I‐J has been regarded as a polymorphic genetic marker controlled by a locus in the major histocompatibility complex (MHC) which is expressed only on functional T cells. However, this antigenic determinant has been found not to be directly encoded by the MHC gene per se but is somatically generated according to the MHC of the cellular environment during ontogeny. This explains the apparent linkage of I‐J to MHC, despite the failure to find the structural gene for I‐J within the MHC. (...) The I‐J paradox provides an instance of a polymorphism that does not follow the standard genetics of Mendelian structural genes. (shrink)

What is the philosophical significance of Heidegger’s interpretation of the Japanese notion of kotoba (言葉) for Japanese philosophy? Was his conversation with Tezuka Tomio a real dialogue or not? To answer to these correlated questions, I elucidate Heidegger’s 1954 essay “A Dialogue on Language” by following a topological mode of thinking, and I inquire into the way-making of a “thinking conversation”. First, I problematize whether Heidegger engaged in a genuine dialogue with Tezuka. To that end, I distinguish (...) the hermeneutic horizon of the actual encounter between Tezuka and Heidegger from Heidegger’s essay which places Tezuka (the Japanese) and Heidegger (the Inquirer) in a fictional philosophical conversation. Second, I argue that Heidegger’s topological method of interpretating kotoba can be read as a poetic means of thematizing East-West dialogue. Third and finally, exploring the topological sense of kotoba, I engage with third generation Kyoto School thinker Ueda Shizuteru’sideaof“hollow words” of language, situated in a twofold view of the world. I conclude that the true character of Heidegger’s conversation with Tezuka can be identified neither in Heidegger’s “actual” encounter with Tezuka, nor merely in Heidegger’s “hollow” essay. Departing from Ueda’s account of kotoba, it appears that a genuine conversation with language can be located in the dialogue of actuality and hollowness, which finds it expression in poetic language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Japanese Things and Words:An Answer to Heidegger's QuestionMichael F. MarraIt has been over thirty years since my high school teacher of philosophy, Professor Dino Dezzani, recommended a book from which to begin my study of philosophy: Martin Heidegger's (1889-1976) Unterwegs zur Sprache (On the way to language [1959]). Evidently he was aware of my interest in literature and thought that Heidegger's discussion of words, things, and poetic language (...) would give some sort of direction to my naïve and youthful questions of what literature is about and what I should hope to find in it.The impact that Heidegger's book had on this young student was much greater than my professor could ever have imagined. I would hardly have committed myself to the study of Japan were it not for my reading of "A Dialogue on Language between a Japanese and an Inquirer," which appears in On the Way to Language. The dialogue is a fictional reconstruction of an actual meeting that Heidegger had with Tezuka Tomio (1903-1983), a Japanese scholar of German literature who visited the German philosopher in Freiburg at the end of March 1954.1 In the dialogue the Inquirer (Heidegger) formulates a central question that, in my opinion, should be of fundamental interest to anyone seriously concerned with the study of Japan. The question is deceptively simple, at least compared with the difficulty of coming up with the answer-an answer that, as a matter of fact, the reader will not find fully formulated in the dialogue. The question is: "What is the Japanese word for 'language' "? The Japanese visitor (Tezuka in Heidegger's recollection) appears to have been caught off guard, as we can see from Heidegger's parenthetical remark: "after further hesitation." Had Heidegger posed the same question to a Frenchman or an Italian, the answer would have been immediate: "langue" or "lingua." The challenge for Tezuka was definitely higher since he had a variety of words from which to choose. He could have used, for example, the expression gengo, a combination of two Chinese characters indicating "the speech of words." Instead, he used an ancient Japanese word derived from the native Yamato vocabulary: kotoba, which literally means "the foliage of speech."2There should be little doubt that Tezuka's choice was prompted by his desire to please Heidegger by playing the philosopher's own game-something that Tezuka totally succeeded in doing, as Heidegger's dialogue attests. Tezuka introduced a term that lent itself to etymological play-an enterprise very close to the heart of Heidegger, and one that was also very popular among Japanese thinkers.3 In fact, the expression kotoba incorporates the word koto, which means both "thing" and [End Page 555] "word" and which is found in the basic concepts of Japanese ontology: Mikoto (God, or "the honorable thing"), makoto (truth, or "the true word"), kotodama (soul, or "the spirit of words"), and kotowari(reason, or "the splitting of things"). The association of "words" and "things" in the Japanese word for "language" must have been of particular interest to Heidegger, who, four years before his meeting with Tezuka, had written "Das Ding" (The thing), a major lecture on the notion of things interpreted in light of the fourfold earth, sky, divinities, and mortals. In the dialogue Heidegger refers to this essay, in which "things" are presented in their objectified presence-the disparaged things that modernity and technology have dispossessed of their Being (Sein). Heidegger points out that never has the distance between things and Sein been as great as in modernity, when all distances in space and time have shrunk.4 Given the unflattering position that Heidegger had taken on the notion of "things," Tezuka was forced to come to the rescue of the Japanese word kotoba by endowing koto with the meaning of two Heideggerian keywords: "event" (kotogara) and "affair" (Sache). The thingly component of kotoba was not simply an objectifiable presence that can be counted, analyzed, and disposed of, but rather a poietic "act" that has the power to create a reality by transforming the named thing (koto) into a real thing (koto).In "A Dialogue... (shrink)

