Topics in Japanese Philosophy

El texto refuta que el primer documento escrito en el que se encuentra el apelativo «escuela de Kioto» corresponda al artículo que escribiera Tosaka Jun (1900-1945) publicado en 1932 con el título «La filosofía de la escuela de Kioto». Se demuestra que fue otro pensador, Tsuchida Kyōson (1891-1934), quien en su obra Pensamiento contemporáneo de Japón y China, escrita originariamente en japonés en el año 1926 y, luego, en inglés, 1927, engloba a Nishida y Tanabe bajo el nombre «escuela de (...) Kioto», por lo tanto, años antes del texto tosakaniano. La inclusión de esta fuente desapercibida se suma al asunto sobre la significación histórica de la designación de la «escuela» en vida de sus miembros más célebres, además de revelar las confluencias en ciertos juicios críticos que Tsuchida y Tosaka hicieran sobre las ideas y sistemas de los filósofos de Kioto. Capítulo de libro: Crespín Perales, Montserrat, "El eslabón desapercibido. La denominación "escuela de Kioto" en la obra de Tsuchida Kyoson (1891-1934), Pensamiento contemporáneo de Japón y China (1926, 1927)", en Crespín Perales, Montserrat, y Wirtz, Fernando (eds.), Después de la nada. Dialéctica e ideología en la filosofía japonesa contemporánea, pp. 41-86. (shrink)

世界とは何かという壮大なテーマに気鋭の哲学者がせまる知的刺激あふれる一冊。事実とは何なのか?いま自分が見ているものと隣人が見ているものは同じものなのか?人と人とのコミュニケーションはどのようにして成り 立つのか?...新たなものの見方や考え方を模索し、社会で直面するさまざまな課題を解くカギを探ります。.

この国の人々は選択的に外の思想を受け入れつつ、あるべき人間とは何かという問いを立ててきた。ではその根底にあるものは何だろうか。思想史を俯瞰してそれを探るには、日本の内と外の両側から眺める視点が必要であ る。そしてそのような内と外の意識こそ、古代からこの国で綿々と受け継がれてきたものだ。神話時代から現在までの各時代の思想に、外部的視点からの解釈を押し通すのではなく、内在的視点をもって丹念に光を当てる。 一人の思想史家による、初めての本格通史。.

This bibliographical guide gives a comprehensive overview of the historiography of philosophy and thought in the Japanese language through an extensive and thematically organized collection of relevant literature. Comprising over one thousand entries, the bibliography shows not only how extensive and complex the Japanese tradition of philosophical and intellectual historiography is, but also how it might be structured and analyzed to make it accessible to a comparative and intercultural approach to the historiography of philosophy worldwide. The literature is categorized and (...) organized according to thematic focus areas such as geographical regions and continents, nations or peoples, religious traditions and philosophical teachings such as Buddhism, Islam, Shintō, and Confucianism, as well as disciplines such as ethics, aesthetics, and political thought. The bibliography is accompanied by an introduction outlining the research method as well as quantitative and qualitative approaches to analyzing the material, followed by a chronological overview of the historiography of philosophy and thought in the Japanese language and of the Japanese tradition of writing “world histories of philosophy.” As a first step towards a “history of the historiography of philosophy” in non-European languages, we hope that this guide will provide a useful tool for interculturally oriented scholarship aimed at a non-Eurocentric and diversified historiography of philosophy in a global perspective. (Open access, see link below.). (shrink)

[Extracto] Prefigura escaramuzas que se identifican en la actualidad en los campos académico y político. Sin duda, la sinopsis sitúa perfectamente el tiempo -los noventa- en el que arranca la polarización y el zumbido que circula en el ambiente de la opinión pública en Europa, Estados Unidos y Canadá, Oceanía, una parte de Latinoamérica, Corea del Sur y Japón. La sofocación se percibe en la inflación del concepto «género» hasta difuminar sus contornos. También en la utilización de esa ambivalencia originaria (...) del término en conceptuaciones como «ideología del género», emblema de vetas reaccionarias y, arquetípicamente, en el discurso institucional católico que se suma al teatro del desconcierto y gesta formulaciones raras como «género sexual». Una mirada al caso japonés es reveladora. Enseña cómo la agenda feminista, todavía con muchos objetivos pendientes, se ha visto cooptada por la teorización queer y asuntos en torno a las identidades de género. Al igual que en España, en Japón, la riña más acerada se da alrededor de una pregunta: «¿Qué es una mujer?» [...]. (shrink)

