Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or (...) a unified conception of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

This report analyzes the role Japanese women play in the traditional art of the tea ceremony and its meaning for their lives. It is based on data collected for a larger study which explored the ways in which a cultural art transmits its practice and values to Japanese and foreign learners, conducted in Tokyo, Kyoto, and Yokohama, Japan, from 1983 to 1985. Using the Urasenke school, which accounts for approximately 70 percent of all practitioners as a case (...) study, this report explores the impact of women's participation as professionals and students on the organizational structure and activities of the school. Interviews with 31 teachers and 55 students, professionals, and amateurs provided the data to explore the ways in which the art has accommodated women's interests. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an (...) aesthetics of imperfection, insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative (...) work is enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

The essence of Japanese art lies in the peculiar character of the people and the influence of "life-affirming" Zen. Painting, poetry, and even the tea ceremony are "ways" to the Absolute Nothing. The aesthetic qualities of Japanese art are "limitlessness," "unfinishedness," and naturalness.--A. B.

“If good design tells the truth,” writes Robert Grudin in this path-breaking book on esthetics and authority, “poor design tells a lie, a lie usually related... to the getting or abusing of power.” From the ornate cathedrals of Renaissance Europe to the much-maligned Ford Edsel of the late 1950s, all products of human design communicate much more than their mere intended functions. Design holds both psychological and moral power over us, and these forces may be manipulated, however subtly, to surprising (...) effect. In an argument that touches upon subjects as seemingly unrelated as the Japanese tea ceremony, Italian mannerist painting, and Thomas Jefferson’s Monticello plantation, Grudin turns his attention to the role of design in our daily lives, focusing especially on how political and economic powers impress themselves on us through the built environment. Although architects and designers will find valuable insights here, Grudin’s intended audience is not exclusively the trained expert but all those who use designs and live within them every day. (shrink)

“If good design tells the truth,” writes Robert Grudin in this path-breaking book on esthetics and authority, “poor design tells a lie, a lie usually related... to the getting or abusing of power.” From the ornate cathedrals of Renaissance Europe to the much-maligned Ford Edsel of the late 1950s, all products of human design communicate much more than their mere intended functions. Design holds both psychological and moral power over us, and these forces may be manipulated, however subtly, to surprising (...) effect. In an argument that touches upon subjects as seemingly unrelated as the Japanese tea ceremony, Italian mannerist painting, and Thomas Jefferson’s Monticello plantation, Grudin turns his attention to the role of design in our daily lives, focusing especially on how political and economic powers impress themselves on us through the built environment. Although architects and designers will find valuable insights here, Grudin’s intended audience is not exclusively the trained expert but all those who use designs and live within them every day. (shrink)

The arrow of time has been invoked to bridge all gaps between the 'two cultures'. Would time also help to mediate between the sphere of cognition (epistemic meaning) and the sphere of Bedeutsamkeit (meaning-as-relevance) when taking ritual to be a strongly idiosyncratic representative of the latter? What is the role of time in the modes of meaning in the realm of scientific concepts in their most rigorous shape (the mathematical) on the one hand, in ritual on the other hand? Taking (...) an external point of view, surprising connections can be laid, especially when focussing on the relations of form and materiality or content in the respective fields. Ritual can be considered — according toits formal structure — as an embodiment of the notion of an algorithm. When looking at the temporal structure of the respective symbolic practices from an internal point of view however, their contrasting modes of creating meaning become irreducible. In particular, the algorithmic-sequential mode in ritual is a shell for another time, constitutive of a proper Bedeutsamkeit. This is analyzed in terms of the role of the past in ritualized meaning (and illustrated via the art of time in the Japanese tea ceremony). Whereas a paradoxical creation of a past as something lost and nevertheless to be recollected is constitutive for the meaning of the ritual gesture, the proper element of the concept is time's arrow always pointing forward, to the next stage. Here the past, while embodied in the scientist's gesture as trace of epistemic styles and traditions, at the same time has to be suppressed in the interest of the creation of the new. (shrink)

> この道や行く人なしに秋の暮れ Matsuo Basho 16941 The surface is asymmetrical, the pigment flecked and uneven. Looking close, what seems at a distance to be smooth is actually covered in tiny gentle indentations and irregularities. On one edge, there are a series of fine lines—evidence of past damage, and repair. It is obviously old. But its age is part of its specialness. It is simple, one of a kind, beautiful. The above is a description of a Japanese stoneware tea bowl, like (...) the one in figure 1, embodying an aesthetic dating back to at least the 16th century called wabi-sabi (侘び寂び). Figure 1 Wabi-sabi tea bowl. ottmarliebert.com from Santa Fe, Turtle Island, CC BY-SA 2.0 via Wikimedia Commons. Wabi-sabi is famously difficult to translate, but derives from the words wabi 侘– indicating austerity, simplicity, the quiet life and sabi 寂—indicating maturity, solitude, naturalness. Wabi-sabi refers to the aesthetic appreciation of natural imperfection and impermanence.2 It is embodied in a tradition of handmade pottery, sometimes including repair of past breaks with gold inlay (kintsugi). But it is also reflected in stone gardens, in bonsai, in haiku, and some forms of the Japanese tea ceremony. What, you might ask, does this have to do with medicine? Pottery and aesthetics seem a long way from pathology and medical ethics. First, some …. (shrink)