Martin Heidegger’s preparation of the question of human existence was the focus of his seminal work Being and Time, first published in 1927. This paper refers to Heidegger’s phenomenological work through Heidegger’s colleague and friend Hans-Georg Gadamer to focus on how Heidegger prepares the question of Being and the problem of language in his later work. In his conversation with the Japanese scholar professor Tezuka, the meaning of language in the west appears to restrict an understanding of Being by (...) conceptualising it ad infinitum. To the Japanese the simple term “what is” appears to be closer to Being because it does not attempt to conceptualise it. Therefore, Heidegger, Gadamer and Tezuka’s discussion about ontology concludes that language does get in the way of understanding Being. (shrink)

Os heróis japoneses estão cada vez mais presentes no cotidiano brasileiro, influenciando o público infanto-juvenil e pré-adolescente. O animê ganhou força na década de 60 através de Osamu Tezuka. Os personagens são orientais, mas a narrativa é construída a partir da cultura pop. Hoje a preocupação se volta para Bey Blade -desenho atuante no inconsciente, colocando a razão em último plano, prevalecendo a alienação e a exclusão social.

This special issue explores the significance of collectivism in modern and contemporary Japanese art. Japanese artists banded together throughout the twentieth century to work in collectives, reflecting and influencing each evolution of their culture. Illuminating the interplay between individual and community throughout Japan’s tumultuous century, the contributors to this issue examine both the practical internal operations of the collectives and the art that they produced. One contributor studies the art societies of prewar imperial Japan, whose juried art salons defined a (...) new _nihonga_ painting tradition. While recent scholarly work on art produced during World War II has tended to neglect the collectivist tradition, this issue covers wartime groups like the Art Unit for Promoting the Munitions Industry and the important questions they pose about the relationship between artists and the state. Art collectives in post-occupation Japan gained prominence working in the experimental vanguard of the global art scene in painting, sculpture, design, and intermedia projects. Adding a crucial dimension to the study of Japanese art and modernism, this issue explores how these groups attempted to accommodate the creative paradox of individualism within collectivism. _Contributors: Maki Kaneko, Kuroda Raiji, John Szostak, Miwako Tezuka, Ming Tiampo, Reiko Tomii, Alicia Volk, Midori Yoshimoto Reiko Tomii_ is an independent art historian and curator in New York. She is coauthor of _Xu Bing_. _Midori Yoshimoto_ is Associate Professor of Art History and curator of two galleries at New Jersey City University. She is the author of _Into Performance: Japanese Women Artists in New York_. (shrink)