The Oxford Handbook of Japanese Philosophy is by all counts an ambitious work. Its primary goal is to provide the reader with a foundational framework in which to engage interpretively the tradition of Japanese philosophy. It would be impossible to summarize, let alone do justice to, the thirty-six rich and illuminating chapters written by many of the most prominent scholars in the field from Japan, Europe, Australia, and North America.Navigating between the "violence of inclusion" that would reduce the philosophically other (...) to our own conception of philosophy and the "violence of exclusion" that would fail to recognize what we share with this other, Bret Davis... (shrink)

Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires no (...) mastery. (Rhapsodes are instead vehicles of the divine.) This challenge to poetic performing arts, that is, to their claim to be arts at all, determines criteria by which we may judge any putative art, including sarugaku and its elevation to nōgaku. Though Zeami was unaware of Plato’s challenge, he nevertheless answers it in a way that brings Plato’s own assumptions and conceptual framework into relief. In this article I outline the first step of Zeami’s reply to Plato, how nō satisfies the criteria for mastery of a subject, with some help from zen master Dōgen. The focus of this article is twofold: 1) an examination of the ways Plato’s conception of a masterable subject entails metaphysical and epistemic tenets that may be revised or rejected in Buddhist tradition, and 2) a study of the means through which the sense of mindlessness that allegedly precludes rhapsody (and kamigakari) from qualifying as art (techné/michi) contrasts with the mushin and isshin of nō (and zazen). (shrink)

This paper discusses the notion of disimagination a translation of the German word Entbildung, which was devised by Meister Eckhart as a reinterpretation of the Neoplatonic categories of abstraction (aphairesis) and negation (apophasis) in connection with Nishitani Keiji's standpoint of emptiness. Nishitani proposes a nonsubjective, nonrepresentational, and nonconceptual type of knowledge to avoid the problem of representation implied in the modern subjective self-consciousness that prevents our access to the reality of things. It is argued that what he calls a knowing (...) of non-knowing can be understood as a transposition of the problematics of aphairesis to a new context, that of the formless form. The ontology of images in the creative process, both cosmic and artistic, is examined from Nishitani's identification of likeness and suchness on the field of emptiness. It is suggested that the resulting denial of the traditional distinction between being and appearance approaches a critique closer to postfoundational metaphysics and, like disimagination, aims at an ascetic movement of self-negation and detachment from words and images that leads, in turn, to a creative and playful use of language free of representation. (shrink)

With the expression apophatic aesthetics, Amador Vega names different cases of twentieth-century hermeneutics of negativity that show a spiritual debt to negative theology and in particular to the major mystical trends of Medieval Europe. Our aim here is to explore how this category applies to the artistic work created by the contemporary artists Arakawa and Gins. However, our focus is not on the debt of these artists to apophatism in the Christian tradition but in Buddhism, especially in Zen. Through an (...) analysis of various artworks, the article intends to determine the reminiscences of the evocation of emptiness in Zen-related arts. By so doing, despite the lack of continuity with tradition, it seems possible to uncover certain links with Japanese classic aesthetics. At the same time, since emptiness is a notion revisited in modern Japanese thought, the paper raises the question of its role as an ascetic way of thought, capable of avoiding conceptual limitations and thus opening new paths to philosophy. In this sense, insofar as thinkers well known as critics of modernity, such as Lyotard, Danto, or Taylor, have dialogued with Arakawa and Gins's artistic proposal, a connection between certain aspects of Japanese philosophy and so-called postmodern thought is suggested. (shrink)

RESUMEN En el año 1965, Dale RIEPE realizó una cronología de obras de Filosofía Japonesa en la que encontramos referenciada la tesis doctoral de KISHINAMI Tsunezo, aceptada el año 1914 en la Universidad de Princeton y publicada en el 1915 con el título The Development of Philosophy in Japan. En la disertación de Kishinami encontramos varios aspectos que consideramos interesantes para analizar la recepción de un tipo de conocimiento, la filosofía, que en principio se entendió como “importado” de Occidente y (...) que durante los años siguientes a la publicación de su tesis se desarrolló buscando la originalidad e identidad japonesa propia. Este texto pretende analizar ese proceso de “desarrollo”, asimilación o yuxtaposición de la historia intelectual japonesa frente a la irrupción de lo “occidental” personificado en este caso por la filosofía. (shrink)

Conferencia JORNADAS EUSKADIASIA. EXPERIENCIAS DE LO LEJANO: JAPÓN EN PERSPECTIVA.