When people talk about religion, most soon mention the major religious traditions of our times, but then, thinking further, most mention as well the religions of Indigenous peoples and of such vanished civilizations as ancient Greece and Egypt and Persia. That is, we have come to understand that there are-and have been-many different religions; anthropologists estimate the total in the thousands. They also estimate that there have been thousands of human cultures, which is to say that the making of a (...) culture and the making of its religion go together: each religion is embedded in its cultural history. True, certain religions have attempted, and variously succeeded, in crossing cultural boundaries to "convert the heathens," but the invaded cultures usually put their unmistakable stamp on what they import, as evinced by the pulsating percussive Catholic masses sung in Africa. In the end, each of these religions addresses two fundamental human concerns: How Things Are and Which Things Matter. How Things Are is articulated as a Cosmology or Cosmos: How the natural world came to be, how humans came to be, what happens after we die, the origins of evil and tragedy and natural disaster and love. Which Things Matter becomes codified as a Morality or Ethos: the Judaic Ten Commandments, the Christian Sermon on the Mount, the Five Pillars of Islam, the Buddhist Vinaya, the Confucian Five Relations, and the understandings inherent in numerous Indigenous traditions. The role of a religion is to integrate the Cosmology and the Morality, to render the cosmological narrative so rich and compelling that it elicits our allegiance and our commitment to its attendant moral understandings. As a culture evolves, a distinctive Cosmos and Ethos appears in its co-evolving religion. For billions of us, back to the early humans, the stories, ceremonies and art associated with our religions-of-origin have been central to our lives. I stand in awe of these religions. I have no need to take on their contradictions or immiscibility, any more than I would quarrel with the fact that Scottish bagpipe ceremonies coexist with Japanese tea ceremonies. And indeed, the failure of Soviet Marxism to obliterate Russian Orthodoxy, and of Maoism to obliterate Buddhism, Confucianism, or Daoism, and of Christianity to obliterate Indigenous understandings, reminds us that projects designed to overthrow religious traditions face strong headwinds. (shrink)

Aesthetics and arts are strongly linked across East Asia (China, Japan and Korea) and (through pottery and gardens) throughout Southeast Asia as well. This paper outlines eight aesthetic issues pertaining across arts in East Asia, appropriate for K-12: 1) the intimate interrelations among arts (gardens, painting, poetry, calligraphy, music, tea ceremony); 2) nature and the seasons (architecture, poetry, gardens, food); 4) collaboration (poetry, gardens, festivals, and tea ceremony); 5) self-cultivation; 6) symbolism versus allusion; 7) the importance of active (...) imagination in viewing East Asian arts; 8) relations of arts to philosophy. It then explores five areas of East Asian arts and aesthetics that are easy to teach even young students, have interest for high-school and college students (on the introductory or advanced level), and pave the way for the individual student's personal development throughout her life as an adult: 1) Writing Systems, Calligraphy and Painting; 2) Poetry and Painting; 3) Gardens; 4) Aesthetics of Pottery; 5) Tea ceremony. This is followed by brief discussion of 1) special categories of Japanese aesthetics (wabi and sabi, the aesthetics of loneliness and simplicity/impoverishment; kasuri, the embellishment of everyday objects; and aware, recognition of the poignance and brevity of life), 2) gender issues, 3) Zen aesthetics. The final section discusses five issues specifically related to teaching in districts where teaching about either Asia or arts/aesthetics might be in need of justification: 1) the conceptual, intellectual, emotional and artistic advantages for students in learning this material (developing the imagination, analytical skills, and concentration); 2) gender issues (including homosexuality and feminist aesthetics); 3) Asian religion in the classroom; 4) financing (inexpensive aesthetics projects); 5) Asian aesthetics for minority students. The bibliography includes books and articles for teachers and for students (at different levels), videos/ DVDs, and websites, including some guiding you to sites for field trips. (shrink)

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony _(chanoyu), _has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings (...) might have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft. (shrink)

Zen Masters of Japan is the second book in a series that traces Zen's profoundly historic journey as it spread eastward from China and Japan, toward the United States. Following Zen Masters of China, this book concentrates on Zen's significant passage through Japan. More specifically, it describes the lineage of the great teachers, the Pioneers who set out to enlighten an island ready for an inner transformation based on compassionate awareness. While the existing Buddhist establishment in Japan met early Zen (...) pioneers like Dogen and Eisai with fervent resistance, Zen Buddhism ultimately perservered and continued to become further transformed in its passage through Japan. The Japanese culture and Japanese Buddhism practices further deepened and strengthened Zen training by combining it with a variety of esoteric contemplative arts--the arts of poetry, the tea ceremony, calligraphy, and archery. Zen Masters of Japan chronicles this journey, and shows how the new practices soon gained in popularity among all walks of life--from the lowly peasant, offering a hope of reincarnation and a better life; to the Samurai warrior due to its casual approach to death; to the ruling classes, challenging the intelligentsia because of its scholarly roots. A collection of Zen stories, meditation, and their wisdom, Zen Masters of Japan also explores the illusive state of 'No Mind' achieved in Japan that is so fundamental to Zen practices today. (shrink)

Encounter With Enlightenment: A Study of Japanese Ethics -/- This study attempts to lay out some of the main influences in the development of ethical sensitivities in Japan. Daoism, Shintoism, Confucianism, Buddhism and Zen Buddhism all play a role. There are also individual thinkers who have made significant contributions to the way the Japanese think about ethics: Dogen, Shinran, Rikyu, Nishida Kitaro, Nishitani Keiji, Watsuji Tetsuro and many others. But ethics in Japan is, more often than not, taught (...) through practice: the Way of Tea, the Way of Flower Arranging, the Way of Landscape Gardening all have a central ethical component: they are all pathways to enlightenment and one who is enlightened is likely to view oneself as part of the greater whole. To do unnecessary harm to any part of it is to do harm to oneself. Of course, the background to all of this is the Japanese idea of Nothingness. All things arise out of this indefinite One and thus we all have a common kinship: we are all the product of Nothingness, as are all of the ten-thousand things of existence. We are all one family. Thus, the expanded self, as transformed by enlightenment, identifies with the greater whole, seeks to preserve it, cherishes it, is emotionally enraptured by it and cares about its well-being. One can see here the roots of an environmental ethic. (shrink)

