0 From Sansui to Keshiki My subject here is the nature of landscape. The word “landscape” is to be understood in what follows in the aesthetic sense: I wish to clarify what we experience in landscape as a typical scene of natural beauty. For most people, the nature of this experience may be so transparent that its analysis is superfluous. I don’t, however, find the matter so straightforward. The fact that “a landscape” can also signify a landscape painting would seem (...) to indicate that landscap... (shrink)

Ageing is basically a natural or physical phenomenon. For a human being, it belongs to the body. When this fact is noticed, a drama of oldness and life/death begins: ageing is a problem of experience. There are losses and gains in this experience. Indeed, a particular respect was paid to a rhapsodist/bard and a hermit because of their memory power and deep wisdom respectively. Since we recognize in these cases accumulation and maturation, the core subject in the experience of ageing (...) is memory and the time structure. Vis-à-vis the hard memories such as stone monuments and IC memory, the live memory is characterised by a creativity, which vivifies our past time. I pay a particular attention to friendship, because one of the most painful experiences of ageing consists in the loss of dear friends. Recollecting creatively the time shared with them, we can vivify our past, i.e. our being: that is the appropriation of ourselves. (shrink)

This paper describes the situation of philosophy in Japan with respect to the question of internationalism. For more than a hundred years, Japan took Western culture as its model and European philosophy as the authentic philosophy. This tendency was paradoxically strengthened by the post‐war humanism. It gave us Japanese philosophers a clear discipline to work in but cut us off from our own native culture, history, and philosophical traditions. In wishing to recover this loss, I argue that it is necessary (...) to distinguish between two forms of internationalism: humanistic and merely fashionable. The latter in fact derives from domestic reasons. (shrink)

Il s’agit ici de mettre en évidence une propriété de la beauté, à la fois subtile et évidente, mais largement ignorée de l’esthétique occidentale : la capacité du beau à embellir ce qui l’entoure. L’analyse s’appuie sur le commentaire d’un waka d’Akiko Yosano et étudie les proximités et les différences de cette beauté embellissante et de concepts philosophiques européens qui s’en rapprochent : l’éclat selon Platon, l’aura selon W. Benjamin, et le cérémonial, selon H. Kuhn.

This article looks at the past, present, and future of the study of aesthetics. The early modern period, during which aesthetics came into being, was a great historical turning point for civilization. So, too, is our own day. Looked at this way, aesthetics should show a different face than the one we are used to. Aesthetics is generally considered to be the philosophy of art, yet, with art regarded as an autonomous cultural field, aesthetics commonly gives the impression of being (...) isolated from philosophy in general. This article explores a completely different aesthetics. When it was coming into existence, aesthetics was charged with the real and urgent philosophical problem of its time: how to construct a new world. (shrink)