One of the most characteristic cornerstones of Asay’s book, A Theory of Truthmaking, is the defense of what he calls the ontology-first perspective on what the truthmaker project is all about. He distinguishes it from and defends it over what he calls the explanation-first perspective, and he bases his overall theorizing about truthmaking on it. This critical notice aims to counter Asay’s challenges for the explanation-first perspective and reveal its theoretical advantages over its rival. First, I show how to escape (...) Asay’s presented dilemma for the explanation-first perspective by specifying the nature of the distinctive form of explanation that explanation-first truthmaker theorists should envisage. Second, partly based on my proposal in the preceding discussion, I provide an account of the cases that Asay thinks pose troubling questions concerning whether a certain entity really serves as the explanans of a truthmaking explanation. Third, I establish a way in which the explanation-first perspective can be beneficial to what the ontology-first perspective focuses on, namely, exploring the ontological requirements for truths. The overall discussion warns against the underestimation of the prospects for the explanation-first perspective. (shrink)

ABSTRACTWe tested the response dynamics of the evaluative priming effect using a mouse tracking procedure that records hand movements during the execution of categorisation tasks. In Experiment 1, when participants performed the evaluative categorisation task but not the non-evaluative semantic categorisation task, their mouse trajectories for evaluatively incongruent trials curved more toward the opposite response than those for evaluatively congruent trials, indicating the emergence of evaluative priming effects based on response competition. In Experiment 2, implementing a task-switching procedure in which (...) evaluative and non-evaluative categorisation tasks were intermixed, we obtained reliable evaluative priming effects in the non-evaluative semantic categorisation task as well as in the evaluative categorisation task when participants assigned attention to the evaluative stimulus dime... (shrink)

Some truthmaker theorists posit a distinctive kind of entity to solve the problem of providing ontological grounding for negative truths. Recently, A. M. Griffith has raised a general objection against these alleged truthmakers based on an explanatory constraint on truthmaking and the existence condition of these entities. This paper counters the objection by placing it on the horns of a dilemma: the argument must either specify that the existence condition in question is a conceptual matter or insist that the condition (...) is of properly metaphysical substance. I first argue that the former horn cannot be pursued because it makes the objection irrelevant to the alleged claims of truthmaking. I then argue that the latter horn is also highly problematic because simply insisting on the claim begs the question; appreciating this point leads proponents and opponents of the alleged truthmakers to a substantial debate about the metaphysical nature of these entities and the overall theoretical benefit of their postulation. The discussion shows that Griffith's argument fails to establish its conclusion and reveals what is actually required to argue for/against a particular proposal to provide ontological grounding for negative truths. (shrink)

Recently, Jonathan Tallant has argued that we should reject priority views, which hold that some objects are fundamental and others are dependent. Tallant’s argument relies on two proposed mereological possibilities: a gunky world, where everything has a proper part, and a junky world, where everything is a proper part. In this paper, I criticise Tallant’s argument and argue that neither of these possibilities threaten priority views per se; at most, they threaten only particular forms of priority views that contain a (...) certain independently controversial assumption. First, I defend priority pluralism against the gunk argument: the genuine conceivability of gunk can be plausibly doubted on the basis of a certain principle concerning metaphysical possibility, and even if this principle is false, the possibility of a gunky world poses no devastative problem for pluralism per se because it can be considered to be consistent with nonatomism. Second, I defend priority monism against the junk argument: the possibility of a junky world poses no devastative problem for monism per se because it can be considered to be consistent with nonholism in a twofold sense. Finally, I show that even monism as defined as genuinely holistic can be plausibly defended against the junk argument once the claim of the possible nonexistence of the maximal whole is reinterpreted based on the priority-based conception of existence. (shrink)

According to some philosophers, if truthmaker theory is true, then all truths have truthmakers, but there are no truthmakers for negative truths - therefore, the theory is false. In this paper, I defend truthmaker theory by arguing against both claims. I begin by examining and rejecting a recent attempt to argue against. I then present my own argument against by considering the connection between truthmaking and the more general notion of grounding. Finally, I critically examine the proposal by Ross Cameron (...) and argue that the world as a whole can make all negative truths true, despite an apparent inconsistency in and an implausible consequence of Cameron's account. The discussion reveals how negative truths are grounded in reality on the basis of a reassessment of how such truths matter to truthmaker theory. (shrink)

The purpose of this paper is to clarify the connection between two notions of growing interest in contemporary metaphysics – truthmaking and grounding. The former has provoked a great deal of controversy since the 1980s, whereas the latter has attracted serious attention only since the beginning of this century. Although the two notions are closely connected, only a few attempts have been made so far at clarifying that connection. The present paper is intended as an investigation of the connection on (...) the basis of the appreciation of the core ideas of truthmaker theory. To begin with, two conceptions of the connection are distinguished, and the conception that truthmaking can be defined in terms of grounding is endorsed. Next, two ideas that form the core of truthmaker theory are delineated, and it is argued that the definition of truthmaking should be based on the idea that truthmakers are metaphysically fundamental entities. Finally, it is shown that a particular problem with grounding can be resolved by restricting a relevant logical principle for grounding, justified by the idea that truth is a derivative aspect of reality. The discussion reveals the significance of appreciating the core of truthmaker theory in developing a theory of grounding. (shrink)