Dans les années 1900, la cérémonie du thé fut érigée en art total, comme la quintessence même de l’esprit japonais. Par-delà le biais des enjeux politiques de cette artification, le discours académique portant sur la cérémonie du thé a également été perméable à l’esprit contradictoire inhérent à cette pratique. Nous tentons de dépasser ces difficultés par une vision réticulaire de l’art telle que la défend Simondon dans sa techno-esthétique, tandis que la Glass Tea House Mondrian de Sugimoto Hiroshi offre une (...) métaphore permettant d’approfondir la place de l’abstraction dans la voie du thé. Dans cette réflexion, au détriment de l’objet réel conçu comme une entité isolée, le geste technique, outillé, s’avère jouer un rôle plus déterminant que ne lui accorde la tradition. (shrink)

Confucian state doctrines have shaped Asian cultures for millennia as prescriptive codes of conduct with an emphasis on hierarchy and obligation. Yet a premise at the core of lǐ —understood as propriety, ritual, or generally a cultural grammar—is authenticity, and authentic respect cannot be commanded. What if the lǐ were to be elegant instead? Hans-Georg Gadamer analyzed play as a fusion of horizons that are absorbed into the same event, co-constituting subject and object in an aesthetic experience, and dissolving their (...) dichotomy. We consider examples from Japanese aesthetics in this framework to give depth to key Confucian concepts: the values that enable a relationality that is not in conflict with autonomy; the points of reference for self-improvement through culture; a social organization that enacts reciprocity; and the essential posture this requires. The radical simplicity of the philosophy of tea, chanoyu, and the aesthetic refinement of the Katsura Rikyū palace illuminate the principle of emotional resonance in encounters, which underlies the fusion of cognitive, ethical, and aesthetic horizons. This view reveals how the relational premise of the Confucian philosophical system entails an ontological commitment to mutuality. This is indeed ethics, but neither particularism nor generalism; in its aesthetic dimension it is the mode of perception of a self fulfilled in play. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 247-248 [Access article in PDF] Christ and Buddha: Weaving a Path for the New Millennium Thomas G. Hand, S.J.Mercy Center, Burlingame, CAThis dialogue conference/retreat was held at Mercy Center, Burlingame, CA, August 10-15, 1999. Well over the stated limit of 150 people joined a faculty of ten in presentations, discussions, sharing, meditation, and rituals. The conference was born primarily out of the personal and social (...) need for dialogue felt by Sandi Peters, who joined the program staff of Mercy Center after three years spent at Insight Meditation East, Barre, Massachusetts.Besides Peters as presider, the faculty members were: representing the Buddhist side--Nigel Edmonds (Mahayana and Christianity), Chris Phillips (Theravada), Ven. Thubten Chodron (Vajrayana), Rev. Heng Sure (Chinese Mahayana), and Patrick Thornton (Theravada and Christianity); representing the Christian side--Thomas G. Hand, S. J. (Catholic), Kevin Hunt, OCSO (Cistercian monk), Roshi Jinne Richardson (Zen and Christianity), and Rev. Shari Young (Episcopal and Zen).In a well-received keynote talk, Thomas Hand offered as the basis for the whole dialogue "The Primacy of Experience" in both traditions. The major themes were: (1st day) "The Challenges of Buddhist-Christian Dialogue," (2nd day) "The Language and Symbols of the Traditions," (4th day) "Weaving a Path for the New Millennium" as a joint venture of the two traditions together. On the third day, participants engaged in "Practice--East and West," including presentations geared toward practice both then and there and in the future.One marked difference between this conference and those that Mercy Center put on from 1985 to 1988 was the quality of the participants. In the earlier conferences, many were seekers and intellectual questioners. This year, besides such qualities, the participants were sincere practitioners. In fact, a great many were practicing in both traditions. They often classified themselves as Buddhist Christians or as Christian-root Buddhists. The greater depth of dialogue that has developed in less than fifteen years was clearly apparent. What is more, the sharing and insights of both Buddhist and Christian presenters seemed to have become increasingly relaxed, articulate, and vital. Their presentations were met with much deeper understanding and enthusiasm by all the participants. [End Page 247]Besides the presentations, participants deeply appreciated the chi kong and tai chi sessions, the daily meditation together, the day of practice, the tea ceremony, and the closing ritual. In a word, the conference was holistic dialogue.Those of dual practice were especially happy to find that they are not alone, that many are coming together to weave a new Path for the new millennium.Tapes are available. Contact Sandi Peters at (650) 340-7486.... (shrink)

Explains how to develop one's Ki, or vital energy, through calligraphy, martial arts, massage, Noh drama, the tea ceremony, and the game of Go, and discusses self-defence and personal effectiveness.

