This English translation of Intuition and Reflection in Self-Consciousness evokes the movement and flavor of the original, clarifies its obscurities, and eliminates the repetitions.

The writings of Nishida Kitar , whose name has become almost synonymous with Japanese philosophy, continue to attract attention around the world. Yet studies of his thought in Western languages have tended to overlook two key areas: first, the influence of the generation of Japanese philosophers who preceded Nishida; and second, the logic of basho (place), the cornerstone of Nishida's mature philosophical system. The Logic of Nothingness addresses both of these topics. Robert Wargo argues that the overriding concern of (...) Nishida's mature philosophy, the attempt to give a reasonable account of reality that includes the reasonableness of that account itself--or what Wargo calls the problem of completeness--has its origins in Inoue Enryo's (1858-1919) and Inoue Tetsujiro's (1855-1944) preoccupation with the problem of standpoints. A translation of one of Nishida's most demanding texts, included here as an appendix, demonstrates the value of Wargo's insightful analysis of the logic of basho as an aid to deciphering the philosopher's early work. (shrink)

Im Zentrum der Untersuchung steht die Philosophie des modernen japanischen Philosophen Kitar??o?? Nishida und ihr Bezug zur Frage nach der Interkulturalität. Nishidas Philosophie ist einerseits _interkulturell orientierte Philosophie_ - entstanden aus der interkulturellen Begegnung zwischen westlicher und japanischer Kultur im Rahmen des modernen Japans - und andererseits bietet sie einen Ansatz zu einer _Philosophie der Interkulturalität_. Der Ansatz gibt einen neuen Blick auf die globalen geschichtlichen Vorgänge frei - gesehen durch die Augen eines außereuropäischen Denkers. Mit Nishidas Philosophie und (...) ihrer geschichtlichen Stellung wird somit die Frage nach der Moderne im interkulturellen Kontext auf neue Weise virulent, so daß sich neue Fragehorizonte für das Denken der Gegenwart ergeben. (shrink)

Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.

This essay takes as its focus Japanese philosopher Nishida Kitar? (1870?1945) and his seminal first text, An Inquiry into the Good (or in Japanese zen no kenky?). Until now scholarship has taken for granted the predominantly Buddhist orientation of this text, centered around an analysis of the central concept of ?pure experience? (junsui keiken) as something Nishdia extrapolates from his early experience of Zen meditation. However, in this paper I will present an alternative and more accurate account of the (...) origins of this important work, a text often seen as marking the beginning of Modern Japanese philosophy. I will show that while Buddhism is an important part of Nishida's early intellectual development, there is ample biographical and textual evidence to suggest that zen no kenky? is at its core a text which attempts to solve key ethical problems via a modern interpretation of concepts drawn from the Confucian tradition. This analysis thus places the concept of ?Conduct? (koi), rather than ?pure experience?, at the center of the text, suggesting that ethics, rather than metaphysics, is the core theme of the book. (shrink)

: In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ‘‘from the Created to the Creating’’ (tsukuru mono kara tsukurareta mono e) through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ‘‘Space of Transparency’’ put (...) forth by Ufan Lee, the leader of Monoha, is the principal example. This essay investigates Nishida’s notion of shintai and its influence on Lee’s theory of art. (shrink)

In his philosophy of nothingness, Kitar Nishida illuminates the matrix of transformation of the world ''from the Created to the Creating'' through shintai, or the body. In this matrix, shintai enters into the stage of an action-sensation continuum and emerges as the immaculate iconic tool of nothingness to create new figures as extended self. This idea of shintai has resonance with the development of postwar art in Japan. The ''Space of Transparency'' put forth by Ufan Lee, the leader of (...) Monoha, is the principal example. This essay investigates Nishida's notion of shintai and its influence on Lee's theory of art. (shrink)