La réception d’Adam Smith au Japon est l’occasion d’expériences variées de comparaison internationale et interdisciplinaire. Smith paraît ce que l’on pourrait déjà nommer un « philosophe-économiste » tout en étant regardé comme « l’économiste par excellence » et, au Japon aussi, le « professeur de tous les économistes ». Il continue d’y être considéré comme un représentant du libéralisme économique, ce qui prête à des erreurs et des errances que cet essai entend dénoncer. L’objet principal de ce texte est de (...) présenter comment la doctrine smithienne a été conceptualisée au Japon sur les plans historique, social et intellectuel : ce n’est pas seulement la réception de sa théorie économique, mais aussi la relation à sa philosophie qui est questionnée. (shrink)

In his Pramāṇaviniścaya 3, Dharmakīrti criticizes the view of the Sāṅkhyas that the word anityatva (“impermanence”) means a process of transformation ( pariṇāma ) of primordial matter ( pradhāna ). In this connection, he deals with the following two explanations of transformation: (1) the disappearance ( tirodhāna ) of the previous dharma of an entity ( dharmin/dravya ) and (2) the cessation ( nivṛtti ) of the previous state ( avasthā ) of an entity ( avasthātṛ ). In response to (...) these explanations, he proves that whenever a transformation takes place, the previous entity is destroyed, and therefore, impermanence does not mean transformation, but only destruction ( vināśa ). His criticism is basically along the same lines as Vasubandhu’s arguments found in the Abhidharmakośabhāṣya . However, because of developments in the theory of transformation, Vasubandhu’s criticism allows room for a retort from the Sāṅkhya. For this reason, Dharmakīrti augments Vasubandhu’s theory in order to make it sustainable against the more developed Sāṅkhya theory. (shrink)

Nicholas of Cusa (1401-1464) was one of the most original thinkers of the Renaissance. This collection examines, from several viewpoints, his speculative thought and reviews his ideas on dialogue with non- Christians in the light of his theories. The articles originated in papers presented at several conferences sponsored by the American Cusanus Society, 1981-1988. Annotation copyrighted by Book News, Inc., Portland, OR.

La figure diabolisée du chat dans la littérature japonaise évolue sans cesse au cours de l’époque médiévale, et nous prenons ici l’exemple d’un chat-monstre nommé nekomata. L’un des exemples littéraires les plus connus se trouve dans les Heures oisives, ouvrage écrit vers 1330 par Yoshida Kenkô. Il semble cependant que le terme nekomata soit apparu un siècle plus tôt, comme le montre l’entrée du 2 août 1233 dans le Journal de la lune brillante de Fujiwara no Teika, l’un des plus (...) grands poètes de son temps. Nous analyserons donc ce texte de première importance pour comprendre les origines de cette figure littéraire, puis tenterons de comprendre le sens de l’expression nekomata. The demonized figure of the cat in Japanese literature evolved constantly during medieval times, and here we take the example of a monster cat named nekomata. One of the best-known literary examples is found in Tsurezure-gusa, written around 1330 by Yoshida Kenkô. However, it seems that the term nekomata appeared a century earlier, as can be seen from the August 2, 1233 entry in Meigetsu-ki, the diary of Fujiwara no Teika, one of the greatest poets of his time. We will examine this important text for a better understanding of the history of the monster cat and reflect on the meaning of the term nekomata. (shrink)

Reading “The Tale of Genji”: Sources from the First Millennium. Edited by Thomas Harper and Haruo Shirane. New York: Columbia University Press, 2015. Pp. xx + 610. $65.

1. IntroductionHaving been adapted into a movie by Martin Scorsese in 2016, Silence is Shūsaku Endō’s most famous novel outside of Japan. Initially published in 1966, the novel is about seventeenth-century Jesuit missionaries who secretly make a voyage to Japan in search of their spiritual Father who has reportedly renounced his faith after being tortured by local authorities. In his foreword to Endō’s Silence, Scorsese, a devout Catholic and long-standing admirer of Endō’s work, claims that the novel is “about the (...) particular and the general. And it is finally about the first overwhelming the second.”1 Not only did Endō acknowledge an inevitable conflict between experience and belief, but he also creatively adapted his faith for a different reality. Endō described Catholicism as “Western clothing my mother gave me,” which, throughout his life, he tried to tailor into a Japanese kimono that would fit him.2 Suffering from an unhappy marriage, his mother turned to Catholicism, and Endō followed her in this pursuit at the age of eleven. (shrink)

Kōzō to kaishaku -- Ei-Bei tetsugaku nyūmon -- Bākure ni okeru shisō taiken -- Ryōkai ni teuite -- Gendai ni okeru sonzai no mondai.

La figure du chat fait son apparition dans la littérature japonaise au ixe siècle, mais son image évoluera de manière inattendue à l’époque médiévale. Des témoignages littéraires du xie et du xiie siècle, tels que les Notes de chevet de Sei Shônagon et Le Dit du Genji de Murasaki Shikibu, montraient clairement l’intérêt porté aux chats par les dames de cour. Pourtant, à partir du xiiie siècle, le félidé fera au contraire l’objet d’une forme de « diabolisation », et c’est (...) cette dimension plus inquiétante du chat que nous aimerions évoquer ici, à travers trois exemples tirés du Kokon chomon-jû, vaste recueil de contes et légendes. Cette œuvre méconnue en Europe est attribuée à Tachibana no Narisue et achevée en 1254. The figure of the cat made its appearance in Japanese literature in the 9th century, but its image evolved unexpectedly in medieval times. Literary evidence from the 11th and 12th centuries, such as the Bedside Notes by Sei Shônagon and The Tale of Genji by Murasaki Shikibu clearly showed the interest of court women in cats. However, from the 13th century, the feline became the object of a form of “demonization”, and it is this more disturbing dimension of the cat that we would like to describe here, through three examples taken from Kokon chomon-Jû, a vast collection of tales and legends. This work, unknown in Europe, has been attributed to Tachibana no Narisue and was completed in 1254. (shrink)