Résumé: Fruit du colloque "Spiritualité japonaise - Perceptions et représentations, entre tradition et occidentalisation" organisé par les Universités Libre de Bruxelles et Catholique de Louvain, cet ouvrage propose des recherches en philosophie de la religion sur le Japon comparativement à l’Occident.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Shinto: The Way Home: Dimensions of Asian SpiritualityJason M. WirthShinto: The Way Home: Dimensions of Asian Spirituality. By Thomas P. Kasulis. Honolulu: University of Hawai'i Press, 2004. Pp. xx + 184.Thomas P. Kasulis wrote his fine new book Shinto: The Way Home: Dimensions of Asian Spirituality as the result of a promise made over a glass of scotch to Henry Rosemont, who is currently editing a series of (...) volumes highlighting various Asian spiritual traditions. These volumes promise to be strong, advanced introductions, and it is already clear that they should be seriously considered as introductory texts for courses in the Asian spiritual traditions. However, feeling "queasy" about his promise, Kasulis confessed that he was "primarily trained as a scholar of Japanese philosophy and there is simply not that much Shinto philosophy to write about" (p. xvi). Yet it appears that the scotch did not inspire frivolous behavior. The book is written by someone who has much love-perhaps even a pure heart and mind (makoto no kokoro)-for the Japanese spiritual heritage, and hence it makes an outstanding introduction to the basics of the Shinto tradition and its many practices. "Reading this book should help readers begin, not end, their study of Shinto" (p. xvii).Kasulis argues that Shinto is for the most part not a religion in the conventional Western sense. In fact, the Japanese word for "religion," shūkyō, is a neologism to designate the teachings (kyō) that comprise a shū, that is, a "discrete religious community with common practices and teachings" (p. 30). Yet Shinto operates in the background for most Japanese people, and so does not necessarily originate or result [End Page 358] in a clearly articulated doctrinal position. It comprises part of the cultural ambiance of Japanese life. It shapes the Japanese wedding ceremony and governs the Japanese relationship to rice (including sake).More significantly, it helps ritualistically inculcate the rudiments of what might be called something like a deep ecology. Certain remarkable locations in nature, certain foci that are spectacularly aberrant or startlingly exceptional, are marked off by a sacred portal (torii) or rope (shimenawa). They are designated as places of awe and wonder, as places inhabited by the kami (gods). In this way, a Shinto ecological aesthetic contrasts directly with a classical Western sense of beauty. The latter is achieved when an object is in maximum proximity to its idea-when it deviates as little as possible from its inherent nature. In Shinto the kami are present in an awesome deviation from the norm (as in a gnarled pine or a wondrously twisted rock).Yet Shinto does not necessarily ghettoize the sacred space, truncating it from its circulation with all of nature. Rather, sacred spots (like sacred practices) are isolated in order to serve as an opening into nature as sacred. They are sacred portals to the sacredness of the whole-"they are holographic entry points for experiencing kami everywhere" (p. 23). Kasulis traces these themes from Japanese prehistory, including their eventual appropriation in the early-eighth-century chronicles the Kojiki and the Nihonshoki, both of which were commissioned by imperial decree. Furthermore, there was much in Shinto that was compatible with the emergence of Buddhism in Japan. The latter helped Shinto remain dynamic and nondogmatic (p. 93), and Shinto helped make some of the more difficult aspects of esoteric Buddhism (Shingon and Tendai) more accessible to commoners (p. 99).However, in the isolationism of the Tokugawa period, Shinto was slowly wrested from its ensconcement in Japanese Buddhism. The influences of Neo-Confucianism and the Japanese code of the warrior (bushidō), the demilitarization of Buddhist monasteries, the relegation of monasteries to census taking, and other measures helped the Tokugawa clan consolidate their own power and enervate Buddhism's hold on Japan. Shinto itself would have to be freed from its Buddhist housing. The most fateful instance of this purification process transpired inadvertently with Motoori Norinaga (1730-1801) and the dawning of the kokugaku or "native studies" movement. Norinaga spent more than three decades deciphering and annotating the linguistic labyrinth of the Kojiki. Yet this was not a mere scholastic exercise. Norinaga assigned the Kojiki the status of scripture... (shrink)

A woman is listening to Sinatra before work. As she later describes it, ‘suddenly from nowhere I could hear my mother singing along to it … I was there again home again, hearing my mother … God knows why I should choose to remember that … then, to actually hear her and I had this image in my head … of being at home … with her singing away … like being transported back you know I got one of those (...) … like shivery feelings really suddenly’ (Anderson 2004, 9-10). An older couple, discussing their honeymoon forty years ago, each say that they can’t remember the show they saw, until through iterative, puzzled cross-cuing they finally get there – ‘Desert Song, that’s it’ (Harris et al 2011, 292). An elderly English veteran of a prisoner of war camp in Japan, finishing up morning tea with a young Japanese social scientist interested in reconciliation, suddenly calls out loudly - in Japanese - ‘stand to attention’. He stands to attention in front of her: like many of the men she interviews, he physically re-enacts fragments of that long-past world of the camp, bringing that absent past into this new present context with a visceral shock (Murakami 2001, 2012; Middleton & Brown 2005, 133-136). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Little Eternities: Henry James’s Horatian Sense of Time KATHLEEN RILEY Summer’s lease hath all too short a date. —Shakespeare, Sonnet 18 On a visit to Bodiam Castle in Sussex in 1908, Henry James remarked to Edith Wharton: “Summer afternoon—summer afternoon; to me those have always been the two most beautiful words in the English language.”1 The potency of those two words derives from their immediate evocation of an arrested (...) moment between the day’s halcyon perfection and its imminent dying fall. Small wonder that those same words were later used to mythologize an Edenic Edwardian England poised on the brink of war, to preserve in aspic the fancy of a gilded innocence and order, and the promise of “blue remembered hills,”2 careless of the teeming, tumultuous reality of an England already in the shadow of the Tree of Knowledge. James’s masterpiece of 1881, The Portrait of a Lady, begins with a luxuriously redolent depiction of a summer afternoon, of the hours before dusk that constitute a pleasurable little eternity, of the languorous rhythms and rituals of what Disraeli called “the sustained splendour of [a] stately life.”3 Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea. There are circumstances in which, whether you partake of the tea or not—some people of course never do,—the situation is in itself delightful. Those that I have in mind in beginning to unfold this simple history offered an admirable setting to an innocent pastime. The implements of the little feast had been disposed upon the lawn of an old English country-house, in what I should arion 27.1 spring/summer 2019 call the perfect middle of a splendid summer afternoon. Part of the afternoon had waned, but much of it was left, and what was left was of the finest and rarest quality. Real dusk would not arrive for many hours; but the flood of summer light had begun to ebb, the air had grown mellow, the shadows were long upon the smooth, dense turf. They lengthened slowly, however, and the scene expressed that sense of leisure still to come which is perhaps the chief source of one’s enjoyment of such a scene at such an hour. From five o’clock to eight is on certain occasions a little eternity; but on such an occasion as this the interval could be only an eternity of pleasure.4 This passage, it strikes me, is essentially Horatian in its Epicurean delight in the passing moment. For the Augustan poet Horace, this delight, which is intrinsically elegiac, is expressed in the sympotic pleasures of wine and friendship, in the freedom aestivam sermone benigno tendere noctem (“to prolong the summer night with genial conversation,” Epistles i.5.11). For Henry James, it rests in “the ceremony known as afternoon tea,” in the lengthening shadows on an English lawn by “the reedy, silvery Thames” (PL 32). In both cases the evanescence of these simple pleasures is deeply felt and pleasure itself heightened by an undertone of melancholy, by a nostalgic apprehension of the present. LOCI AMOENI in his review of Augustus J. C. Hare’s Days near Rome (1875), Henry James commented: “The smallest pretext for quoting from Horace—the most quotable of the ancients— should always be cultivated.”5 His own facility for quoting from Horace was evident from his earliest published works, and belied an “extraordinarily haphazard and promiscuous” education shuttling, at his father’s restless instigation, between New England, Britain and Continental Europe.6 James’s biographer, Leon Edel, recorded the family legend that William James (Henry’s Irish grandfather), “who was eighteen in 1789, when he set foot in the New World, 22 little eternities brought with him a ‘very small sum of money,’ a Latin grammar and a desire to visit the fresh battlefields of the Revolutionary War.”7 Young Henry’s instruction in Latin grammar seems to have begun in the Old World, under a private tutor in London in 1855, a Scotsman named Robert Thomson who later ran a small school in Edinburgh attended by Robert Louis Stevenson. It... (shrink)

