This paper underlines the need for teaching morals and values through critical reflection and active genuine dialogue. It promotes the pedagogy of dialogue within educational institutions, the creation of multi-dimensional learning environments for the cultivation and dissemination of intersubjective understandings of diverse moral worldviews, the use of critical thinking skills and intellectual traits of mind forethical decision-making, and the communication of values and morals through dialogue. An argument is advanced to show how reflective dialogue lays the groundwork for the creation (...) of initial objective relations in the classroom and forms the basis for the pragmatic implementation of an interpersonal connection characterized by feelings of tolerance, empathy, and respect for the dignity of human beings and their way of life. (shrink)

Despite Kant's belief in a universal causal determinism among phenomena and his rejection of any noumenal agency in brutes, he nevertheless rejected Descartes's hypothesis that brutes are machines. Explaining Kant's response to Descartes forms the basis for this discussion of the nature of consciousness and matter in Kant's system. Kant's numerous remarks on animal psychology-as found in his lecture notes and reflections on metaphysics and anthropology-suggest a theory of consciousness and self-consciousness at odds with that traditionally ascribed to him.

The thesis of this work is that in both modern Japanese philosophy and American pragmatism there has been a paradigm shift from a monological concept of self as an isolated "I" to a dialogical concept of the social self as an "I-Thou relation," including a communication model of self as individual-society interaction. It is also shown for both traditions all aesthetic, moral, and religious values are a function of the social self arising through communicative interaction between the individual and society. (...) However, at the same time this work critically examines major ideological conflicts arising between the social self theories of modern Japanese philosophy and American pragmatism with respect to such problems as individualism versus collectivism, freedom versus determinism, liberalism versus communitarianism, and relativism versus objectivism. (shrink)

Artistic Detachment in Japan and the West takes up the notion of artistic detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The work begins with an overview of aesthetic theory in the West from the eighteenth-century empiricists to contemporary aesthetics and concludes with a survey of various critiques of psychic distance. Throughout, the author takes a highly innovative approach by juxtaposing Western aesthetic theory against Eastern aesthetic theory. Weaving between cultures and time periods, the author focuses (...) on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. "Portrait of the artist" fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment. Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies. (shrink)

Abbreviations Works by Alfred North Whitehead 1) Adventures of Ideas. New York: Macmillan Co., 1967 AI 2) Concept of Nature. Cambridge: Cambridge University Press, 1971 CN 3) Modes of Thought. New York: Macmillan Co., 1968 MT 4) Process ..

This book examines Whitehead’s process aesthetics focusing on two categories, the penumbral beauty of darkness and the tragic beauty of perishability, while establishing parallels with the Japanese sense of evanescent beauty. It clarifies how both traditions develop a religio-aesthetic vision of tragic beauty and its reconciliation in the supreme ecstasy of peace.

Kant’s body offered a constant target for his own remarks, both in correspondence and during his lunchtime conversations. Several good descriptions of Kant’s body have come down to us over the centuries, as well as a number of visual representations, but these are remarkably limited, given his stature in the world of ideas. A new description of Kant, written by a novelist who visited Kant while passing through Königsberg, has recently come to light. It is reproduced here — in English (...) translation as well as the original German — and earlier descriptions of Kant are briefly recounted. (shrink)

For low-risk mothers who do not wish to give birth in a hospital, a nearby birth center led by midwives is an excellent option.

For low-risk mothers who do not wish to give birth in a hospital, a nearby birth center led by midwives is an excellent option.