This paper aims to precisely characterize the theoretical significance of the notion of truthmakers. First, the closeness of the alleged principle of truthmaker theory and the realistic intuition on which it rests is assessed, thereby determining to what extent a certain kind of general objection against truthmaker theory carries weight. Second, the principle of truthmaker theory is reformulated on the basis of this assessment, and truthmaker theory is argued to offer a methodological role for identifying fundamental entities that ground metaphysically (...) nonfundamental truths. The discussion suggests a sophisticated nonQuinean criterion of ontological commitment. (shrink)

Children often personify non-living objects, such as puppets and stars. This attribution is considered a healthy phenomenon, which can simulate social exchange and enhance children's understanding of social relationships. In this study, we considered that the tendency of children to engage in personification could potentially be observed in abstract entities, such as numbers. We hypothesized that children tend to attribute personalities to numbers, which diminishes during the course of development. By consulting the methodology to measure ordinal linguistic personification (OLP), which (...) is a type of synesthesia, we quantified the frequency with which child and adult populations engage in number personification. Questionnaires were completed by 151 non-synesthetic children (9--12 years old) and 55 non-synesthetic adults. Children showed a higher tendency than adults to engage in number personification, with respect to temporal consistency and the frequency of choosing meaningful answers. Additionally, children tended to assign unique and exclusive descriptions to each number from zero to nine. By synthesizing the series of analyses, we revealed the process in which number personification diminishes throughout development. In the discussion, we examined the possibility that number personification serves as a discrimination clue to aid children's comprehension of the relationships between numbers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 84-93 [Access article in PDF] Arthur Wesley Dow's Address in Kyoto, Japan (1903) Researchers concerned with the historical development of American art education cannot help but acknowledge Arthur Wesley Dow's significant contribution to the field. Although many writers have recognized him as one of greatest figures in art education, 1 it was not until the end of the twentieth century that art (...) historians discovered his impact on the early development of modernist American art.Several exhibitions of Dow's work have been shown recently, most notably: "Arthur Wesley Dow and American Art and Crafts," in Stanford, Chicago, and Fort Dodge, Iowa (1999 and 2000) and "Harmony of Reflected Light: The Photographs of Arthur Wesley Dow," at the New Mexico Museum of Fine Arts (2001). 2 In addition, two galleries in New York showed exhibitions of Dow's work in 1999 and 2000, respectively. These exhibitions indicate a rediscovery of Dow's work and his role, as well as a wider interest in the integral aspects of modernism in American artworks.Joseph Masheck recognized Dow's post-impressionistic aesthetic of flat surface design as influential on modernism in painting and the graphic arts. 3 Nancy Green sees Dow as "one of the first Western artists who did not simply imitate Japanese art, but who actually used the traditional Japanese woodcut techniques to create modernist prints." 4 Leah Ollman writes, "Those who credit Dow as a conduit to American modernism see his traces everywhere" because "Dow is revealed at the end of the rainbow, as the common ancestor" who spread his theory and practice of art and art education. 5 James Enyeart states that Dow can now receive appropriate critical assessment of his work as a photographer and his impact on pictorial and modernist photography. 6 [End Page 84]Dow is one of the few Americans whose work in the field of art and art education was influenced by Japanese traditional art. He came to Japan in October 1903 and spent three months in Japan, including six weeks in Tokyo and a month in Kyoto. His address in Kyoto in mid-December of that year has been mentioned in biographical studies. 7 However, a detailed account of what Dow said to the Japanese public has previously been unknown due to lack of a historical source.Contemporary Japanese newspaper articles are the primary source for the contents of this address. The purpose of this essay is to translate these source materials into English, providing a definitive description to encourage further research on Dow as an outstanding artist and educator. This essay describes his activity in Japan, provides useful primary sources about his address, and discusses the content of the address. Implications for a cross-cultural interpretation are discussed in the concluding remarks. Dow in Japan Dow was born in Ipswich, Massachusetts on April 6, 1857. He studied art in Boston and Paris, and exhibited his paintings at Salon, in Paris from 1886-1887. He established his summer school of art in Ipswich (1891-1907) and became the curator of Japanese art at the Boston Museum of Fine Arts in1897. He was an instructor of art at the Pratt Institute in Brooklyn from 1895-1904; taught composition at the Art Student's League in New York from 1897-1903; and served as a professor and the director of fine arts at Teachers College, Columbia University from 1904-1922. 8 Dow first studied Japanese art at the Boston Museum of Fine Arts under the direction of Ernest Fenollosa, and then during his residence in Japan.Arthur Johnson's 1934 biography provides the most detailed description of Dow's life and works. 9 In fact, "every subsequent publication about Dow has relied on this biographical information, and in some cases Dow's aesthetic sources, contained in Johnson's short text of about one hundred pages." 10 According to Johnson, Dow kept a careful day-by-day record during these months, and to read these notebooks, some six in number, is to see the world through the eyes... (shrink)