Free flow of culture is not always fair flow of culture. A recent spate of copyright suits by Hollywood against Bollywood accuses the latter of ruthlessly copying movie themes and scenes from America. But claims of cultural appropriation go far back, and travel in multiple directions. The revered American director, Steven Spielberg, has been accused of copying the idea for E.T. the Extra-Terrestrial from legendary Indian filmmaker Satyajit Ray’s 1962 script, The Alien. Disney’s The Lion King bears striking similarities to (...) Osamu Tezuka’s Japanese anime series, Kimba the White Lion. Neither Ray nor Tezuka’s studio sued the American filmmakers and this Article is by no means an attempt to revive any particular legal case. Rather, this Article considers copyright’s role in promoting free cultural exchange, albeit on fair terms in a global marketplace of ideas marked by sharp differentials in power, wealth, and knowledge. (shrink)

Heidegger's Unterwegs zur Sprache is one of his most important books and this English translation is a timely addition to the English edition of his "Works." No other single topic is of more interest to the current commentators on Heidegger than that of language. There is a growing sense of a kinship between Heidegger and Wittgenstein and an increasing number of efforts to link continental and Anglo-American thought more closely together--all of which should be stimulated by the appearance of this (...) translation. The work is also interesting from another perspective. The central document in the attempt to relate Heidegger to the East is found in this work in the opening dialogue between Heidegger and Professor Tezuka of the Imperial University of Tokyo about the nature of the experience of language in the East and in Western "metaphysical" Europe. The other essays, particularly "The Way to Language," offer an excellent presentation of the later Heidegger's general view of language. Original language itself, according to Heidegger, is Being and it is this which stirs man into speaking. Human utterance is the revelation or expression of Being rather than, as in the traditional view, a representation or "picture" of "objects" symbolized by sounds or words. If man is "open" to Being then Being will find in language its "house"--implying thereby that the dimensions of the house are the limits of the revealability [[sic]] of Being. Human utterance is "closed off" from "original language" insofar as "Logos" is reduced to "logistics," that is, insofar as all other talk than the mathematico-logical talk of the age of Technik is dismissed as belonging to "unreason." The translation itself is well-done. The Editors of the "Works," in consultation with Heidegger, have chosen to omit the first essay in the 1959 German original in order to publish it in another volume yet to appear. The translators have supplied us with no index, only a few footnotes, explaining their decisions, no "Introduction," no bibliography--all of which can only be regretted.--J. D. C. (shrink)

Heidegger's Unterwegs zur Sprache is one of his most important books and this English translation is a timely addition to the English edition of his "Works." No other single topic is of more interest to the current commentators on Heidegger than that of language. There is a growing sense of a kinship between Heidegger and Wittgenstein and an increasing number of efforts to link continental and Anglo-American thought more closely together--all of which should be stimulated by the appearance of this (...) translation. The work is also interesting from another perspective. The central document in the attempt to relate Heidegger to the East is found in this work in the opening dialogue between Heidegger and Professor Tezuka of the Imperial University of Tokyo about the nature of the experience of language in the East and in Western "metaphysical" Europe. The other essays, particularly "The Way to Language," offer an excellent presentation of the later Heidegger's general view of language. Original language itself, according to Heidegger, is Being and it is this which stirs man into speaking. Human utterance is the revelation or expression of Being rather than, as in the traditional view, a representation or "picture" of "objects" symbolized by sounds or words. If man is "open" to Being then Being will find in language its "house"--implying thereby that the dimensions of the house are the limits of the revealability [[sic]] of Being. Human utterance is "closed off" from "original language" insofar as "Logos" is reduced to "logistics," that is, insofar as all other talk than the mathematico-logical talk of the age of Technik is dismissed as belonging to "unreason." The translation itself is well-done. The Editors of the "Works," in consultation with Heidegger, have chosen to omit the first essay in the 1959 German original in order to publish it in another volume yet to appear. The translators have supplied us with no index, only a few footnotes, explaining their decisions, no "Introduction," no bibliography--all of which can only be regretted.--J. D. C. (shrink)