) purpose. This also entails that any pursuit of philosophy, including Buddhist philosophy in Japan, is only possible within the network of textualities and cultural practices that surround it, and the people engaged in it relate to the cultural codes and institutions of their environment just as they relate to the internal rules of their philosophy and its received heritage. Secondly, we have to acknowledge two major aspects in approaching any cultural phenomenon, namely, its texts and its practice. The texts produced by the people engaged in, say, philosophy or literature or cooking are distinct from, yet always related to, the practical aspects of that phenomenon, which determine who produces these texts, how and why they are produced, and how they are used and disseminated. Alternatively, seen from the aspect of practice, texts are a sort of by-product of what people do; for example, reciting Buddhist sutras does not imply a deep understanding of their semantic, textual, and philosophical content. Both of these aspects are equally relevant to the phenomenon as a whole, and neither can be sufficiently analyzed without the knowledge of the other. In this article, I will focus on some key categories and issues mainly as they have been reflected in the domain of literature, especially since it can be argued that literature is the filter through which Buddhist influence, and its philosophical aspect, in particular, has been mediated to other spheres of culture. (shrink)

A critical examination of Japanese literary and art theories.

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that (...) set our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that (...) set our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese (...) art and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent (...) formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

The essence of Japanese art lies in the peculiar character of the people and the influence of "life-affirming" Zen. Painting, poetry, and even the tea ceremony are "ways" to the Absolute Nothing. The aesthetic qualities of Japanese art are "limitlessness," "unfinishedness," and naturalness.--A. B.

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead that (...) embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

What is culture? What can we learn from art, architecture, and fashion about how people relate? Can cultures embody ethical and moral ideals? These are just some of the questions addressed in this book on the cultural philosophy of three preeminent Japanese philosophers of the early twentieth century, Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō.

Annotation This is the first work in English on the history of the Japanese philosophy of art, from its inception in the 1870s to the present.

Os sentidos da paixão foram originalmente um curso livre que o Núcleo de Estudos e Pesquisas da Fundação Nacional de Arte (Funarte) promoveu no Rio de Janeiro, São Paulo, Brasília e Curitiba e que atraiu cerca de setecentas a mil pessoas em cada cidade. Prova da fertilidade do curso é este livro apaixonado. Nele, alguns dos mais brilhantes intelectuais brasileiros discutem desde o amor em Platão até a paixão em Pasolini, passando por Freud, Walter Benjamin e Clarice Lispector, o que (...) só comprova a riqueza de um tema que até então não havia sido objeto de um debate como este.ÍndiceApresentaçãoPor que tanta paixão? Adauto NovaesOS SENTIDOS DA PAIXÃOO conceito de paixão - Gérard LebrunSobre o medo - Marilena ChauiPlatão: as várias faces do amor - José Américo Motta PessanhaO CANTO DAS PAIXÕESA glória - Renato Janine RibeiroA inveja - Renato MezanA melancolia de Ulisses - Olgária MatosPaixão da igualdade, paixão da liberdade: a amizade em Montaigne - Sérgio CardosoA paixão dionisíaca em Tristão e Isolda - José Miguel WisnikO lenço e o caos - Jorge ColiPasolini: paixão e ideologia - Michel LahudA paixão de Clarice Lispector - Benedito NunesPoesia: a paixão da linguagem - Paulo LeminskiÉdipo e a paixão - Hélio PellegrinoO Dom de Édipo - Luiz Renato MartinsLou Andreas-Salomé: a paixão viva - Luzilá Gonçalves FerreiraA PAIXÃO REVOLUCIONÁRIAA alegoria da liberdade - Jorge ColiA paixão revolucionária e a paixão amorosa em Stendhal - Renato Janine RibeiroA PAIXÃO SILENCIOSARazão e paixão - Sérgio Paulo RouanetA psicanálise e o domínio das paixões - Maria Rita KehlBenjamin: política e paixão - Katia Muricy. (shrink)

For readers looking for insights into key issues linking current Eastern and Western views on the arts, aesthetics, and philosophy, Unsettled Boundaries offers fresh and insightful perspectives on current issues as seen by leading Chinese and Western scholars. Represented in the volume are previously unpublished essays of Nöel Carroll, Garry Hagberg, Richard Shusterman, and Jason Wirth alongside writings of Chinese peers Gao Jianping, Peng Feng, Liu Yuedi, Wang Chunchen and Cheng Xiangzhan. The essays in this volume draw attention to (...) evolving cultural and philosophical connections linking the cultures of East and West, while taking note of important differences in the respective cultures. These connections draw upon both traditional Confucian ideas and Chinese Marxist-Leninist aesthetics as well as western pragmatism, somaesthetics, and Wittgenstein-based analytic philosophy. Alongside these philosophical currents, are reflections on issues linking globalization to contemporary Balinese, Chinese, and Japanese arts, by Curtis Carter, Stephen Davies, Garry Hagberg, and Mary Wiseman. (shrink)

A comprehensive review of Paul Horwich's _Truth_ and _Meaning_.

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)

George Will, the well-known pundit, once observed: “A society's recreation is charged with moral significance. Sport—and a society that takes it seriously—would be debased if it did not strictly forbid things that blur the distinction between the triumph of character and the triumph of chemistry.” In opposition, Dan Duchaine, the highly publicized “steroid guru” and counter-culture columnist, declared: “There comes a time for many in competitive athletics where winning is more important than those initial goals of health, recreation, and relaxation.” (...) The parallels of these two philosophies to life in general are patent simply by substituting “sports” and “winning” for “career” and “success,” respectively.This paper will review the basis for banning anabolic steroids in athletics, and consider especially the recent medical findings that support this prohibition. This survey leads into a discussion of the available deterrents, and the secondary, but essential, role of random drug testing as a final safeguard. (shrink)