A team of distinguished Japanese scholars make a critique of Hugo Grotius' De jure belli ac pacis and re-examine the historiography of international law with its anachronistic Eurocentric bias.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 26-32 [Access article in PDF] A Sense of Reality In the current highly information-oriented society, electronic media have entered into our daily lives ever so naturally, even unnoticeably, yet their great influence on us is beyond measure. In addition to the many ways that information surrounds us in our everyday lives, we are also exposed to information from outer space via television; (...) computer networks; the surveillance satellite, Landsat; and the weather satellite, Himawari. The means ofunderstanding the "world" no longer come through our own bodies or through immediate involvement with phenomena. Instead, our experience via technologies of information is now mainly indirect. The changes in the [End Page 26] structure of experience have effectuated diverse influences on people, raising problems both within individuals and in society.This essay was written as an introduction to the exhibition "A Sense of Reality," held at the Utsunomiya Museum of Art in the summer of 1999. The purpose of this exhibition was to question the new relationship betweenmedia art and today's society, and the relationship between electronic media and human beings.For this exhibition, based on "sense" and "language," our objective was to examine the transformation of our bodily sensations and the state of "the self," including the changing relations between the two and in the present computerized society. The exhibition has been constructed to have the viewers interact directly with the exhibited works. The works by four artists and two groups cover a wide range of expression, from an installation using a video projector, to digital prints of a virtual space using a computer. Body Absorbed into Media "Lovers," a collaboration by Teiji Furuhashi and Artlab, was first exhibited in 1994 at Hillside Plaza in Tokyo, and has since traveled to various countries. This work can be seen as a work depicting the present state of "information" and "body" with the strongest determination, while also superbly revealing the present-day problems in relation to these. When the viewers entered the virtual space constructed by the electronic media, their living bodies were projected as images. Through intertwining and assimilating sensations both through and about the body, the feeling of merging into an imaginary world at some point creates a sense of bodily unification.This world, originated as a vessel for the "mother of electronics," thatblessed us with "eternal love," was the last device created by Teiji Furuhashi, who had a premonition of his own death. Except for the floor, which was made of white linoleum, the dark space was covered with a black cloth, ten meters in length and width, and six meters in height. A tower-shaped object was installed in the center of the floor. On the tower were video and slide projectors with sensors, which continuously showed the images of nine women and men on the walls and ceiling. The viewers encountered the life-size images that appeared from nowhere, and were compelled to interact with these images. The incidents that took place inside the dark, rectangular space enabled the viewers to actualize various encounters and partings with the images of naked bodies.Though the viewers felt as if they were dreaming or hallucinating, they had an uncanny sensation that the memory of this experience would become manifest deep inside their bodies. "Lovers" was an extraordinary interactive work that fully utilized electronic media, but was uncommon in that the technology was hardly noticeable. This work signified the future state of "the body and media," or "the body absorbed into media." The [End Page 27] work also urged us to recreate a humanistic relationship with the electronic media. Neutral Mind-Body Today, we are surrounded by a variety of electronic media, most of which are beyond the world of art. Many have already become essential devices in our daily lives. The widespread proliferation of electronic media such as video products, CDs, mobile phones, and devices which use information from satellites, have brought about convenient changes in our living environment and in communication. Real-time information, bi-directional information, and other electronic networks circle the globe.Electronic media have... