The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the exam­ples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of (...) the genres of court litera­ture, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the fea­tures of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teach­ings, as a way to comprehend the truth and achieve enlightenment. (shrink)

In this paper I investigate a reprint of a Meiji anthology titled Meiren qiantai shi 美人千態詩 by Shang- hai shuju in 1914. This is the first time that this anthology has received critical attention. I examine the poems collected by the anthologist, contextualize the anthology in relation to traditions and trends in Japan and China, and analyze the significance of the poetic tradition centered on images of women for understanding border-crossing literati culture from the seventeenth to the early twentieth centuries. (...) My study revises both Japanese and Chinese literary history. I show that the practice of kanshi composition was sustained by major Japanese men of letters through the late Meiji era. With the rise of modern Japanese literature, especially in the genre of fiction, it is generally held that there was a rupture between Edo and Meiji-Taisho literature. Within the discursive space carved out by the beauty anthology, however, we see a continuity that unified the Edo and Meiji eras. Furthermore, the Japanese poets’ particular engagement with the subgenre on beautiful women and related sentiments was concurrent with developments among the Chinese literati from the seventeenth to the early twentieth century. (shrink)

This essay retrieves the meaning and importance of renga, or linking poetry. Long forgotten, even in Japan, it was the form of which the great Bashō was the mater (not haiku as is now believed). When examining renga poetry, one can see that it is based not on authorial vision, but rather the trans-subjective mood that guides the different links made by the various poets who collaborate in the “rolling” of a renga. The radical implications of this form (...) for both aesthetics and ethics will be considered. (shrink)

Since it was first published more than forty years ago, _Sources of Japanese Tradition_, Volume 2, has been considered the authoritative sourcebook for readers and scholars interested in Japan from the eighteenth century to the post-World War II period. Now greatly expanded to include the entire twentieth century, and beginning in 1600, _Sources of Japanese Tradition_ presents writings by modern Japan's most important philosophers, religious figures, writers and political leaders. The volume also offers extensive introductory essays and commentary (...) to assist in understanding the documents' historical settings and significance. Wonderfully varied in its selections, this eagerly anticipated expanded edition has revised many of the texts from the original edition and added a great many not included or translated before. New additions include documents on the postwar era, the importance of education in the process of modernization, and women's issues. Beginning with documents from the founding of the Tokugawa shogunate, the collection's essays, manifestos, religious tracts, political documents, and memoirs reflect major Japanese religious, philosophical, social and political movements. Subjects covered include the spread of neo-Confucian and Buddhist teachings, Japanese poetry and aesthetics, and the Meiji Restoration. Other documents reflect the major political trends and events of the period: the abolition of feudalism, agrarian reform, the emergence of poltical parties and liberalism, and the Sino-Japanese and Russo-Japanese Wars. The collection also includes Western and Japanese impressions of each other through Western religious missions and commercial and cultural exchanges. These selections underscore Japanese and Western apprehension of and fascination with each other. As Japan entered the twentieth century, new political and social movements -- Marxism, anarchism, socialism, nationalism, and feminism -- entered the national consciousness. Later readings in the collection look at the buildup to war with the United States, military defeat and American occupation. Documents from the postwar period echo Japan's struggle with its own history and its development as a capitalist democracy. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his (...) class='Hi'>poetry are criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

No Moonlight in My Cup: Sinitic Poetry from the Japanese Court, Eighth to the Twelfth Centuries. Edited and translated by Judith N. Rabinovitch and Timothy R. BradstocK. East Asian Comparative Literature and Culture, vol. 10. Leiden: Brill, 2019. Pp. xxvi + 474. $232.

This paper examines the diplomatic relationship between Japan and Parhae as it developed over the eighth and early ninth centuries, with particular attention paid to the literary activities surrounding the reception of an embassy dispatched from Parhae to Japan in the year 814. Led by the noted poet Wang Hyoryŏm, the embassy was welcomed enthusiastically by Japan’s Emperor Saga, a sovereign for whom achievements in the realm of statecraft were linked closely to achievements in the realm of poetry. Of (...) the eight poems by Parhae literati that survive in Japanese collections, a full six come from Wang Hyoryŏm’s embassy and are included in the second of Saga’s royal anthologies, Bunka shūreishū. No other foreign embassy is better represented in sources of the era, and none speaks with greater clarity to the nexus between diplomacy, poetry, and court politics that obtained during Emperor Saga’s reign. This study complements previous scholarship concerning the function of poetry in the diplomatic process by explicating the formal properties of poems composed and exchanged at diplomatic encounters, and it contributes to the growing body of work in the field of Japanese kanshibun by foregrounding the role of diplomacy in Emperor Saga’s literary legacy building. (shrink)

