Japanese Zen Buddhism

Das Buch bietet eine philosophisch kommentierte Übersetzung des altjapanischen Textes von Zeami zur Praxis und Ästhetik des Nō-Theaters. Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch einen Kommentar mit Worterklärungen sowie interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und der Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung mit einer (...) alten japanischen Schauspieltradition. (shrink)

The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” the essays reveal novel (...) modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

This paper attempts to locate modern Zen and psychoanalysis in terms of contemporary philosophy of mind, particularly in view of dominant theories of cognitivism that see the mind as informational and material, with meaning being mere information in disguise. Psychoanalysis and modern Zen hold to the contrary view that the mind is “semantic,” not “syntactic,” and that the meanings we have in our heads are not reducible to the physical informational processes from which they have emerged. Meaning, as non-reducible, is (...) infinite and uncaused. However, the structure of meaning entails a split between a knower and what is known. This split creates problems in the mind which can be confronted through more, not less, engagement with the meanings in our minds, until we are self-aware and, perhaps, self-identical, with the mechanisms of consciousness that produce the meanings in our head. Such self-awareness is seen as being self-liberating rather than self-reducing. (shrink)

The central role of gestural language in Buddhism is widely acknowledged, as in the story of the Buddha pointing at the moon, the point being the student’s seeing beyond the finger to its gesture. Gesture’s role in dance is similarly central, as noted by scholars in the emerging interdisciplinary field of dance studies. Unsurprisingly, then, the intersection of these two fields is well-populated, including the formal gestures Buddhism inherited from classical Indian dance, and the masked dance of the Mani Rimdu (...) Festival. In this investigation, I will articulate a new Buddhist philosophy of gestural language, based on a new conception of emptiness that I locate in the work of contemporary U.S. choreographer Deborah Hay, as influenced by Nāgārjuna and Zen. And this, finally, suggests that contemporary Western philosophy should incorporate this compassion as a normative dimension to its own theorizing and practice. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative work is enhanced (...) by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

Satori Zen is of immense interest to anyone pursuing authentic metaphysical knowledge because it claims to offer an astonishingly straightforward path to full Spiritual Enlightenment. And in terms of outright simplicity and immediate applicability, there is no other spiritual technique quite like it, in any other tradition anywhere. But does it do what it claims to do ? Can you really ‘power your way into heaven’ by brute meditative force ? And does this then mean that satori is equivalent to (...) Supreme Spiritual Enlightenment ? This essay will examine the key elements and claims of Satori Zen in the light of independent and objective metaphysical knowledge. (shrink)

In che cosa crede chi pratica la meditazione buddhista? Dare una risposta univoca e coerente è assai difficile; il Buddhismo infatti si concretizza in una molteplicità di scuole e dottrine caratterizzate da complesse logiche e metafisiche. Ci sono tuttavia delle indicazioni minimali che fungono da denominator comune per chi si accosta alla meditazione. Esse riguardano soprattutto l’assenza di punti di vista determinati, l’esperienza del tempo e la relazione di dipendenza reciproca di ogni cosa con ogni altra. Utilizzando gli strumenti della (...) filosofia analitica, questo libro propone una interpretazione dei princìpi basilari che guidano la meditazione buddhista, facendo leva sulle potenzialità del senso comune, inteso non semplicemente come l’opinione generica della maggioranza – troppo spesso già infarcita di presupposti metafisici discutibili - bensì come insieme di credenze che tutti noi possediamo, ma di cui non sempre siamo consapevoli. (shrink)

Reference in light of Qualia Calculus (QC); Hard Problems in light of QC; The number of qualia in a room in light of QC; verification of 1st-person phenomena; more advanced neurology; 3rd-person and 1st-person aspects of a system; their symmetries; Well-tempered Clavier; the past is not determined; argument for A-theories in light of QC; frames of reference; Standard Model; String Theory; Bach; time; causality; Schrodinger equation; technology; earth; thick present; Zen; the river; free will; materialists in light of QC.

This paper addresses the problem: Can a synergy be derived from Keiji Nishitani’s conceptualization of Śūnyatā and Paul Tillich’s concept of Being Itself, as philosophies about Ultimate Reality, with the application of Wesley Wildman’s procedures based on the methodology of the Comparative Religious Ideas Project? The paper defines philosophy of religion and argues that it is justified as an academic discipline. A review of the literature demonstrates that both Nishitani and Tillich share common philosophical ground in phenomenological existentialism and nihilism. (...) The paper proceeds to discuss the biographies and religious philosophies of both Keiji Nishitani and Paul Tillich. Subsequently, the paper details the Comparative Religious Ideas Project (CRIP) methodology and then applies Wildman’s procedures to these two philosophers. The thesis concludes that a synergy exists about Ultimate Reality between the contemporary religious philosophies of Nishitani’s description of Buddhism and Tillich’s explanation of Christianity. (shrink)

In this paper, I use a comparative analysis of mysticism in Zen and the Abrahamic faiths to formulate a phenomenological account of mysticism “as such.” I argue that, while Zen Buddhism is distinct from other forms of mystical experience in important ways, it can still be fit into a general phenomenological category of mystical experience. First, I explicate the phenomenological accounts of mysticism provided by Anthony Steinbock and Angela Bello. Second, I offer an account of Zen mysticism which both coheres (...) with and problematizes these accounts, arguing that Zen demonstrates the inadequacy of these accounts as descriptions of mysticism as a universal religious category. Lastly, I use this investigation to propose that Zen mysticism does generally cohere with the mystical experiences of other religions, but only if we devise a new formula for speaking phenomenologically about mystical experience as such which captures this phenomenon in all of its manifestations. (shrink)