動物実験、生殖補助医療、クローン、再生医療、遺伝子組換え...技術と倫理が交差する「生命の現場」のための画期的入門書。.

Volume 2 deals with the legacy of these traditions in modern times.

Tsunoda Tairyū of Komazawa University is one of the foremost authorities on shūgaku 宗学, or “Sōtō theology,” in Japanese academia, and a leading philologist of Dōgen’s writings, in particular the Shōbōgenzō 正法眼蔵. Tsunoda’s ongoing investigation of Dōgen’s philosophy culminated in the year 2015 when his extensive study Dōgen Zenji no shisō-teki kenkyū 道元禅師の思想的研究 was published by Shunjūsha. Tsunoda opens by introducing the fundamental methodologies that constitute Sōtō theological scholarship. The first is sankyū 参究, or scholarship based on (...) one’s faith in the tradition. With sankyū, Tsunoda argues, the standpoint of faith... (shrink)

In Japan, although various arguments exist regarding the appropriateness of the death penalty, nationwide public opinion polls regarding the death penalty revealed that 85.6% of respondents supported maintaining the death penalty in 2009. Under these circumstances, it is worthwhile to deliberate the ethical and social issues surrounding the death penalty as depicted in Japanese films from medical humanities perspectives. In the present paper, we discuss two recent films concerning the death penalty, 13 kaidan directed by Masahiro Nagasawa, 2005 and Kyuka (...) directed by Hajime Kadoi, 2007. The two films describe the impact of execution on the executioners, secrecy of executions, rehearsal of the execution, and voluntary participation in execution. They depict the current situation surrounding the death penalty and execution, as well as everyday life on death row, in detail. Serious concerns about current execution procedures were also described. The two films seem to try to tell the audience that there is something strange in killing people in perfect order with good will in the name of law and justice. They show the officer‘s instinctive aversion provoked by the execution and make us think about what it means to kill a human. (shrink)

Being Time invites a deep consideration of the personal experience of temporality in music, focusing on the perceptual role of the listener. Through individual case studies, this book centers on musical works that deal with time in radical ways. These include pieces by Morton Feldman, James Saunders, Chiyoko Szlavnics, Ryoji Ikeda, Toshiya Tsunoda, Laurie Spiegel, and André O. Möller. Multiple perspectives are explored through a series of encounters, initially between an individual and a work, and subsequently with each author's (...) varying experiences of temporarilty. The authors compare their responses to features such as repetition, speed, duration, and scale from a perceptual standpoint, drawing in reflections on aspects such as musical memory and anticipation. The observations made in this book are accessible and relevant to readers who are interested in exploring issues of temporality from a broad range of disciplinary perspectives."--Back cover. (shrink)

Nonfictional field recording is a genre of music which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a (...) task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba —recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”. (shrink)