In the framework of Japanese studies, the relationship between Buddhism and Japanese poetry has received very little academic consideration. The noticeable founded narrative forms and potent and substantial philosophical influence of classical Chinese writings have resulted in the image of China being recontextualized during the process of fantasy, development, and encounters on the part of Japanese writers or investigators, with the result that many distortions and mischaracterizations have occurred as a result of this process. This work (...) employs a comparative method that incorporates literature and philosophy to examine the poetry of Hagiwara Sakutarô (1886–1942). The comparative analysis is seen from the viewpoint of Naturalism's impact and the use of description in the development of Japanese contemporary poetry. This has led to several inaccurate depictions of the country. The image of China that is presented in Japanese literature is both a perception and an illusion that is produced when cultural knowledge and creative achievements are combined. This combination creates the image of China. In the article, an examination and classification of the depiction of China in Japanese literature is provided. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative (...) work is enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

Perhaps no one is more qualified to write about Japanese culture than Donald Keene, considered the leading interpreter of that nation's literature to the Western world. The author, editor, or translator of nearly three dozen books of criticism and works of literature, Keene now offers an enjoyable and beautifully written introduction to traditional Japanese culture for the general reader. The book acquaints the reader with Japanese aesthetics, poetry, fiction, and theater, and offers Keene's appreciations of these (...) topics. Based on lectures given at the New York Public Library, The Metropolitan Museum of Art, and the University of California, Los Angeles, the essays -though written by a renowned scholar- presuppose no knowledge of Japanese culture. Keene's deep learning, in fact, enables him to construct an overview as delightful to read as it is informative. His insights often illuminate aspects of traditional Japanese culture that endure today. One of these is the appreciation of "perishability." this appreciation os seen in countless little bits of Japanese life: in temples made of wood instead of durable materials; in the preference for objects -such as pottery- that are worn, broken, or used rather than new; and in the national love of the delicate cherry blossom, which normally falls after a brief three days of flowering. Keene quotes the fourteenth-century Buddhist monk Kenko, who wrote that "the most precious thing about life is its uncertainty." Throughout the volume, Keene demonstrates that the rich artistic and social traditions of Japan can indeed be understood by readers from our culture. This book will enlighten anyone interested in Japanese literature and culture. (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.

This essay explores the ontological movement of poetry, its language and words, by establishing a dialogue with the thought of three Japanese thinkers, Ki no Tsurayuki, Motoori Norinaga and Fujitani Mitsue, and the German philosopher Martin Heidegger. The overall purpose, as we progress from one to the other, is to present, explore and disclose a horizon where poetry gradually becomes the locus of a philosophy of language that places it at the genesis of mutual understanding, ethics and, (...) thus, of community. (shrink)

Juri Lotman distinguishes between two main types of communication. In addition to the classical I-YOU communication, he speaks about I-I communication, where both the addresser and the addressee are one and the same person. Contrary to how it sounds, autocommunication is not self-sufficient musing inside one’s self, it is remodelling oneself through a code from an entity outside oneself, be it animate or inanimate. According to Lotman, it is often the rhythmical phenomena like poetry, the rhythm of waves, etc. (...) that lend themselves for the act of autocommunication as external codes. After having received the message one is not identical to the original oneself anymore. Perceptual markers of landscape—specific rhythms, ephemera, the rhythm of human everyday activities, bodily movement—can be considered as a secondary code leading to autocommunication in the person who contemplates the landscape. Looking at the landscape—which also implies the rhythmical movement of the eyes—one uses it as a code to reconstitute oneself. A person who has confronted a landscape does not leave it as the same person. The present article poses a definition of autocommunication in landscapes and discusses the way in which other sensorial information apart from the visual—smell, movement, rhythms etc—are used culturally to reinforce autocommunication with oneself. It can be said that several institutionalised religious and cultural practices expect the subject to reconstitute him- or herself mainly through the bodily landscape experience. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

ESSAY I THE AESTHETIC STRUCTURE OF WAKA In the tradition of Japanese poetry, there evolved several genres, of which the most representative are waka ...