In this paper I examine two ways in which the past manifests as central to Japanese visual aesthetics. Although distinct, both are manifestations of an attitude that places value on the past, characterizing Japanese (and, to a large measure, East Asian generally) aesthetic thinking. The first is situated in action, with the use of models inherited from past masters in the creation of art, exemplified in the practice of pictorial and calligraphic copying, and the way of tea. The (...) second is situated in objects and values identified with patina and antiqueness. The attention given to the past in art practice, appreciation, and theory is a point of contrast with Western art theory. CiteULike Connotea Del.icio.us What's this? (shrink)

Ayahuasca, an ancient Amazonian psychedelic tea traditionally used ceremonially among indigenous peoples, has recently become known as a possible treatment for a wide range of disorders. The awareness of this sacred medicine has grown exponentially over the past decade, attracting westerners from a wide variety of backgrounds, hoping to find treatment for a myriad of emotional and physical illnesses, as well as spiritual needs. In the wake of the commercialization and westernization of the use of ayahuasca, and the subsequent proliferation (...) of ayahuasca treatment centers, this paper examines the benefits and possible risks of this form of therapy in an effort to create a safety protocol for Westerners in this context. The most practical approach to increasing safety for Westerners attending these Amazonian treatment centers is to educate the seeker prior to treatment and to provide access to specialized therapeutic aftercare services. (shrink)

Introduction -- Hindu ethics -- Life's four goals -- Paths to Enlightenment -- Karma and rebirth -- Shades of Dharma -- Buddhist ethics -- The middle path -- The four noble truths -- In the wake of karma -- The four supreme virtues -- What is a Buddhist social ethics? -- Zen Buddhist ethics -- A way of the monk : practice is attainment -- A way of the warrior -- A way of tea : the virtue of presence -- (...) Taoist ethics -- Cultivating the Tao -- The art of yielding : Wu-wei -- Spontaneity as awareness -- Fasting of the mind -- Confucian ethics -- Lessons from the analects -- Human nature : is it essentially good or corrupt? -- Seeking the right balance in neo-Confucianism -- A return to Ako : Japanese neo-Confucianism -- Capitalism and human rights. (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 Ainu are a group of populations settled on the Kamchatka Peninsula, on the island of Sakhalin, in the Kurils and in Hokkaidō. I will examine the Ainu of the island of Hokkaidō. During the Tokugawa (1603-1868) and Meiji (1868-1912) periods, the Japanese imposed reforms and forced assimilation, depriving them of their cultural heritage. Initially labeled as "last", over time the Ainu have been invited to folklore along with a slow restitution of their cultural tradition, albeit with some compromise. (...) In this way, tourist centers have most likely become the main gateways to a universe still pervaded by mystery. This article explores the changes in religious tradition, starting with the cosmogonic world, passing through ceremonies in their most traditional form, to examining how such ceremonials have been transformed for tourism purposes. (shrink)

This is the book on bushido, the much-cited but widely misrepresented samurai code of honour. Drawing on authentic historical texts, it is a detailed and accurate exploration of medieval life in Japan and the samurai, a must-have for anyone with a love of martial arts or Japanese history. This is the go-to volume on bushido ("the way of the warrior"), drawing on a wide range of historical sources to paint a vivid picture of the samurai in action and separating (...) the truth from the myth of samurai chivalry. It offers a long-overdue update to the attractive but inaccurate portrait of the samurai painted in Bushido: The Soul of Japan, which has been a bestseller ever since its publication in 1905, and the equally idealistic Hagakure (c.1716). In The Book of Bushido, Antony explores the reality of warrior behaviour versus the idealistic depiction created for an Edwardian audience by the author of Bushido: The Soul of Japan. He reveals the truth of how the samurai really behaved and of what they considered to be a warrior ethos. He replaces the image of the perfect eastern warrior with the much more interesting reality of hardened, bloodstained military leaders with human failings and a complex set of ideas about the world, who engage in ritual, magic and ceremony, who lead their followers in war and peace and who, above all, are fighting a battle between addiction to power and morality. This is the story of bushido – the way of the samurai. (shrink)