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 26-32 [Access article in PDF] A Sense of Reality In the current highly information-oriented society, electronic media have entered into our daily lives ever so naturally, even unnoticeably, yet their great influence on us is beyond measure. In addition to the many ways that information surrounds us in our everyday lives, we are also exposed to information from outer space via television; (...) computer networks; the surveillance satellite, Landsat; and the weather satellite, Himawari. The means ofunderstanding the "world" no longer come through our own bodies or through immediate involvement with phenomena. Instead, our experience via technologies of information is now mainly indirect. The changes in the [End Page 26] structure of experience have effectuated diverse influences on people, raising problems both within individuals and in society.This essay was written as an introduction to the exhibition "A Sense of Reality," held at the Utsunomiya Museum of Art in the summer of 1999. The purpose of this exhibition was to question the new relationship betweenmedia art and today's society, and the relationship between electronic media and human beings.For this exhibition, based on "sense" and "language," our objective was to examine the transformation of our bodily sensations and the state of "the self," including the changing relations between the two and in the present computerized society. The exhibition has been constructed to have the viewers interact directly with the exhibited works. The works by four artists and two groups cover a wide range of expression, from an installation using a video projector, to digital prints of a virtual space using a computer. Body Absorbed into Media "Lovers," a collaboration by Teiji Furuhashi and Artlab, was first exhibited in 1994 at Hillside Plaza in Tokyo, and has since traveled to various countries. This work can be seen as a work depicting the present state of "information" and "body" with the strongest determination, while also superbly revealing the present-day problems in relation to these. When the viewers entered the virtual space constructed by the electronic media, their living bodies were projected as images. Through intertwining and assimilating sensations both through and about the body, the feeling of merging into an imaginary world at some point creates a sense of bodily unification.This world, originated as a vessel for the "mother of electronics," thatblessed us with "eternal love," was the last device created by Teiji Furuhashi, who had a premonition of his own death. Except for the floor, which was made of white linoleum, the dark space was covered with a black cloth, ten meters in length and width, and six meters in height. A tower-shaped object was installed in the center of the floor. On the tower were video and slide projectors with sensors, which continuously showed the images of nine women and men on the walls and ceiling. The viewers encountered the life-size images that appeared from nowhere, and were compelled to interact with these images. The incidents that took place inside the dark, rectangular space enabled the viewers to actualize various encounters and partings with the images of naked bodies.Though the viewers felt as if they were dreaming or hallucinating, they had an uncanny sensation that the memory of this experience would become manifest deep inside their bodies. "Lovers" was an extraordinary interactive work that fully utilized electronic media, but was uncommon in that the technology was hardly noticeable. This work signified the future state of "the body and media," or "the body absorbed into media." The [End Page 27] work also urged us to recreate a humanistic relationship with the electronic media. Neutral Mind-Body Today, we are surrounded by a variety of electronic media, most of which are beyond the world of art. Many have already become essential devices in our daily lives. The widespread proliferation of electronic media such as video products, CDs, mobile phones, and devices which use information from satellites, have brought about convenient changes in our living environment and in communication. Real-time information, bi-directional information, and other electronic networks circle the globe.Electronic media have... (shrink)

