Die Ausgangsthese des Beitrags lautet: Die Phänomenologie ist wesentlich pragmatisch und der Pragmatismus ist im Grunde phänomenologisch, so dass man vom,phänomenologischen Pragmatismus‘ reden kann. Durch diese Idee könnte man auch über das Wesentliche der phänomenologischen sowie auch der pragmatisch bzw. pragmatistischen Denkungsart erneut nachdenken. In der ersten Hälfte wird versucht, diese Idee anhand einiger aristotelischen Gedanken zu belegen. In der zweiten Hälfte handelt es sich um die Eröffnung der Perspektive dieser Idee für das philosophische Denken. Als ein konkreter Ansatzpunkt gilt (...) das Thema,Geschichtsdenken‘. Dieser Ansatzpunkt ist kein bloßer Einfall. Denn er trägt dazu bei, wenn er sachgemäß bearbeitet wird, das Wesentliche der Phänomenologie und des Pragmatismus zum beleuchten. Dazu sei zu bemerken, dass in der Phänomenologie und im Pragmatismus das Geschichtsdenken überhaupt eher zurückgeblieben als entwickelt war. Dies war kein Zufall, da das, worum es im Geschichtsdenken geht, in der gewöhnlichen Vorstellung das ist,,was geschehen ist‘, während das,phainomenon‘ in der Phänomenologie durchaus Gegenwartserlebnis sein soll. Wie man das Geschichtsphänomen als,phainomenon‘ der Gegenwart auffassen kann, ist eine phänomenologisch-pragmatisch provokative Frage. Der Schlüssel dieser Frage wird im vorliegenden Beitrag in der,reinen Erfahrung‘ gesehen, die von W. James vorgeschlagen und vom japanischen Philosophen K. Nishida weiter bearbeitet wurde. (shrink)

Nature and civilization are often regarded in opposition to each other. However, civilization employs technologies and is based on laws of nature. Also, the historical world is a result of the development of the natural world. An “anti-nature” must thus be contained somewhere within nature. The idea of “ anti-nature ” is neither alien to the Eastern nor to the Western traditional concepts of nature. The philosophy of Lao Zi never embraces mere naturalism. Lao Zi has observed that things in (...) the world are not always “ so on their own ” but rather in the mode of anti-nature. A nti-nature in nature itself does not become expressive until Christian theology, in which the origin of evil is reflected upon. The last part of the paper begins with one Buddhist thought expressed in the Diamond Sutra: “The world is not the world that is named the world.” Through naming of a thing, this thing is objectified or substantialized, and an objectified thing is not the thing itself. This self is “ śūnya ”, a non-world, which is what the world is. This non-world (as well nature) is first and foremost concealed by ego-consciousness that tends to objectify the things. E go-consciousness as this anti-nature tends to conceal this non-nature, and begins to act in the form of technology. The radical way of solving the problems caused by this “anti-nature” must begin with gaining an insight into the nature of ourselves as well as the nature of technology. (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)

『精神現象掌』的全段階比扣、「感覺怯「契機反復芒才、「感性怯、「精神」仿現象口有仿道程的全体是構成心志「工夭。前者怯「推論」構造橙色運動的論理的拉機能守，後者怯、的運動力可考己、言古法拉形態是取毛主芒 的原本的放質料場所可怎。己的區別乙基于主芒『精神現象字』仿敘述分析寸毛主、「共通感賞」仿云統的拉理解力可大芒〈愛才月。非共通仿共通感貨主怯、絕灼的異他性老含甘共同体拉拉、仿共通感覺、己才倍、『精神現象 字』的宗教仿段階心惰熱主意志才包合非共通的共通又主深化才謊耳其弓之己。神仿死的感情，仿神色人色的、旬件又站、大秉弘教、多悲三哲竿的』乙深〈通匕言文本丐。 Dans toutes les étapes de la Phénoménologie de l' esprit, la sensibilité est répétée comme « moment », et le sensible est un « élément » qui constitue le cheminement total du processus du phénomène de I' « esprit ». La première est une fonction logique du mouvement ayant une structure « deductive ». Le second est la matière originale et le lieu lorsque ce mouvement prend ici de multiples formes. Cette distinction a pour effet de changer la compréhension (...) traditionnelle du sens commun. Le sens commun non commun, c'est le sens commun dans la communauté contenant l'Étrangeté absolue. Dans l'étape de la religion de la Phénoménologie de l' esprit, nous pouvons lire ce sens commun non commun comme s'approfondissent dans le pathos commun non commun qui comporte à la fois la passion et la volonté. On peut affirmer que le pathos entre Dieu comme sentiment de Sa mort et l'homme est philosophiquement lié à la compassion dont parle le bouddhisme du Grand Véhicule. In all the stages of the Phenomenology of the spirit, the sensibility is repeated as « moment », and the sensitive is an « element » which constitutes the total progress of the process of the phenomenon of the « spirit ». The first is a logical function of the movement having a « deductive » structure. The second is the original material and the place when this movement here takes multiple forms. If we analyze the description of the Phenomenology of the spirit by resting itself on this distinction, it is the traditional understanding of the « common sense » that will largely be changed. The non-common common sense is the common sense in the community containing the absolute Strangeness. In the stage of the religion of the Phenomenology of the spirit, we can read this common sense non-common as deepening in the common pathos not common which contains both passion and will. We can assert that the pathos between God as feeling of His death and man is philosophically connected to the condolence which the Buddhism of the Big Vehicle refers to. (shrink)

