あらゆる事象はゆくりないめぐり逢いであり、その邂逅の源泉に原始偶然が厳存する―。偶然性を定言的偶然、仮説的偶然、離接的偶然の三つに大別し、偶然性の本質を解明した九鬼周造(1888‐1941)の主著。ヘ ラクレイトスの偶然論とパルメニデスの必然論の対立以来くりかえし問い続けられてきた「偶然と必然」の問題への九鬼独自の解答。.

For two and a half months in 1928, the Japanese philosopher Shûzô Kuki had weekly talks with a young French student of philosophy—Jean-Paul Sartre. In 1928, Kuki had just come to Paris after having studied with Heidegger and Husserl. Freshly ac­quainted with the new phenomenology, Kuki in­troduced Sartre to this emerging movement in philosophy. In a well-researched introductory essay, Stephen Light details the eight years Kuki spent in Europe in the 1920s, a period during which (...) class='Hi'>Kuki came to know Henri Bergson, Heinrich Rickert, and Emile Brehier, as well as Husserl and Heidegger. Light includes translations of two of Kuki’s essays on time and often of his short essays on matters Japanese, culminating in the insightful “General Characteristics of French Philosophy.” None of the Kuki essays were previously available in English. The final section of the book is a facsimile of the never before published notebook Kuki used during his discussions with Sartre. (shrink)

This essay is an overview of the intellectual itinerary of the Japanese philosopher Kuki Shūzō (1888-1941). Kuki first came to the attention of Western readers in Heidegger's A Dialogue on Language between a Japanese and an Inquirer. After correcting the record on Kuki with regards to this famous piece, the essay turns to the work that Heidegger and the Japanese Inquirer were discussing, namely, The Structure of Iki. The essay discusses both the background and basic arguments of (...) this work. The essay then expands on Kuki's Western reception, indicating that his thinking evolved beyond his early work with the phenomenon of iki. His later thinking concerns the problem of contingency and the essay concludes with a discussion of his late work, The Problem of Contingency. The essay reviews Kuki's thinking as a whole in order to develop a sense of his hermeneutics. (shrink)

Reposant la question de la structure logique de la modalite chez Kuki, cette etude vise a mettre en evidence les multiples dimensions du temps humain. Une telle meditation s’accompagne d’une reflexion sur le ≪ vecu ≫ de la vie concrete dont Kuki fournit une elucidation que l’on pourrait qualifier de metaphysique. Cette metaphysique de la vie est a rapprocher de la pensee de l’Instant tel que Kierkegaard le pense, de la temporalisation heideggerienne et de la duree chez Bergson. (...) Mais le philosophe le plus important convoque par Kuki reste Nietzsche dont la pensee fulgurante de l’eternel retour du meme nourrit la categorie de la contingence de l’existence. Sauf que precisement, la contingence ne peut pas etre une categorie. La philosophie nietzscheenne traverse et nourrit l’oeuvre de Kuki. La presente etude a pour ambition de laisser se confronter la pensee du retour et le temps de la duree. C’est dire qu’il est question ici de reflexion metaphysique sur cette dimension fondamentale de la conscience qu’est la forme du sens interne. Utiliser cette notion c’est eo ipso faire reference a Kant. Quels sont les rapports de ces multiples temporalites avec le temps eternel des dieux et du destin, telle est la question que souleve l’opus magnum de Kuki. Nous montrons les articulations d’abord logico-metaphysiques, ensuite existentiales de la structure de l’existant. C’est le raffinement esthetique de l’aristocrate qu’etait Kuki qui a nourri notre essai de penser et de comprendre la structure de l’Iki. (shrink)

死後の魂のヴィジョンと永遠回帰の宇宙論を語るこの破天荒な構想力、九鬼周造とはいったい何者か。.

There are parallels between the Japanese philosopher Shūzō Kuki and the European philosophers Heidegger and Derrida with regard to their philosophical discourses on the idea of style and their respective elaboration of this notion as a playful quantity that needs to be seized by equally playful philosophical approaches.

Shuzo Kuki is a Japanese philosopher, belonging to the Kyoto school, who lived about a hundred years ago. He learned philosophy in Europe and developed an original theory of contingency, by accommodating the Asiatic way of thinking on the one hand, and Western philosophy on the other. In this article, I show that we can find similarities between his theory of contingency and the philosophy of Deleuze, especially in regard to the subject of temporality and eternal return. Needless to (...) say, the theory of the third time is a crucial theme in Difference and Repetition, and is closely related to the time of eternity, and the original or primitive contingency. Taking into consideration these aspects of time is indispensable in examining in depth the concepts of difference and virtuality. Kuki's theory of contingency, which incorporates early twentieth-century European philosophy, elucidates these concepts in an unexpected way. Therefore, my aim in this article is not to attempt a comparison between Eastern and Western thought by quoting Deleuze, but to illustrate a hidden lineage of thought, which runs from the nineteenth century into the philosophy of virtuality of the twentieth century. This same lineage appears in Japan in Kuki's theory, and Deleuze's thought is, at least in one aspect, a modern manifestation of the same roots. (shrink)

偶然を「運命」として生きる生き方とは何か。九鬼周造が哲学的思索の果てにたどりついた世界観を明らかにする。.