In lieu of an abstract, here is a brief excerpt of the content:Traditions and Tendencies:A Reply to Carine DefoortRein RaudIn 1899 William Aston, a British diplomat, published the first overall history of Japanese literature in English. In it, Japanese poetry is characterized as follows:Narrow in its scope and resources, it is chiefly remarkable for its limitations-for what it has not, rather than what it has.... Indeed, narrative poems of any kind are short and very few, the only (...) ones which I have met with being two or three ballads of a sentimental cast. Didactic, philosophical, political and satirical poems are also conspicuously absent. The Japanese muse does not meddle with such subjects, and it is doubtful whether, if it did, the native Pegasus possesses sufficient staying power for them to be dealt with adequately.([1899] 1977, p. 24)Nevertheless, Aston took it for granted that Japan had a literature and that one part of it was poetry, even if it did not quite live up to his expectations. Timothy Reiss, writing a century later, was not so generous: he argued that literature in the proper (i.e., his) sense of the word appeared in Europe in the seventeenth century "as part of a social solution to a crisis viewed explicitly at the time as at once logico-linguistic and sociopolitical" (1992, p. 5). As was fashionable at the time, Reiss' voluminous study also set out to prove that, once the crisis had been resolved, literature would also cease to exist.These two approaches can certainly be seen in the treatment of non-Western philosophical traditions as well. We might say that Aston's assessment of Japanese literature ("ingenious and inventive, but hardly capable of high intellectual achievement" [1899] 1977, p. 4) could perhaps be compared to the views of Christian missionaries and other early mediators of non-Western traditions, while the position of Reiss is similar to the position of those contemporary Western scholars who would like to reserve the right to define philosophy as narrowly as possible. In my comment earlier in this issue I tried to argue that neither of these positions, nor their derivates, is really satisfactory in the contemporary intellectual environment.In her thorough response, Carine Defoort has clarified most issues that provoked me in her initial article on this topic, particularly in emphasizing that her "family model" of philosophy is meant to be descriptive and not prescriptive. Nevertheless, I do find it a bit too pessimistic even as a description of the present situation, and I am also inclined to disagree with her certainty that "a world philosophy has not arisen and is not on the rise." Of course, a lot remains to be done in this area, but there is a clear tendency to the contrary, although this is perhaps due more to the contribution of Japanese rather than Chinese thinkers. A brief internet search reveals a considerable number of scholars who occupy professorial positions in philosophy (not Asian studies) departments at various universities around the world who list, for example, the Kyoto school philosophers or Dōgen in their research interests. Defoort as well does not have too high hopes of the Chinese tradition entering the field on a [End Page 661] more permanent setting because of the complexity of the language; on the other hand, not so many Western philosophers are proficient in Greek, either, but this is not perceived to be a major obstacle in their work. Moreover, although articles and books on Japanese thinkers sometimes appear that are on the naive side, relying on translations as they do, this situation does not necessarily have to stay the way it is.Nevertheless, Defoort is most certainly right in that the opposite number of philosophy departments, where Asian traditions are not considered to be proper philosophy, is, for the time being, much bigger. And some of them are in the most respectable institutions. However, when thinkers such as Jacques Derrida deny the status of philosophy to Chinese thought, one should remember that in many of these respectable institutions the label of "philosophy" is denied to the work of Derrida himself as well. If we refer to taijiquan not as taijiquan, period, but as "shadow-boxing," we have already granted... (shrink)

In his work on aesthetics, John Dewey provocatively (and enigmatically) called art the "most universal and freest form of communication," and tied his reading of aesthetic experience to such an employment. I will explore how art, a seemingly obscure and indirect means of communication, can be used as the most effective and moving means of communication in certain circumstances. Dewey's theory of art will be shown to hold that art can be purposively employed to communicatively evoke a certain experience through (...) an auditor's experience of an art object. Such a use is shown to be an extension of Dewey's conceptions of scientific method and the role of experience in criticism and communication, and is discussed in light of examples drawn from contemporary film, sculpture, and classical Japanese poetry. (shrink)