In this article, the author begins by noticing a statistical fact: from the seven Japanese translations of Being and Time, in five cases the German word Sein has been translated as sonzai, and in two cases as u. This fact invites the author to a discussion about the Japanese understanding of “Being”, which is developed on three levels: the question of language, the question of historical-cultural world, and the question of the “European”, understood as a Western principle, depictingthis “Abend-land” as (...) a region threatened by night. (shrink)

This study presents and discusses the essential “nearness” and “farness” between Nishitani philosophy and Nishida philosophy, where such “nearness” and “farness” are not meant to be words that simply express the relative positions in which Nishida and Nishitani philosophy stand with respect to each other, but present the internal structure of the very problems at the core of both. Taking as a clue, Nishitani’s words, “nearer to me than I am to myself,” we examine these philosophies by situating their interpretations (...) of Eckhart as an axis for our considerations and then introducing their understandings of an expression from Daitō Kokushi 大燈国師. In conclusion, we consider the problems remaining for both. While it was Nishida philosophy that made it possible to take on the foundation of the history of philosophy as a problem, it would be left to Nishitani to actually carry this out. In turn, while Nishitani presents a criticism of the “intellect,” we must speak of the elucidation of logic as an undeveloped problem left within Nishitani philosophy. (shrink)

Two studies aimed to examine cultural differences in social support provision, with or without solicitation, in Japan and the United States. In Study 1, we replicated a previous study with Japanese university students. We found that the Japanese participants did not provide social support when it was not solicited, as compared with when it was solicited. Furthermore, in Study 2, participants were asked to respond to a questionnaire regarding a hypothetical stressful situation experienced by a close other and to indicate (...) their willingness to provide support. We confirmed our hypothesis that Japanese participants hesitate to provide unsolicited support to close others, even when they recognize that the close others are in need, whereas the American participants do not hesitate to provide such support. Contrastingly, regarding solicited support, the Japanese and Americans were equally ready to provide support, as hypothesized. The cultural difference in social support resides in the provision of unsolicited support. These results suggest that differences in culturally appropriate responses to needy people are responsible for the difference in the provision of unsolicited vs. solicited social support. (shrink)

Research interest in cuteness perception and its effects on subsequent behavior and physiological responses has recently been increasing. The purpose of the present study was to produce a dataset of Japanese infant faces that are free of portrait rights and can be used for cuteness research. A total of 80 original facial images of 6-month-old infants were collected from their parents. The cuteness level of each picture was rated on a 7-point scale by 200 Japanese people. Prototypical high- and low-cuteness (...) faces were created by averaging the top 10 and bottom 10 faces according to the mean cuteness ratings. Then, 50 composite faces were made by mixing two faces randomly chosen from the 60 unused middle-cuteness faces. The normative cuteness ratings of these composite faces were obtained from 229 Japanese men and women in their 20s–60s. The shape of each composite face was transformed to be cuter or less cute along a continuum between the high- and low-cuteness prototypical faces. A two-alternative forced-choice task confirmed that cuteness discrimination was better than the chance level for all 50 face pairs. Moreover, the results showed that young men had poorer sensitivity to cuteness differences in infant faces than older men and women of any age. This Japanese Cute Infant Face dataset, including composite face images and normative rating scores, is publicly available online. (shrink)

Between the mid-1960s and the early 1970s, the quotidian dimension took political centrality in Japan thanks to the leading role of the New Left movement and its ideology. This went hand in hand with an appreciation of the philosophical approaches of Marxist intellectuals such as Jun Tosaka and Gorō Hani, who saw the quotidian as a fundamental space for historical transformation. We know how Tosaka and Hani developed an everyday-centred philosophy of history through their writings, but we know little about (...) how formats other than the written word – such as cinema – contributed to thinking historical reality from the same ideological approach. To address this gap in our understanding, this article analyses the intersection of two highly representative films with Tosaka and Hani’s historical thought: Secrets Within Walls ( Kabe no naka no himegoto, Kōji Wakamatsu, 1965) and Ceremonies ( Gishiki, Nagisa Ōshima, 1971). These films’ cinematic allegorisation of post-war Japan’s everyday relationships was a way to reflect on the political character of that period. (shrink)

The image of the “mirror” (鏡kagami) appears frequently in the philosophical texts of Nishida Kitaro (西田幾多郎1870-1945), where it assumes various functions. Mirror references first occur in meditations on the philosophies of Josiah Royce (1855-1916) and Henri Bergson (1859-1941). The most fascinating evocation here corresponds to the idea of a “self-enlightening mirror”, used to probe the philosophical ground for self-illumination. This idea seems to point back to Buddhist meaning that intervenes in Japanese intellectual history. We take this as our warrant for (...) establishing here, firstly, how Nishidean philosophical speculation can be critically related to the thought of Dogen (道元1200-1253); and, secondly, in what sense it has stimulated some contemporary approaches in Japanese philosophy (for example, those of Nitta, Ohashi, and Sakabe). (shrink)