In his writings Philosophical Remarks, the Austrian-British Philosopher Ludwig Wittgenstein draws an octahedron with the words of pure colours such as “white”, “red” and “blue” at the corners and argues: “The colour octahedron is grammar, since it says that you can speak of a reddish blue but not of a reddish green, etc”. He uses the word “grammar” in such a specific way that the grammar or grammatical rules describe the meanings of words/expressions, in other words, how we use them (...) in our language. Accordingly, the colour octahedron can also be taken to represent grammatical rules about how we apply words of colour, e.g., that we can call a certain colour “reddish-blue”, but not “reddish-green”. In a different context, the Japanese philosopher Shūzō Kuki explores in his work The Structure of Iki what the Japanese word “iki” means. This word is often translated as “chic” or “stylistic” in English, but Kuki holds that it is an aesthetic Japanese concept that cannot be translated one-to-one, instead encompassing three aspects: “coquetry”, “pride and honour” and “resignation”. To explain the meanings of the word “iki” and other related words all of which Kuki calls “tastes”, he introduces a rectangular prism as a geometrical representation similar to Wittgenstein’s colour octahedron. In this paper, I argue that the rectangular prism does not solely explain how the modes of Japanese tastes are related to each other, but also has a grammatical character. On this score, I suggest that one can regard this rectangular prism as a description of the grammatical rules of the Japanese language. By appeal to the arguments of both philosophers and in comparison with them, I will not only clarify what they claim by geometrical representations but also examine what role this kind of representation plays as an explanation of grammar in general. Keywords: grammar, colour octahedron, rectangular prism, Shūzō Kuki, Wittgenstein. (shrink)

ABSTRACTIki is the key word of Shūzō Kuki’s The Structure of Iki, and it became one of the most widely recognized Japanese aesthetic categories mainly due to this work. However, in The Problems of Contingency, which is Kuki’s most important philosophical work, there is no discussion of iki again, and consequently, most commentators of Kuki fail to see the correlation between his theories of iki and contingency. This article, by contrast, intends to provide a new interpretation of (...) iki in the light of Kuki’s theory of contingency. The specific thesis of this paper is that aesthetic phenomena categorized as subject to the principles of iki are positively evaluated in Japanese culture just because the consciousness of iki is just one form of the consciousness of contingency, in which the awareness of alternatives to the actual situation could produce considerable spiritual entertainment for aesthetic subjects. (shrink)

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

There are many links between Kuki Shūzō and the French philosophy of the 1920s that treated the phenomenon of contingency. Examined are (1) the problem of time as it presented itself to French philosophers at the beginning of the twentieth century and its reception by Kuki as an Oriental philosopher and a Buddhist; (2) the problem of liberty and of existence in these French philosophers and in Buddhism; and (3) the phenomenon of the dream as a psychic and (...) aesthetic phenomenon for Kuki and for the French philosophers in question. (shrink)

La philosophie de Bergson a exercé une influence sur au moins deux philosophes japonais de la première moitié du xxe siècle, Nishida et Kuki. C’est l’étendue de cette influence à des moments décisifs de leurs évolutions intellectuelles respectives, et donc aussi les limites de ladite influence, que nous voudrions mesurer dans ce qui suit. Kitaro Nishida a lu Bergson pour la première fois en 1906. Son grand ouvrage de 1911, Essai sur le bien, réédité deux fois, en 1921 et (...) en 1936, porte des ma... (shrink)

In this article, I compare and contrast the phenomenological ethics of Emmanuel Levinas with that of twentieth-century Japanese philosopher, Kuki Shūzō. In the resulting counterpoint, I put special emphasis on the conception of time espoused by each author. I argue that both go astray by mistakenly basing their ethics on the complete otherness of the other (diachrony) rather than recognizing that both the other (diachrony) and I (synchrony) are originally inseparable in experience before the conceptual separation of “me” and (...) “you.” The fetishization of otherness, which is associated with the feminine in the ethics of both philosophers, leads them to overlook how the details of our everyday concrete experience can provide a guide for action. This paper also explores the two East Asian ethical ideals that Kuki proposes–the Buddhist ideal and the ideal of bushidō, the code of the samurai warrior. In his ethics, Kuki prefers the ethics of bushidō to that of Buddhism. I explain how Kuki’s misunderstanding of Buddhism leads him to this choice, and I explore what he overlooked in Buddhist ethics. (shrink)

In this book, Graham Mayeda demonstrates how Watsuji Tetsuro and Kuki Shuzo, two twentieth-century Japanese philosophers, criticize and interpret Heideggerian philosophy, articulating traditional Japanese ethics in a modern idiom.

In this book, Graham Mayeda demonstrates how Watsuji Tetsuro and Kuki Shuzo, two twentieth-century Japanese philosophers, criticize and interpret Heideggerian philosophy, articulating traditional Japanese ethics in a modern idiom.