1. Introducción. 2. Modernización, tradicionalismo y sincretismo en el pensamiento japonés contemporáneo. 3. Liberalismo, conservatismo y primeras corrientes socialistas y feministas (1868-1912): La modernidad filosófica en el Japón Meiji. El debate en torno al término «filosofía». Imperialismo e ilustración. Contexto del liberal-conservatismo. Los reformistas de Meirokusha: liberalismo, gradualismo y evolucionismo social. Conservadurismo: reacción a los peligros de la occidentalización y a la pérdida de identidad. Los prematuros movimientos socialistas, anarquistas y feministas. 4. Subjetividad e ideología (1912-1945): Kitaro Nishida y la (...) pluralidad filosófica en el interior y más allá de la Escuela de Kioto. La significación de Nishida en el panorama filosófico japonés del siglo XX. La denominación de la «Escuela»: Tosaka y su descripción de la «filosofía de la escuela de Kioto». La experiencia pura nishidiana y el paradigma del «no-yo». El cuestionamiento nishidiano de los presupuestos de la epistemología en Estudio sobre el Bien. La filosofía nishidiana del no-yo, la iluminación y sus problemas éticos. La investigación crítica y el análisis del poder ideológico: Tosaka. 5. Pensar la postguerra: memoria y superación del ultranacionalismo. Superación del vacío a través del arrepentimiento: Tanabe. Superación del vacío a través de la comprensión del nihilismo: Nishitani. La autopsia filosófico-política del ultranacionalismo japonés: Maruyama. Movimientos y orientaciones posteriores a los años 1950. Panorama. Filosofía y denuncia del patriarcado y el nacionalismo: Ueno. Transcrítica y república mundial: Karatani. 6. Nota final. (shrink)

狂信的な国粋主義者か、はたまた魂の尊厳を問うた求道者か。民俗学と国粋主義の親和性とは。多角的な視点からファシズムを再考する。.

Review of The Oxford Handbook of Japanese Philosophy by Bret W. Davis (ed.), Oxford University Press, 2022.

国家への関心と憂戚から「国家理性」の正体を明らかにする。多くの具体的事象を元にさまざまな国難に処してきた過去の日本人のこころに迫る。比較文化の視点から後世に誇れる日本の精神文化を鋭く分析。.

斬新な視点から、やまと言葉の考察を通し、日本語の哲学の可能性を探り、「日本人の心のありか」を指し示す、刮目の書。.

This article examines two manga, Stop!! Hibari-Kun! and No Bra, which prefigure the increasingly popular anime and manga genre of otokonoko from a queer studies perspective. Otokonoko, also known as otoko no musume, is a genre of manga in which persons assigned male at birth (AMAB) wear women’s clothing and are perceived as attractive women. The term otokonoko (男の娘) is pronounced identically to the term男の子, meaning boy-child; however, due to a pun in the kanji which replaces "child" (子) with "daughter"/"girl" (...) (娘), it translates to “boy-girl”, “boy-daughter”, or sometimes“boy-princess”. It is often translated into English as “cross-dresser”. The genre emerged in the early 2000s and has since become a popular point of reference and conversation both within and outside of anime and manga communities. Both the genre, and its titular characters have become iconic within both Japanese and Western online culture. As with most genres, the otokonoko genre is trope heavy, so I decided to look at works that prefigure the genre to better understand the appeal without the weight of the traditions of the genre weighing too heavily on the content. Both Stop!! Hibari-Kun! and No Bra follow the story of a boy who becomes increasingly attracted to a gender ambiguous character assigned male at birth, but who appears female to most. Both manga are centrally about this conflict between the love interests’ perceived maleness and the protagonists perceived heterosexuality. The article analyses the appeal of each work to both male and trans feminine readers, because what would later become the otokonoko genre is popular with both male and trans feminine readers. It also argues that these manga offer something unique from Western depictions of transgender lives, based on the popularity of manga and anime among Western trans feminine readers. (shrink)

日本の戦後思想の核心とは、圧倒的な外来思想への、自己の戦争体験と近代日本の露わになった後進性を手がかりにした、ポストコロニアルな抵抗にある。非西洋世界が近代化にむけた苦闘にあるこのとき、日本の戦後思想 は、どのような可能性をもつのか。「リスク近代」の果てにせり上がってきた、世界が抱え込む「有限性」という概念を手がかりに、21世紀世界の思想的課題と、未来構想の可能性を問う。.

歴史の中で生み出された時代や人々の思想を「事項編」で、個別思想家128人の人と思想を「人物編」で解説し、日本思想史の流れを、わかりやすく鳥瞰する。.