Lorsque nous parlons généralement d’un espace vide, ce vide n’est pas réellement vide physiquement. L’espace vide est rempli d’air, de matière invisible, mais il ne peut pas être vu ou capturé. Pourtant, nous savons bien que l’air, élément indispensable pour tous les êtres vivants, est également présent autour de nous. Devrions-nous alors considérer différemment l’espace vide et l’air dans l’installation? Pour Yasuaki Onishi, sculpteur et installateur in situ, l’espace vide est un lieu essentiel pour l’installation et l’inspiration. Il s’intéresse (...) à l’invisible, à l’espace, à l’air, à l’espace négatif, etc. Il révèle ce qui est invisible, en utilisant un matériau léger tel qu’un adhésif liquide noir et le support de matériaux immatériels tels que la lumière, l’air ou d’autres matériaux intangibles. Parmi ses travaux, en particulier, en analysant les œuvres de la série Vertical Volume, Daily Distance, Gawa, Shaping Air – A Breath of Mobility et Vertical Space, nous cherchons dans cette étude la signification de l’air invisible, du ki, du svi, du wonsang et le sens du vide du Tao et du bouddhisme. Quel est le sens du vide dans une installation de Yasuaki Onishi? Et quel est l’enjeu entre l’espace vide et l’espace plein, l’espace visible et l’espace invisible, la matérialité et l’immatérialité? Dans son travail, qui ne suit pas le processus général de la sculpture traditionnelle, nous trouverons le lien avec la signification de l’espace négatif et avec le terme coréen gan, l’espace-temps, avec le mot japonais ma qui constitue un concept esthétique au Japon. When we generally speak of an empty space, this empty is not really physically empty. The empty space is filled with air, invisible matter, but it cannot be seen or captured. However, we know that air, an essential element for all living things, is also present around us. So should we consider differently the empty space and air in the installation? For Yasuaki Onishi, sculptor and installator in situ, the empty space is an essential place for installation work and inspiration. The empty space that we think is empty is filled with substances that are invisible. The empty space is filled with air, but it can’t be seen or captured. He is interested in the invisible, space, air, negative space, etc. He reveals what is invisible, using a light material such as a black liquid adhesive, with the support of non-material materials such as light, air or other intangible materials. Among his works, in particular, by analyzing the works of the series Vertical Volume, Daily Distance, Gawa, Shaping Air – A Breath of Mobility and Vertical Space, we look for the meaning of invisible air, breath, ki, svi, the etymology of sunyata, wonsang 원상, and the meaning of emptiness of Tao and Buddhism. Through the work of Yasuaki Onishi, what is the meaning of the emptiness in his installation? And what is at stake between empty space and full space, visible space and invisible space, materialism and immateriality. In his work, which does not follow the general process of typical sculpture, we will find the connection with the meaning of “negative space” and the term Korean gan “간 ”, the space-time, as the Japanese word “ma ” that use as a concept of aesthetics in Japan. (shrink)

Il concetto di legittimità è al tempo stesso definito e indefinito, chiaro e sfuggente. Da un lato, esso evoca immediatamente e spontaneamente un sentimento di approvazione, perché chiaramente collegato nel linguaggio comune a un giudizio valutativo positivo. Dall’altro lato, se analizzato da vicino, il suo contenuto appare sfuggente, polisemico, controverso. Questo ne fa una categoria potente dal punto di vista politico ed estremamente affascinante da un punto di vista scientifico. Nelle pagine seguenti verranno analizzate le teorie di tre autori che (...) si sono confrontati con questo concetto indagando uno degli ambiti in cui la dicotomia sopra presentata è più evidente: quello internazionale. Si tratta della teoria di Ian Clark sulla legittimità nella società internazionale, della prospettiva interciviltà sul diritto internazionale proposta da Onuma Yasuaki e della riflessione di Antony Anghie sullo sviluppo dei principi fondamentali del diritto internazionale e il loro rapporto con il colonialismo. Come vedremo, si tratta di indagini tra loro fortemente eterogenee, e che non sempre fanno del concetto di legittimità internazionale l’oggetto principale o esplicito delle proprie ricerche. Nel confronto tra queste teorie che proporrò nelle mie pagine, il concetto di legittimità internazionale mostrerà tutta la sua complessità e tutto il suo ambiguo rapporto con elementi valutativi. (shrink)

