Abstract

Nishida in his writings pursued two main lines of thought, which are almost equally pervasive and persistent. These are the philosophy of self-consciousness, which is mainly religious and soteriological, and the philosophy of history-politics, which is fundamentally historical and political. Both philosophies are essentially ontologies, by virtue of the application of ontological operators. These operators function in almost every phase of Nishida's philosophy, with the notable exception of his discussion of the sciences, and in the main include activity, self-determination, actuality, one-qua-many logic, and immanent-qua-transcendent logic. Once they are at work, whatever entity they apply to will have full reality in Nishida's texts. In general, the operators are applied in turn to pure experience, an artistic creation, an act of self-consciousness, a historical epoch, the state, and the Emperor, in their chronological order in Nishida's texts. The extension of his ontological operators from acts of self-consciousness to a historical epoch is what I call the turn in Nishida's philosophy. This occurred about 1931 and is the most decisive shift in Nishida's philosophy, because it paved the way for Nishida's return to the world which he had once rejected and called transitory. This turn signifies that the applications of these ontological operators are turned from conscious phenomena to non-conscious phenomena, and also reflects Nishida's own critical stance toward his earlier religious-soteriological philosophy. ;Nishida's extension of ontological operators to his historical-political thinking, or his assertion of a direct union of self-consciousness and the historical world, is seen as fundamentally inappropriate. It fails to appreciate the incompleteness of a historical epoch and the culpability of the state. I call this union a category mistake, since acts of self-consciousness and a historical epoch are not similar enough to be treated by similar ontological operators. Nishida's later philosophy may be seen as his effort to overcome his earlier sharp distinction between homo interior and homo exterior by giving fuller reality to the latter. But the manner in which Nishida overcomes his internalism remains fundamentally internal, since the ontological operators themselves, which he uses to overcome that internalism, are originated from his discussion of aesthetic creativity and creative acts of self-consciousness