Artistic Detachment in Japan and the West takes up the notion of artistic detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The work begins with an overview of aesthetic theory in the West from the eighteenth-century empiricists to contemporary aesthetics and concludes with a survey of various critiques of psychic distance. Throughout, the author takes a highly innovative approach by juxtaposing Western aesthetic theory against Eastern aesthetic theory. Weaving between cultures and time periods, the author focuses (...) on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. "Portrait of the artist" fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment. Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies. (shrink)

I focus on the religio-aesthetic concept of nature in Japanese Buddhism as a valuable complement to environmental philosophy in the West and develop an explicit comparison of the Japanese Buddhist concept of nature and the ecological world view of Aldo Leopold. I discuss the profound current of ecological thought running through the Kegon, Tendai, Shingon, Zen, Pure Land, and Nichiren Buddhist traditions as weIl as modem Japanese philosophy as represented by Nishida Kitarö and Watsuji Tetsurö. In this context, I present (...) the Japanese concept of nature as an aesthetic continuum of interdependent events based on a field paradigm of reality. I show how the Japanese concept of nature entails an extension of ethics to include the relation between humans and the land. I argue that in both the Japanese Buddhist concept of nature and the thought of Aldo Leopold there is a hierarchy of normative values which grounds the land ethic in aland aesthetic. I also clarify the soteric concept of nature in Japanese Buddhism by which the natural environment becomes the ultimate locus of salvation for all sentient beings. In this way, I argue that the Japanese Buddhist concept of nature represents a fundamental shift from the egocentric to an ecocentric position-i.e., a de-anthropocentric standpoint which is nature-centered as opposed to human-centered. (shrink)

This is a discussion and transcription of a “lose Blatt” of Immanuel Kant’s that was recently located in the Dibner Library of the Smithsonian Institute in Washington D.C. It briefly comments on (1) religious delusion [Andachtswahn], (2) Kant’s pedagogical aims, (3) virtue and the general will, and (4) perceptual relativism of magnitude. The sheet may have belonged to a group stemming from Kant’s copy of his Observations on the Beautiful and Sublime (1764), and its provenance can be traced to Rudolf (...) Reicke, the Königsberg librarian and Kant scholar of the late 19th century. (shrink)

This is a discussion and transcription of a “lose Blatt” of Immanuel Kant’s that was recently located in the Dibner Library of the Smithsonian Institute in Washington D.C. It briefly comments on (1) religious delusion [Andachtswahn], (2) Kant’s pedagogical aims, (3) virtue and the general will, and (4) perceptual relativism of magnitude. The sheet may have belonged to a group stemming from Kant’s copy of his Observations on the Beautiful and Sublime (1764), and its provenance can be traced to Rudolf (...) Reicke, the Königsberg librarian and Kant scholar of the late 19th century. (shrink)

Return to the ordinary as extraordinary has become the signature motif for the Emersonian perfectionism of Stanley Cavell in contemporary American philosophy. In this article I develop Cavell's notion of “the ordinary” as an intercultural theme for exploring aspects of traditional Chinese philosophy, especially Confucianism and Chan Buddhism. I further use Cavell's philosophy of the ordinary to examine Sino-Japanese thought as found in the Zen tradition of Japan and its reformulation by Nishida Kitarô in modern Japanese philosophy. It will be (...) seen how for both Cavell and Sino-Japanese philosophy, perfection is achieved not by transcendence of the ordinary, but through continuous return to and affirmation of the ordinary as extraordinary. I thus endeavor to illuminate the quotidian as articulated by Cavell, Chinese philosophy, and the Sino-Japanese tradition. (shrink)

Return to the ordinary as extraordinary has become the signature motif for the Emersonian perfectionism of Stanley Cavell in contemporary American philosophy. In this article I develop Cavell’s notion of “the ordinary” as an intercultural theme for exploring aspects of traditional Chinese philosophy, especially Confucianism and Chan Buddhism. I further use Cavell’s philosophy of the ordinary to examine Sino-Japanese thought as found in the Zen tradition of Japan and its reformulation by Nishida Kitarô in modern Japanese philosophy. It will be (...) seen how for both Cavell and Sino-Japanese philosophy, perfection is achieved not by transcendence of the ordinary, but through continuous return to and affirmation of the ordinary as extraordinary. I thus endeavor to illuminate the quotidian as articulated by Cavell, Chinese philosophy, and the Sino-Japanese tradition. (shrink)