Synchronous oscillations are ubiquitous throughout the cortex, but the frequency of oscillations differs from area to area. To elucidate the mechanistic architectures underlying various rhythmic activities, we tested whether spontaneous neural oscillations in different local cortical areas and large-scale networks can be phase-entrained by direct perturbation with distinct frequencies of repetitive transcranial magnetic stimulation. While recording the electroencephalogram, we applied single-pulse TMS and rTMS at 5, 11, and 23 Hz over the motor or visual cortex. We assessed local and global (...) modulation of phase dynamics using the phase-locking factor. sp-TMS to the motor and the visual cortex triggered a transient increase in PLF in distinct frequencies that peaked at 21 and 8 Hz, respectively. rTMS at 23 Hz over the motor cortex and 11 Hz over the visual cortex induced a prominent and progressive increase in PLF that lasted for a few cycles after the termination of rTMS. Moreover, the local increase in PLF propagated to other cortical areas. These results suggest that distinct cortical areas have area-specific oscillatory frequencies, and the manipulation of oscillations in local areas impacts other areas through the large-scale oscillatory network with the corresponding frequency specificity. We speculate that rTMS that is close to area-specific frequencies enables direct manipulation of brain dynamics and is thus useful for investigating the causal roles of synchronous neural oscillations. Moreover, this technique could be used to treat clinical symptoms associated with impaired oscillations and synchrony. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need emerging (...) among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

Unlike the most well‐characterized prokaryotic polymerase, E. Coli DNA pol I, none of the eukaryotic polymerases have their own 5′ to 3′ exonuclease domain for nick translation and Okazaki fragment processing. In eukaryotes, FEN‐1 is an endo‐and exonuclease that carries out this function independently of the polymerase molecules. Only seven nucleases have been cloned from multicellular eukaryotic cells. Among these, FEN‐1 is intriguing because it has complex structural preferences; specifically, it cleaves at branched DNA structures. The cloning of FEN‐1 (...) permitted establishment of the first eukaryotic nuclease family, predicting that S. cerevisiae RAD2 (S. pombe Rad13) and its mammalian homolog, XPG, would have similar structural specficity. The FEN‐1 nuclease family includes several similar enzymes encoded by bacteriophages. The crystal structures of two enzymes in the FEN‐1 nuclease family have been solved and they provide a structural basis for the interesting steric requirements of FEN‐1 substrates. Because of their unique structural specificities, FEN‐1 and its family members have important roles in DNA replication, repair and, potentially, recombination. Recently, FEN‐1 was found to specifically associate with PCNA, explaining some aspects of FEN‐1 function during DNA replication and potentially in DNA repair. (shrink)

Cet article s’intéresse aux mutations de la famille japonaise au XXe siècle à travers les manga de Machiko Hasegawa (Sazae-san), première dessinatrice de bande dessinée au Japon, et de Kyoko Okazaki (La maison du bonheur et Au bord de la rivière), qui appartient à la génération actuelle. L’analyse comparée de plusieurs de leurs albums montre, notamment à travers les scènes de repas, la déstructuration de la famille japonaise d’après-guerre, dans un contexte d’industrialisation qui a poussé les Japonaises à délaisser (...) en partie le foyer familial pour travailler. (shrink)

The dynamics of eukaryotic DNA polymerases has been difficult to establish because of the difficulty of tracking them along the chromosomes during DNA replication. Recent work has addressed this problem in the yeasts Schizosaccharomyces pombe and Saccharomyces cerevisiae through the engineering of replicative polymerases to render them prone to incorporating ribonucleotides at high rates. Their use as tracers of the passage of each polymerase has provided a picture of unprecedented resolution of the organization of replicons and replication origins in the (...) two yeasts and has uncovered important differences between them. Additional studies have found an overlapping distribution of DNA polymorphisms and the junctions of Okazaki fragments along mononucleosomal DNA. This sequence instability is caused by the premature release of polymerase δ and the retention of non proof‐read DNA tracts replicated by polymerase α. The possible implementation of these new experimental approaches in multicellular organisms opens the door to the analysis of replication dynamics under a broad range of genetic backgrounds and physiological or pathological conditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

Numerous eukaryotic DNA processing enzymes, such as DNA polymerases and ligases, bind the processivity factor PCNA, which acts as a platform to recruit and regulate the binding of enzymes to their DNA substrate. Multiple PCNA‐interacting motifs (PIPs) are present in these enzymes, but their individual structural and functional role has been a matter of debate. Recent cryo‐EM reconstructions of high‐fidelity DNA polymerase Pol δ (Pol δ), translesion synthesis DNA polymerase κ (Pol κ) and Ligase 1 (Lig1) bound to a DNA (...) substrate and PCNA demonstrate that the critical interaction with PCNA involves the internal PIP proximal to the catalytic domain. The ancillary PIPs, located in long disordered regions, are instead invisible in the reconstructions, and appear to function as flexible tethers when the enzymes fall off the DNA. In this review, we discuss the recent structural advancements and propose a functional hierarchy for the PIPs in Pol δ, Pol κ, and Lig1. (shrink)