With “slow living” as the newest incarnation of the simplicity movement, the search for fresh inspiration on ways to live a more authentic life is as pressing as ever. Turning to Eastern traditions, people are discovering the Japanese concept of wabi sabi. The perfect antidote to today’s frenzied, consumer-oriented culture, wabi sabi encourages slowing down, living modestly, and appreciating the natural and imperfect aspect of material culture. While defying definition, wabi sabi is best expressed in brief, evocative bites. In (...) The Little Wabi Sabi Companion, Diane Durston, a noted writer on Japanese art and culture, presents a collection of reflections, along with classic poetry and verse from both Eastern and Western traditions, that capture the wabi sabi moment, and inspire readers to do the same. The subtle beauty of nature, the simplicity of a found object, the impermanence of an autumnal flower arrangement, the solitude of a single fisherman in his boat are all celebrated and reflected upon in this easily browseable book. The text is complemented by photography and calligraphy inspired by the wabi-sabi spirit. This collection of simple, yet profound insights in an irresistable, hold-in-the-hand package offers readers the opportunity for integrating moments of contemplation and meditation into their daily lives, and to discover the essence of wabi sabi. (shrink)

The Japanese poet-scholar John Solt is perhaps best known in the United States for his excellent biocritical study (Harvard, 1999) of the avant-garde poet Kitasono Katue, who served, from the mid-1930s on, as Ezra Pound's primary conduit to the stylization of Japanese poetics that he so admired. “Kit Kat,” as Pound fondly called the poet he knew only via their extensive correspondence, was Pound's translator, editor, and sometime collaborator; in return, Pound (who did not read Japanese) wrote (...) admiringly of Katue's work in Guide to Kulchur and elsewhere.Solt has now published a beautifully produced volume of his own distinctive poetry—a poetry that fuses the concision of Japanese tanka and haiku with very up-to-date explorations of what Pound called moeurs contemporaines: riddling short lyrics laced with humor and a telling irony that makes the reader smile with a shock of recognition. In the spirit of Kenneth Rexroth, with whom he studied in Santa Barbara, Solt's seemingly “simple” free verse is carefully structured. The minimalist poems are placed, one per page, in different spatial positions, with the Japanese translation en face. The volume contains a sprinkle of elegies and occasional poems, but Solt's signature poems are epigrams or aphorisms in the vein of the Zen koan: i held my tongueas if it werea ticketThe pun on the word held and the ticket metaphor can be read quite variously: I said nothing, saving my “ticket” for future gain. Or I “held” my tongue as one holds on to a precious ticket for some form of entrance, perhaps erotic. Indeed, Solt excels at the erotic poem—one that is never directly confessional or even personally expressive but that gives the reader a strong sense of a particular moment, as inice cubes meltin the crackleof your nakednessyou roll down your lace stockingsexposing the same designin tattoo... where it is the imprint the lace leaves on the skin that produces arousal. We never know who the “you” of these poems is, nor does it matter. We only know—in the case of a neighboring poem—that the lovers have “met again / and again / like spinning tops,” until “with centrifugal force / we easily slipped / outside the windows / of our eyes.” Caught up in the moment of ecstasy, they no longer see one another.In this complex and subtle poetry, comparisons come readily, only to be given an ironic twist: the mind is a kitehe thoughtletting goof both stringsAnd things are never quite what they seem: you toasted“happiness to usand confusionto our enemies”and I laughedsecureuntil a cloud formedin my mindWe have all had this experience of group approval only to wonder—the next minute—whether we really agree. Solt's minimalist lyrics not only make us smile: they also make us think. (shrink)

