This paper aims to develop Nishida Kitarō’s “logic of place” into an “aesthetics of place.” While brilliantly fusing the Buddhist traditions of Japan with Western philosophy, in his later years, Nishida came up with his own unique philosophy, a “monadology with the concept of substance.” This is a concept anchored in mu or “emptiness.” From this standpoint, how is the individual understood and how does society take shape? The answers to these questions are fundamental keys to understanding Japanese philosophy. In (...) Japan, the individual in Japan is not locked up in itself, but it is possible for the “substantial ego” to vanish and be replaced by the ““I as an event.” Through a discussion of the “place” where the activities of the traditional poetic forms of renku and renga are performed, an attempt is made to develop an aesthetic approach to those questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japanese Philosophy in the Making 2: Borderline Interrogations by John MaraldoLeah KalmansonJohn Maraldo, Japanese Philosophy in the Making 2: Borderline Interrogations Nagoya: Chisokudō, 2019.Japanese Philosophy in the Making 2: Borderline Interrogations is the second in a series of three volumes featuring selections from John Maraldo’s work in Japanese philosophy over the years. The format might best be described as a hybrid text somewhere between an edited collection and (...) a single-authored book. All of the essays in Borderline Interrogations are updated versions of Maraldo’s own previously published works or records of unpublished talks. They are grouped thematically into five sections, with each section prefaced by a brief introduction to provide readers with context as well help them draw connections across the entire work. However, compared to the first volume, which was more or less unified via its focus on Nishida, this second volume offers a more disparate array of topics. This could be seen as a strength or a weakness, depending on whether readers approach the text expecting something more like a book or more like an edited collection. Hence, openness toward the hybrid format at the outset can help readers navigate the text and better appreciate its unique approach to philosophizing.In his introduction, Maraldo addresses questions of cultural borders and bridges, including issues of identity, translation, and disciplinarity. He selects the word “intercultural”—as opposed to multicultural, cross-cultural, or comparative—to describe the kind of philosophy developing in Japan during and after the initial impact of Nishida on the formation of the academic discipline at institutional centers in both Kyōto and Tōkyō. With this word choice, he invites readers to reflect on various Japanese philosophers’ engagements with German- and English-language texts. Familiarity with another language (whether this amounts to full fluency or basic academic competency) enables a style of philosophical conversation that Maraldo compares to a Gadamerian process of hermeneutic play. Crucially, the twists and turns of translation, or thinking across and between several languages at once, takes the lead in directing philosophical thinking, rather than the other way around. As Maraldo says, “What is [End Page 143] decisive is the moment of release from trying self-consciously to control all movement back and forth” (10). This interplay of multiple languages is a definitive feature of the intercultural philosophy that Maraldo associates with twentieth-century and contemporary Japan.He goes on to describe this kind of philosophizing via Ueda Shizuteru’s writings on the Japanese poem form of renku or “linked verse.” Such poetic practices are open-ended, allowing multiple participants to make creative connections arising from the ever-evolving context of the poem itself. The composition, in some senses, “lives” at this border between the verse just written and the verse yet to be added, being the sole property of neither verse’s author. So too, Maraldo suggests, does intercultural philosophy live at the border between various languages and intellectual traditions. Readers might appreciate thinking of the hybrid form of his collection itself on the renku model—various narrative and thematic threads do run through the book, but the work as a whole remains open-ended, marking a record of Maraldo’s own intercultural philosophizing over the many years of his career. It ends, but does not conclude, with a “cliffhanger” of sorts best appreciated with the conversational intercultural model in mind.Maraldo’s short introductions that precede each of the five sections of the book give ample context regarding the projects for which various works were written, Maraldo’s own interests at the time of writing, how his thinking has or has not changed over time, and so forth; but they do not go as far as they might in guiding readers to see the book’s larger themes. Hence this review will focus on bringing some of these themes into sharper focus.The opening section includes four essays on Watsuji Tetsurō’s ethical philosophy, the first of which is largely introductory, establishing the main concepts of personhood, community, and “betweenness” (aidagara 間柄) through a hermeneutic lens informed by Watsuji’s reading of Heidegger. The third and fourth essays are critical and constructive, respectively—the former... (shrink)