Dans la philosophie japonaise, le temps, traditionnellement, n’a jamais été pensé comme séparé de l’espace. Plutôt que de concevoir l’espace-temps de manière abstraite, elle a toujours eu tendance à penser l’expérience d’une temporalité indissociable de la spatialité, une « temporalité spatiale ». À partir de deux créations conceptuelles japonaises, l’une médiévale et l’autre contemporaine, l’une ontologico-existentielle et l’autre esthétique, uji et kire respectivement, nous explorerons deux façons d’exprimer la nature vivante du temps à partir du flux du devenir, celles de (...) Dōgen Kigen et Ōhashi Ryōsuke. Elles ne traitent pas le temps comme une succession d’instants ou comme le récipient neutre du flux des événements, mais comme le cours de la vie appréhendé à partir d’une situation et d’un moment spécifiques. (shrink)

Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony of cinema, each chapter begins by focusing upon (...) one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

This paper offers some ideas and methods of consensus building towards integration of values in flood control, environment, and landscape. These three factors sometimes oppose to each other in the process of construction of public infrastructure such as roadbuilding and river improvement. It is crucial to avoid or resolute conflicts between the government and the local people through project management with the consensus building process. In public works in Japan, flood control has been given priority over the environmental preservation and (...) the landscape conservation due to the perception that it is through flood control that the life and property of individuals are adequately protected. As a consequence, the landscape and the environment have been paid only lip‐service. In the case of the Ohashi River Project in Izumo region presented in this paper, however, the river repair process might entail a severe blow to the tourism industry and have a dramatic impact on the fishery resources of the region, which would be considered a major loss in terms of the urban development of the city. One of our concerns is thus to avoid any losses, through proper consideration of the relationship between the three crucial factors. In this paper, the author reports some ideas and methods that appear in “Basic Policy for the Development of the Area around Ohashi River” composed by the Matsue Review Committee on the Development of the Area around the Ohashi River, in which the author is involved as a committee member. The most important task of the Committee wasto search for the ideas and methods to harmonize the values of flood control, environment, and landscape. (shrink)

Maureen Turim _The Films of Oshima Nagisa: Images of A Japanese Iconoclast_ Berkeley: University of California Press, 1998 ISBN 0-520-20666-5 314 pp.

Japanese Hermeneutics provides a forum for the most current international debates on the role played by interpretative models in the articulation of cultural discourses on Japan. It presents the thinking of esteemed Western philosophers, aestheticians, and art and literary historians, and introduces to English-reading audiences some of Japan's most distinguished scholars, whose work has received limited or no exposure in the United States. In the first part, "Hermeneutics and Japan," contributors examine the difficulties inherent in articulating "otherness" without falling into (...) the trap of essentialization and while relying on Western epistemology for explanation and interpretation. In the second part, "Japan's Aesthetic Hermeneutics," they explore the role of aesthetics in shaping discourses on art and nature in Japan. The essays in the final section of the book, "Japan's Literary Hermeneutics," rethink the notion of "Japanese literature" in light of recent findings on the ideological implications of canon formations and transformations within Japan's prominent literary circles. Contributors: Amagasaki Akira, Haga Toru, Hamashita Masahiro, Inaga Shigemi, Kambayashi Tsunemichi, Thomas LaMarre, John C. Maraldo, Michael F. Marra, Mark Meli, Ohashi Ryosuke, Otabe Tanehisa, Graham Parkes, J. Thomas Rimer, Sasaki Ken'ichi, Haruo Shirane, Suzuki Sadami, Stefan Tanaka, Gianni Vattimo. (shrink)

At the core of Félix Guattari’s ethico-aesthetic paradigm is a conception of subjectivity that somehow relies upon the notion of animism. Even though this apparently Romantic return to animism may seem vague and perhaps even naive, it forms the very framework that Guattari asks us to pass through, at least provisionally, in order to fully grasp his last project. I will therefore attempt to demystify this important concept theoretically before showing how the aesthetic machines of Japanese contemporary art – and (...) more specifically, the conceptual art of Yoko Ono – stage one key aspect of Guattari’s animism: machinic heterogenesis. Guattari travelled to Japan many times in the years leading up to the publication of Chaosmosis and Japanese contemporary art allowed him to bolster some of its theoretical claims with concrete examples. I will argue that it is through the lens of Japanese contemporary art that Guattari’s ethico-aesthetic paradigm might propel us beyond the old-guard strategies of modernism. Just as we are asked to pass through a certain notion of animism to understand the relational onto-logic of Chaosmosis, Japanese contemporary art itself demands a similar conceptual framework in order to be disappropriated from an all-too-Western canon. To this end, I supplement Guattari’s work with speculative readings of Japanese philosophy. (shrink)