The International Criminal Court (ICC) seems to have finally realized the ending legal globalists have long yearned for: a potentially universal, centralized and permanent court, able to enforce international humanitarian law without the mediation of the state. A legal system of mankind seems now more possible than ever before. The universalistic claim of the ICC, I contend in this article, is nevertheless potentially biased by a West-centric prejudice. Critically drawing on the transcivilizational perspective suggested by Onuma Yasuaki, I propose (...) to overcome the West-centric approach of the ICC by assuming the multiplicity of universalisms, thus relativising each of them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Word and Silence in Buddhist and Christian TraditionsDonald MitchellThe following official statement was written by Buddhist and Christian participants at the end of a very successful encounter at the Asirvanam Benedictine Monastery near Bangalore, India, from July 8 to13, 1998. The conference was organized by the Vatican’s Pontifical Council for Interreligious Dialogue (PCID) and was attended by its president, Cardinal Francis Arinze, along with the PCID secretary, Archbishop Michael (...) Fitzgerald, and Fr. Machado, the PCID official for Asia. The conference proceedings will be published in the PCID journal, Pro Dialogo.Buddhist participants included Ven. Dr. Yifa from Fokuangshan in Taiwan, Ven. Bhaddarita Panna Dipa from the World Buddhist Meditation Center in Myanmar, Ven. Geshe D. Namgyal from the Drepung Loseling Monastery representing His Holiness the Dalai Lama, Dr. Asanga Tilakratne of the Institute of Pali and Buddhist Studies in Sri Lanka, Dr. Michio Shinozaki, dean of the Rissho Kosei-Kai Seminary in Japan, and Prof. Yasuaki Nara of Komazawa University in Japan.Christian participants included Fr. Franco Sottocomola of the Seimeizen Center for Interreligious Dialogue in Japan, Fr. Valence Mendis of the National Seminary in Sri Lanka, Fr. Augustine Okumuru, OCD, of Japan, Prof. Donald W. Mitchell of Purdue University, Sr. Iona Misquitta, OSB, and Sr. Teresita D’Silva, OSB, both of the Shanti Nilayam Abbey in Bangalore, and Prof. Michael Fuss of the Gregorian University in Rome.Concluding Statement1. The Pontifical Council for Interreligious Dialogue organized its second international colloquium at the Asirvanam Benedictine Monastery in Bangalore, India, from July 8 to 13, 1998. A small number of Buddhists and Christians from India, Tibet/India, Korea, Japan, Taiwan, Sri Lanka, Myanmar, Italy, Germany, Switzerland, and the United States were invited for a dialogue on the theme of “Word and Silence in Buddhist and Christian Traditions.” This event encounter was in response to a desire expressed at the Pontifical Council’s First Colloquium that was held from July 31 to August 4, 1995, at the Fo Kuang Shan Buddhist Monastery in Kaohsiung, Taiwan. At the end of that first dialogue, the participants expressed the desire to [End Page 187] meet again in a Christian monastery in order to contribute to the deepening of the modern encounter between Buddhism and Christianity.2. The agenda of the meeting included four major topics: Buddhist Enlightenment and Christian Revelation, Sacred Texts in the Buddhist and Christian Traditions, Meditation and Contemplation in Buddhism and Christianity, and Anatta/ Sunyata and Kenosis. The papers were presented on these four topics in a way that fostered the dialogue process itself. In this process, all participants shared and explored their views of the place of word and silence in their respective traditions leading to a greater sense of mutual understanding and appreciation. This meeting proceeded by each side expressing what its own traditions believe, teach, and celebrate. The following points indicate some of the areas that were explored in the dialogue.3. The authority of the early sacred Buddhist texts was decided during the six great Buddhist Councils called for at different periods of time by the Buddha’s disciples after passing into Parinirvana. Theravada Buddhism accepts only the teachings of the Buddha that were declared authoritative during these councils. This early canon includes the discourses of the Buddha (Sutta), the rules for the monastic order (Vinaya), and the higher philosophical teachings (Abhidhamma). While Mahayana Buddhism accepts this early canon, it also accepts and emphasizes other sacred texts, called Sutras, which they believe were also taught by the Buddha. Within Mahayana there arose another tradition called Vajrayana that accepts the canons of both Theravada and Mahayana and adds a new literature called the Tantras, which present Buddhist esoteric teachings. Common to these traditions are the precepts for living the teachings of the Buddha and the authoritative commentaries of the particular traditions. These sacred texts describe the path that leads to the liberation from suffering and the nature and qualities of that supreme condition.In the Catholic tradition of Christianity, it is the teaching authority of the Church that has faithfully received the revealed and inspired texts and has determined their canonicity. The canon of Sacred Scripture consists of two sections: the Old Testament, written in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the Japanese education system is introduced. (...) Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)