Velina Hasu Houston’s theatrical representations focus on exploring cultural collision and coalescence in transnational communities. With her biographical and cultural background deeply influenced by her Japanese mother’s way of life and sense of values, Houston has been open-minded in creating a new viewpoint through which to look at Japan, the United States and the world. Calligraphy is quite challenging in that it looks at her mother’s aging from both Japanese and American perspectives. It sheds new light on not (...) only understanding the beauty in the aging process but also women’s memories that have value beyond the personal. Since she wrote Tea based on her mother’s life as a war bride, Houston has presented a pioneering, in-depth exploration of Asian women’s memories that have been historically ignored in the United States. This paper examines how Houston’s insight into transnationalism through the transformative nature of cultural identity and change inspires her to re-envision women’s writing and highlights the need for a re-examination of the power of love and beauty. (shrink)

Underperformance under stress is common in many activities such as the arts and academic performance, but examples are particularly evident in sport's "choking" effect—a failure to perform to levels already achieved when the person tries to be at his or her best. Rory McIlroy "disintegrated" at the 2011 U.S. Masters, while Greg Norman epically lost in 1996. On the other end of the spectrum, Mark Spitz and Michael Phelps thrived under media pressure to deliver record-breaking performances at the Olympics. The (...) first set of scenarios showcases athletes failing under pressure. The second presents superb performers who excel when "on the spot." As a way to supplement current psychological and cognitive theoretical research, Dr. Jesús Ilundáin-Agurruza discusses an alternative philosophical account to combat choking. It diagnoses the process and contrasts it with cases of superior performances analyzed under "skillful fluency." The solution is derived from Japanese do—arts of self-cultivation, such as the way of archery or the way of tea—which encourage an integration of body-mind and intellect-emotion that indirectly achieves skillful fluency and avoids choking. (shrink)

An experience-centered approach reveals empirical foundations for shamanic healing. This article is based on data derived from surveys of Chinese, Japanese, Caucasian-American, and African-American populations and participant observation of over thirty Asian shamans. Respondents reported anomalous events such as apparitions, extrasensory perceptions, contact with the dead, precognitive dreams, clairvoyance, and out-of-body experiences. Based on folk reasoning, these episodes support belief in spirits, souls, and life after death. Shamanic healers have a far greater propensity to experience anomalous events than general (...) populations and to use their beliefs arising from these episodes to produce ceremonies that change clients' perceptions of their illnesses. Although the foundations supporting shamanism differ from those sustaining Western medicine, both traditions provide experiences that convince clients that specific procedural methods alleviate illness. Keywords: epistemological, healing, shamanism CiteULike Connotea Del.icio.us What's this? (shrink)

This paper explores Ham's role as a maverick thinker, a pacifist and an innovator of religious pluralism in twentieth century Korea. Ham saw an individual's spiritual quest and the struggle for social justice as interrelated. As an idealist, Ham viewed human beings basically as moral beings, and perceived the Supreme Being or God not only as a transcendental being, but also as an imminent being both in the sense of existing everywhere and also in the sense of existing as `inner (...) voice'. On this basis, my paper examines Ham as an intermediary between East Asia and the West and between `losers' and `winners' in history, and assesses how he was shaped by, and responded to, the challenges of his time. Firstly, I will look at Ham's search for Korea's national identity under Japaneseimperialism and his determination to write an account of Korean history from the standpoint of the oppressed, in order to inspire his downhearted countrymen. I will also examine how, using his own Biblical interpretation of Korean history, Ham provided a mission and vision not only for oppressed Koreans under Japanese colonialism, but also for 'losers' and ordinary people everywhere. In the second section, I will further explore Ham's sense of pacifism by examining how Ham's ideas were open-ended not only towards the Asian classical philosophies of Taoism, Confucianism, Buddhism and Hinduism, but also towards traditional Christianity, the non-church movement, Quakerism, Western sciences and rationalism. I will also consider why he had to respond as an individual to the challenges both of society and of the historical era. In the third section, I will concentrate on how Ham's Christo-centric views had fundamentally altered to a more universal perspective and also how he asserted the necessity for the restoration of Christianity from the ceremonial and `weird' to the ethical and socially just. Lastly, I will look at Ham's definition of Jesus and why he used the new terminology the 'Ssial' instead of the archaic expressions 'people' or 'national.' By doing so, I will examine how Ham achieved what is one of the most difficult things in this world, to be a genuinely conscientious leader despite corrupt surroundings. (shrink)

The topic of translation is in my view not only a linguistic problem, but also a problem in the philosophy of culture. In the lexicon of a foreign language we may find an unfamiliar word that designates an object that is unknown in the eyes of our own culture. Instruments employed in a religious ceremony of the Catholic church, for example, an “encensoir,”, “reposoir,”, or “ostensoir,” will have no corresponding word in the Japanese language. But you must translate (...) words of this type if you wish to translate Baudelaire’s poem “Harmonie du soir.” If these Catholic words are translated into Japanese, then we must use some traditional Japanese word as a rough equivalent of the original word, or we have to make up some new word in order to effect a translation. Through this, however, the single signans of the original word yields two meanings, since the new use of the old word or the new word must somehow carry the traditional meaning also. In the first case two meanings come to be involved, meanings derived from two different cultures. In the second case, the new word must somehow be explained in terms of Japanese, if it is to bear the new linguistic load. (shrink)