"Featuring a carefully selected collection of source documents, this tome includes traditional teaching tools from the Zen Buddhist traditions of China, Korea, and Japan, including texts created by women. The selections provide both a good feel for the varieties of Zen and an experience of its common core.... The texts are experiential teachings and include storytelling, poetry, autobiographies, catechisms, calligraphy, paintings, and koans. Contextual commentary prefaces each text. Wade-Giles transliteration is used, although Pinyin, Korean, Japanese, and Sanskrit terms (...) are linked in appendixes. An insightful introduction by Arai contributes a religious studies perspective. The bibliography references full translations of the selections. A thought-provoking discussion about the problems of translation is included.... Summing Up: Highly recommended. All levels." --_Choice_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 63-76 [Access article in PDF] Formal Practice: Buddhist or Christian Robert Aitken Diamond Sangha In this paper, I write from a Mahayana perspective and take up seven Buddhist practices and the views that bring them into being, together with Christian practices that may be analogous, in turn with their inspiration. The Buddhist practices sometimes tend to blend and take on another's attributes and functions. I (...) name them according to their usage in Western Buddhism.The Nembutsu (Ch. Nien-fo, "Recalling Buddha") is the pronouncement of veneration to Amida Butsu (Ch. A-mi-to-fo, Skt. Amitabha Buddha), an appeal to his salvific power, and sometimes an endeavor to unify with him.The ekomon (Ch. hui-hsiang-men, Skt. parinamana) is a verse that transfers merit back to Buddhas, bodhisattvas, and past teachers for their further empowerment to bring beings to the way of the Buddha.Zazen (Ch. tsao-ch'an, Skt. dhyana) is focused meditation intended to enable the student to personalize the realization and way of the Buddha.The vow or expression of aspiration (J. gan, Ch. yuan,Skt. pranidhana) pronounces a determination to make realization possible for the self and others.Sange, or zange (Ch. chang-hui, Skt. kshamayati), is the confession of personal responsibility for bad karma in the past and repentance for it.Mudra(J. in, Ch. yin) and dharani(J. darani or ju, Ch. chou) are ritualized presentations of realizations and their dharma. They can be gestures, hand positions, or postures; dharaniare esoteric formulas or texts.Sutras and sutra services, from the Sanskrit (J. kyo,Ch. ching), traditional Buddhist chants and texts. The Nembutsu The Nembutsu invokes Amida, the Buddha of Infinite Light and Life and the Lord of the Pure Land, a powerful savior by dint of vows he took while still in his Bodhisattva Dharmakara incarnation. He is venerated across Asia—in Japan, Korea, Vietnam, and the Chinese diaspora. The Nembutsu formula, "Namu amida butsu," or the equivalent in the other languages ("Veneration to 'Amida Butsu'"), is repeated devotionally, bringing promise of a joyous afterlife, and for some, intimacy with Amida, [End Page 63] the spiritual oyasama, or parent, an effect not unlike that of Christian mysticism. 1 The Myokonin (Pure and Happy People), the Pure Land movement of Japanese who take it upon themselves to practice the Nembutsu moment-to-moment, set forth their experience in artless poetry that is poignant and metaphysically clear: I thought it was all due to my self-power, That [the Nembutsu] was uttered; But it was not so, it all came from the power of Oya. What I was imagining to be the other power Was no other than the self-power itself. Wishing to shun the evil path And ever hoping for the Pure land— The very thought was no other than the self-power. I have been designing all the time, Saying, "Is this the way, or that?" But there was no designing after all, All was given fully, and freely How grateful I am! Namu amida butsu! 2Interior repetition of the Nembutsu hundreds of times a day brings the fulfilling gift of spiritual intimacy with the oya, and the Christian analoy is clearly the Jesus Prayer, "Lord Jesus Christ, Son of God, have mercy on me, a sinner," or its shortened version, "Lord have mercy" ("Kyrie eleison"). 3 Yet there is more than a shade of difference between devotion to a savior empowered by his original vows for his all-embracing compassion, and devotion to the one who inherits the power of an omnipotent God. In the words of Saint Teresa of Avila, "God is almighty. His power has equaled His will; and so He can do everything that pleases him. The less I understand this, the more I believe it and the greater the devotion it arouses in me. Blessed is He forever! Amen." 4 The EkomonIn contrast to the Nembutsu, the ekomon is not an appeal for redemption but a return of the "auspicious power" (J. fukutoku, Ch. fu-tu, Skt. punya) of the sutra or sutras just recited to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Onitsura's Makoto and the Daoist Concept of the NaturalPeipei QiuIn haikai history, Uejima Onitsura (1661-1738) is famous for the following statement concerning the nature of comic linked verse: "Without makoto, there would be no haikai."1 The two Japanese terms used in this statement, haikai and makoto, present an obvious semantic conflict. Makoto in Japanese basically means "truth," "faithfulness," and "genuineness."2haikai, on the other hand, literally means "facetiousness" (...) or "humor." The term is used to refer to facetious poems in Japan since the first imperial poetic anthology, the Kokin wakashū (905). When haikai no renga (comic linked verse) became a popular genre during the later medieval and early Edo periods, it was conceived basically as a playful and facetious poem. By saying that "without makoto there would be no haikai," Onitsura declared a revolutionary change in the nature of the comic linked verse, a reform carried out by the joint effort of a number of haikai poets during the last two decades of the seventeenth century. Before this change took place, haikai had been characterized as a poem of "free exaggerations" and "the most deluding falsehoods."3 The shift of the critical emphasis from falsehood to truthfulness transformed the genre from an entertaining pastime to a serious literary form.An important notion in haikai poetics, Onitsura's makoto has garnered wide scholarly attention. But, because of the lack of a clear definition by the author himself, over the years scholars have been debating the precise meaning of Onitsura's makoto and trying to discover its derivation through various sources. The filiation of makoto has been traced to Zen Buddhist doctrine,4 traditional waka poetics,5 and Confucian teaching.6 The assumption that Onitsura's makoto originates in Zen doctrine is based on the preface that Onitsura wrote to Haidō Enō roku (The Way of haikai: Notes on Huineng's teaching) (1680). The preface begins with the following lines:Printed poetry books are not trees; the paper on which a poem is written also has no stand. "From the beginning not a thing is"—this is the key to my haikai.7Peculiar at first glance, these lines are derived from the legendary gatha of Huineng (Enō), the Sixth Patriarch of Zen Buddhism. Huineng's gatha appears in section 8 of Liuzu fabao tanjing (The Platform Sūtra of the Sixth Patriarch):Bodhi originally has no tree,The mirror also has no stand.From the beginning not a thing is,Where is there room for dust?8 [End Page 232]The third line of the verse, "From the beginning not a thing is", is regarded by some scholars, especially some Japanese writers, as the most important doctrine Huineng contributed to Zen Buddhism.9 It is believed that the focus on the original nothingness, or original purity, of Buddha nature distinguishes Huineng's doctrine of sudden enlightenment from those of his predecessors. Okada argues that the Zen notion of original nothingness was the major source that awakened Onitsura to the necessity of haikai reform and led him to the conclusion that "without makoto there would be no haikai."10Okada's study is enlightening in examining Onitsura's early views of poetry. It is not, however, very convincing to say that this Zen verse alone was responsible for the formation of Onitsura's makoto. For one thing, the poet's own writings suggest that Onitsura realized the significance of Huineng's words after he had become aware of the true way of haikai. In the same preface cited above, Onitsura writes:Only after I became awakened to the true way of haikai did I begin to understand the significance of Master Huineng's words "not a thing is." I see [that] many poets in the haikai circles nowadays have ignored the true way of haikai while arguing endlessly over the old and new styles. I feel sorry for them.11It is clear from Onitsura's words here that he borrowed the Zen term mainly to criticize the mannerism among the haikai poets of his time. He was calling for the haikai poets to put aside their prejudice about the stylistic differences and open their minds... (shrink)