敗戦から七十年、我々はどこに向かうべきか?中江兆民、北村透谷、石川啄木、小林秀雄。彼らを知らずして、本当に「現代日本」を語れるのか?

脱政治化が進む日本において、吉本隆明や工藤淳らによって担われた戦後は特殊日本的なものとして急速に色褪せてきている。一方で「巨人」たちの時代の終焉を見届けた柄谷行人以降、戦後の思想空間は変容しつつも漸く 普遍性へ向かって解き放たれつつある。そこにはどのような継続と変化が潜んでいたのか。「戦争と革命」という二十世紀的な主題が「テロリズムとグローバリズム(への対抗運動)」として再帰しつつある今日、「未来の 他者」をキーワードに戦後七十年の思潮を再検証する。.

東アジアの朱子後継者のなかで日本的な朱子学、あるいは朱子学の日本化を成し遂げたという山崎闇斎。彼を筆頭にする崎門学派の理気心性論の言説をとくに朝鮮の李退渓との比較において東アジアの近世思想史のなかに再 定位する。.

文明批評家・土田杏村の初期の論説の他、多岐にわたる主題をとおして、人文科学の黎明を考究した画期的な日本思想史研究。.

Japanese philosophy can be viewed as consisting of three historical phases. In the first and classical phase, theoretical speculation in Japan is usually seen as a variation of East Asian intellectual tradition, which basically consists of Confucianism and Sinicized Buddhism. Some thinkers nevertheless start to depart from this framework by drawing either on the indigenous culture or on the knowledge of occidental civilization, which eventually leads to the Westernization of Japanese society. In the second, or modern, phase of Japanese philosophy, (...) there arises a theoretical task to synthesize Eastern and Western frameworks, and many pioneering works of modern East Asian philosophy are produced in the first half of the 20th century. The third and contemporary phase of Japanese philosophy spans from the postwar reconstruction of Japan to the present, when eminent researchers lead philosophical studies under the framework either of analytic or continental context. Recent philosophical research in Japan is increasingly getting free from such academic frameworks, producing some remarkable results-- although most of these contemporary works remain unknown overseas. (shrink)

The contributions to Concepts of Philosophy in Asia and the Islamic World reflect upon the problems implied in the received notions of philosophy in the respective scholarly literatures. They ask whether, and for what reasons, a text should be categorized as a philosophical text (or excluded from the canon of philosophy), and what this means for the concept of philosophy. The focus on texts and textual corpora is central because it makes authors expose their claims and arguments in direct relation (...) to specific sources, and discourages generalized reflections on the characteristics of, for example, Japanese culture or the Indian mind. The volume demonstrates that close and historically informed readings are the sine qua non in discussing what philosophy is in Asia and the Islamic world, just as much as with regard to Western literature Contributors are Yoko Arisaka, Wolfgang Behr, Thomas Fröhlich, Lisa Indraccolo, Paulus Kaufmann, Iso Kern, Ralf Müller, Gregor Paul, Lisa Raphals, Fabian Schäfer, Ori Sela, Rafael Suter, Christian Uhl, Viatcheslav Vetrov, Yvonne Schulz Zinda, and Nicholas Zufferey. (shrink)

Nishida Kitaro is a well-known Japanese philosopher whose work is marked by attempts to combine the world outlooks of the national spiritual tradition with elements of European philosophical thought. The article analyzes Nishida’s views on culture that are an independent part of his original philosophical theory. Religion, art, morality, science are the ideal forms of being in the historical world. The work of a scientist or artist is a manifestation of the formative activity of a person. The historical world as (...) the “sphere of absolute nothingness” is the final point of the introspection of “nothingness,” where reality comprehends the identity of its opposites through human activity. Nothingness, or “Emptiness,” in the East Asian tradition has another, dynamic, dimension – these are the relations between people and the relations between man and the cosmos, or Nature, which are not perceived by rough human feelings and not comprehended by equally rough mind. Nishida stressed that for Japan the issue of the authenticity of the national foundations of culture, separated from Chinese and Indian influences, has a clearly positive answer in the aesthetic sphere: in the field of traditional poetics. The traditional aesthetics of Japan reflects the archetypal structure of the national culture. All world cultures have a common prototype, but each of them is a deviation, one-sidedness of this prototype. In the West, a culture of the form triumphed, beginning with Plato and Aristotle. In Japan, on the contrary, the culture was characterized by fluidity, processability, formlessness. In fact, Nishida is one of founding fathers of modern Japanese cultural studies. (shrink)