The topic of translation is in my view not only a linguistic problem, but also a problem in the philosophy of culture. In the lexicon of a foreign language we may find an unfamiliar word that designates an object that is unknown in the eyes of our own culture. Instruments employed in a religious ceremony of the Catholic church, for example, an “encensoir,”, “reposoir,”, or “ostensoir,” will have no corresponding word in the Japanese language. But you must translate (...) words of this type if you wish to translate Baudelaire’s poem “Harmonie du soir.” If these Catholic words are translated into Japanese, then we must use some traditional Japanese word as a rough equivalent of the original word, or we have to make up some new word in order to effect a translation. Through this, however, the single signans of the original word yields two meanings, since the new use of the old word or the new word must somehow carry the traditional meaning also. In the first case two meanings come to be involved, meanings derived from two different cultures. In the second case, the new word must somehow be explained in terms of Japanese, if it is to bear the new linguistic load. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Original Dwelling Place: Zen EssaysRobert E. GossOriginal Dwelling Place: Zen Essays. By Robert Aitken. Upland, California: Counterpoint, 1996. 241 pp.Robert Aitken narrates his over forty-year journey into Zen, elucidating not only his spiritual journey but also reflecting the Americanization of Zen Buddhism. He was introduced to Zen Buddhism during World War II as an internee in a camp for enemy civilians in Kobe, Japan. Original Dwelling Place is Aitken’s (...) ninth book to explore a series of topics that accent his personal journey into Zen. He has gathered a series of essays about the texts and lineage teachers with whom he studied over the years. In the opening section, entitled “Ancestors,” he pays homage to the masters [End Page 212] who influenced his own Zen practice. He writes, “All of my guides have passed away, but they are alive in my mind and body” (p. 5). The book reflects his continuing bond with those deceased teachers who exercised a vital presence and environmental influence within his life. He shares some stories, personal insights, and legacies of some of his guides, such as Nyogen Senzaki, Soen Roshi, Blyth Sensei, and D. T. Suzuki. I found his essay on the legacy of Dwight Goddard filling in many personal details of a pioneer Western Buddhist who significantly contributed to the Americanization of Buddhism. In many ways, Aitken’s own spiritual development and Original Dwelling Place recapitulate the Americanization of Zen Buddhism, providing some important insights into that process of Buddhist acculturation.Yet Aitken does not limit his guides to twentieth-century ones. He brings alive the classical discourses and relates them to contemporary life. Throughout his essays, I was struck by how alive and dynamic Aitken’s Mahayana contemplative vision and practice are. There is a spirit of “contemplative action” that collapses the duality of meditative practice and living that discovers the truth dynamically within a matrix of open living. As a Christian practitioner of Ignatian spirituality, I found many parallels to the Jesuit ideal of being “contemplative in action.” Aitken’s essays elucidate an ongoing dynamic dialectic that fluctuates between meditative reflection and the world of experience—reminding me at times of the contemplative Trappist monk, Thomas Merton, and at other times of the Jesuit poet-activist, Daniel Berrigan.The reader garners an aesthetic sense that classical Zen texts have been an integral part of his journey and have provided him with a platform to reflect on topics such as marriage, death, the use of money, sexuality, and Zen practice. Some of his essays have a meditative quality, drawing the reader into an web of intertextuality and experience where Zen teachers and Western poets engage in a contemplative path of pleasure expressed in awareness of the everyday dewdrop world. There were moments that I envisioned reading a particular essay on retreat, for they had a meditative quality that reminded me of some the writings of Thomas Merton. Like Merton, Robert Aitken does not merely probe meditative experience but attempts to interrogate the everyday experiences of Western Buddhists from meditative awareness. Most Japanese Buddhists, he notes, are married within Shinto ceremonies, and Western Buddhists have resurrected old Buddhist marriage ceremonies seldom used by Japanese practitioners. Western Buddhist marriage ceremonies, Aitken notes, are a relatively new tradition that often blends ceremonies from The Book of Common Prayer with Buddhist rituals. He ends his short essay on marriage with final reflections on how marriage and family form a little sangha.In “Death: A Zen Buddhist Perspective,” Aitken breaks new ground by noting how Buddhists face the fact of death and find solace in impermanence. He quotes the Japanese haiku poet, Isa Kobayashi (1763–1827), grieving at the loss of his baby daughter:The dewdrop world is the dewdrop world, and yet—and yet(p. 124). [End Page 213]Isa looks desperately for something to give him hope but only finds comfort in his grief. Aitken points out that within grief is emancipation and that bereavement can be a good teacher. He develops some reflections on a highly underdeveloped topic within Buddhism: grieving and the transformation of grief into solace.Aitken writes on political revolution and the matters of ethics. He addresses... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Letting Go: The Story of Zen Master TosuiDavid E. RiggsLetting Go: The Story of Zen Master Tosui. By Peter Haskel. Honolulu: University of Hawai'i Press. Pp. xv + 167. Hardcover $45.00. Paper $17.00.In his latest book, Letting Go: The Story of Zen Master Tōsui, Peter Haskel has taken on the task of translating the traditional biography of an obscure and eccentric Japanese Zen monk of the seventeenth (...) century, the Tōsui oshō densan, which was compiled by the celebrated scholar-monk Menzan Zuihō (1683-1769). Haskel has added an impressively comprehensive critical introduction, extensive footnotes, and a concluding essay. The translation of this collection of anecdotes is accurate and very readable, and the supporting critical apparatus is a concise survey of recent critical scholarship concerning the turbulent world of Zen Buddhism in early Tokugawa Japan.The first half of Tōsui's life was unremarkable: he traveled and met various teachers and then was recognized as a master in his own right. He was eventually invited to preside over a Sōtō Zen training temple, where he settled down and led meditation retreats for five years. By the end of this time he was attracting many disciples, including some very well known monks, when suddenly he simply disappeared. At the end of a training season, instead of presiding over the usual elaborate ceremonies, he stuck a poem to the wall, and without a word to anyone walked out with just the clothes on his back. Even the earlier facts of his life are sketchy, but from this time on all we have are stories that Menzan himself acknowledges cannot be arranged in a clear chronology. According to one tale, after an extensive search, two of his closest disciples found Tōsui living among beggars. His hair and beard were wild, his Buddhist robe was tattered, and his begging bowl was broken. Tōsui berated the two for interfering with his desire to be left alone and stalked off. One disciple continued to pester him; Tōsui relented, and they set off together. At the side of the road Tōsui discovered the body of a dead beggar and set about to bury him with his own hands. He then insisted that the disciple accompany him in eating what food remained in the beggar's bowl, but the disciple was overcome with disgust. Tōsui sent him off with instructions to go study under the émigré Chinese master Kao-ch'uan, an important teacher of the newly imported Chinese Buddhism (called Ōbaku Zen in Japan). As is always the case with these stories, there is no explanation of his actions: no indication of why Tōsui chose this teacher or if there was any significance to sending his student to a teacher in another lineage.Various people continued to attempt to find Tōsui over a span of many years, but he refused to teach or even talk to most of them. Besides anecdotes like this, we have only a few short poems and ripostes that give a flavor of his irreverent style. In response to a merchant who wanted to know how to do Zen meditation, Tōsui would only say, "Soy sauce should be made in midsummer; miso should be made in winter." If people persisted in trying to see him, he simply disappeared rather than deal with them. He lived in tiny rented rooms in towns working as a maker of straw sandals, doing day labor or simply begging for his sustenance. He rejected all offers of support, and if someone attempted to get around his refusals by leaving money or [End Page 132] clothes nearby, he distributed everything to the beggars among whom he lived. As he got older he relented a bit and allowed a follower to provide a meager living for him making vinegar, using the ruse that it wasn't patronage since the rice used for making the vinegar would otherwise have been discarded. When Tōsui died, his funeral was presided over by Kao-ch'uan (the Ōbaku teacher to whom he had entrusted his former students), and his remains were interred at Kao-ch... (shrink)