How our everyday interactions as neighbors shape—and sometimes undermine—democracy "Love thy neighbor" is an impossible exhortation. Good neighbors greet us on the street and do small favors, but neighbors also startle us with sounds at night and unleash their demons on us, they monitor and reproach us, and betray us to authorities. The moral principles prescribed for friendship, civil society, and democratic public life apply imperfectly to life around home, where we interact day to day without the formal institutions, rules (...) of conduct, and means of enforcement that guide us in other settings. In Good Neighbors, Nancy Rosenblum explores how encounters among neighbors create a democracy of everyday life, which has been with us since the beginning of American history and is expressed in settler, immigrant, and suburban narratives and in novels, poetry, and popular culture. During disasters, like Hurricane Katrina, the democracy of everyday life is a resource for neighbors who improvise rescue and care. Degraded, this framework can give way to betrayal by neighbors, as faced by the Japanese Americans interned during World War II, or to terrible violence such as the lynching of African Americans. Under extreme conditions the barest act of neighborliness is a bulwark against total ethical breakdown. The elements of the democracy of everyday life—reciprocity, speaking out, and "live and let live"—comprise a democratic ideal not reducible to public principles of justice or civic virtue, but it is no less important. The democracy of everyday life, Rosenblum argues, is the deep substrate of democracy in America and can be its saving remnant. (shrink)

The term ‘humanism’ is Western in origin. It denotes the tradition that places special emphasis on cultivation of letters for education. In the West, this tradition was originated with sophists and Isocrates, established by Cicero, and was developed by Renaissance humanists. East Asia, however, also has its own humanistic traditions with equal educational relevance. One of these is a Japanese version of Confucian humanism established by Ogyu Sorai. This tradition is based on the interpretation of Confucius as a lover (...) of poetry and a teacher of rites. In this article, we discuss the main features of East Asian humanism represented by Sorai and Confucius. Then, after an overview of Western humanism, we aim to elucidate both the convergence and divergence of the two traditions. The investigation will help us to envision humanistic education of the twenty-first century. (shrink)