This chapter contains sections titled: The Philosopher's Coffee Buzz Preliminary Proposal: Coffee's Philosophical Advantages Analysis: What Has Coffee Got to Do with Philosophy? Topical and Historic Considerations: Coffee's Advantages Beyond Philosophy Critical Perspectives: Challenges to the Coffee‐Charged Philosophy Thesis Afterthoughts: The Worldly Advantages of Coffee.

In a modern society arguably disenchanted with religion, numerous Western women are transfixing their reality by making God in their own image. This compelling phenomenon is known as ‘the Goddess Movement’: a non-centralised religious current of neo-pagan origin that reveres the Divine as feminine. The revival of Goddess worship in a vastly secular age which appears not to favour religious devotion is a peculiar occurrence and leads to the following question: Why are women returning to a previously defunct spiritual practice? (...) Building on the research scholars Paul Reid-Bowen and Janet L. Jacobs conducted on Western Goddess worship, as well as drawing on testimonies of Goddess followers, this article aims to elucidate the appeal the Goddess Movement holds for women. It argues that it represents a notable turn in female spirituality which demonstrates that images of feminine divinity offer women the opportunity to find meaningfulness, empowerment, and sexual or psychological healing. (shrink)

The dispute over Socrates’ apparent endorsement of hedonism in the Protagoras has persisted for ages among scholars and students of Plato’s work. The solution to the query concerning the seriousness and sincerity of Socrates’ argument from hedonism established in the dialogue is of considerable importance for the interpretation of Plato’s overall moral theory, considering how blatantly irreconcilable the defense of this doctrine is with Plato’s other early dialogues. In his earlier works, Socrates puts supreme importance on virtue and perfection of (...) the soul, so the puzzle apparent in the Protagoras merits a thorough examination.Several scholars have argued that, since Socrates’ defense of hedonism in this work clashes significantly with his views on morality in other dialogues, Socrates must only have been defending hedonism ironically, or with the intention of “diagnosing” his opponent’s point of view. In this paper, I examine the approaches according to which Socrates didn’t in fact mean to defend hedonism, but merely used it as a diagnostic tool; I argue that there is no compelling evidence for this resolution of Socrates’ defense of hedonism, and that the views that attempt to defend it really have no convincing grounds for it apart from the desire to reconcilethe Protagoras with other Socratic dialogues. (shrink)

BackgroundMany of the important elements of a valid informed consent – comprehension, voluntariness, and capacity – can be compromised or unmet in the context of psychiatric research. The inability to protect their own interests puts mentally ill subjects at an increased likelihood of being wronged or harmed and makes them particularly vulnerable in the context of clinical research. Therefore, they are due extra protection. Sometimes, these additional safeguards can significantly limit the possibilities for research involving subjects deemed unable to consent (...) due to their mental illness. Montenegro, a middle-income country in Southern-Eastern Europe, goes so far in their policy to protect these subjects from harms of research, as to ban all biomedical research on mentally ill persons who are unable to provide consent.Main bodyMental health research is often neglected and very low on the list of health research priorities, especially in low- and middle-income countries. Despite the fact that mental health disorders are among leading causes of disability, the need for evidence-based services and interventions for those affected remains unmet.To exclude all members of a certain group of subjects seems extremely restrictive and unnecessary. Such a policy is discriminatory and unethical, because it inflicts further harms and exclusion of those patients from participation in society. This unjust exclusion policy obstructs research of certain psychiatric disorders and implies that new treatments for conditions that directly affect these incapacitated subjects will not be developed.ConclusionsScientific and clinical development must not be precluded by overly restrictive, discriminatory and unjust practices, such as the normative ban on research on decisionally-impaired mentally ill subjects. Rather, there should be a regulative framework that ensures that those who cannot consent for themselves are respected and protected in research, the anticipated benefits maximized, risks minimized, their autonomy recognized and extended. These patient-subjects must be appropriately included unless there is a clear and compelling rationale and justification that inclusion is inappropriate with respect to the health of the participants or the purpose of the research. (shrink)