This article will examine the phase of Nishida’s thought in which he turns to the historical world and present the benefits of this turn to his overall philosophical project. In “The Philosophy of History in the ‘Later’ Nishida,” Woo-Sung Huh claims that Nishida Kitaro’s attempt to integrate history into his earlier writings on self-consciousness is a “wrong turn.” I will demonstrate how Huh’s criticism of Nishida’s writings on history stems from Huh’s own ontological assumption that consciousness and the historical world (...) occupy distinct realms. Leveling this criticism against Nishida causes the reader to miss Nishida’s greatest insight, namely that there is no such distinction; there is only one reality of consciousness and materiality. Nishida’s emphasis on the historical world makes his earlier claim that consciousness is inseparable from things more robust. I will argue that by expanding his earlier focus on consciousness to include the formative power of created physical objects and human bodies on consciousness, Nishida’s philosophy is actually strengthened. (shrink)

In Merleau-Ponty and Nishida, Adam Loughnane initiates a dialogue between two of the twentieth century's most important phenomenologists from the Eastern and Western philosophical worlds. Loughnane guides the reader through the complexities and innovations of Nishida's and Merleau-Ponty's theories of artistic expression and their rarely explored concepts of faith. The intricacies of both philosophers' views are illuminated by analyses of artists, including Cézanne, Sesshū, Rodin, Hasegawa, and other major figures of European, Chinese, and Japanese art history, who enact a radical (...) form of expression that Loughnane calls the practice of "motor-perceptual faith." He argues that the artist's motor-perceptual body, as poetically articulated in Nishida's and Merleau-Ponty's early works, enacts a form of faith that can be parsed in the final writings of both philosophers. The concept of faith is enlarged through its enactment by the artist, while the concept of artistic expression is broadened by casting it as a motor-perceptual conception of faith. Merleau-Ponty and Nishida is an exciting new intercultural reading of these philosophers' writings that opens up under-explored areas of their projects. It forms an important conceptual bridge between the two, while challenging distinctions between art, philosophy, and religion, and ultimately philosophy East and West. (shrink)

ABSTRACTThe article opens with a discussion of recent theoretical and methodological innovations in the field of comparative philosophy. In this regard, I propose and explain a new possible method of contrasting particular aspects of divergent philosophical texts or discourses and denote it as a ‘philosophy of sublation’. Then, the paper provides a concrete example for such a post-comparative method of reasoning, I will try to apply a ‘sublation philosophy’ approach for a reinterpretation of certain aspects of the complex philosophical intersections (...) between modern Japanese and Chinese philosophies through the lens of a contrastive analysis of Nishida Kitarō’s and Mou Zongsan’s dialectical thought. In this way, I hope to shed some new light upon some general questions regarding different models of dialectics. (shrink)

Resumen: La investigación se ciñe en el análisis del primer periodo de producción filosófica del filósofo japonés NISHIDA Kitarô (1870-1945) y, con tal motivo, se ciñe al estudio de tres de sus obras: Estudio sobre el Bien (1911), Intuición y Reflexión en la Autoconciencia (1917) y Arte y Moral (1923). Con ello, se trata de responder a la necesidad de presentar una aproximación factible y plausible cuyo objetivo es arrojar luz sobre las consecuencias que resultan del enfoque psicologista y voluntarista (...) que marca la primera etapa de la filosofía de Nishida. Con ello se quiere clarificar hasta qué punto, bajo qué condiciones y cómo, Nishida maneja determinada idea de subjetividad y, específicamente, cómo con ello pone sobre la mesa todo un conjunto de interrogantes comunes a la modernidad que permean en los presupuestos epistemológicos, éticos y en el estudio de la creación y apreciación artísticas. Abstract: The research presents an analysis of the first period of philosophical production of the Japanese philosopher NISHIDA Kitarô (1870-1945). For that reason, it presents the inquiry around three of his major works: Inquiry into the Good (1911), Intuition and Reflection in Self-consciousness (1917), and Art and Morality (1923). The aim is to respond to the necessity of introduce a feasible and plausible approximation that wants to throw light about the consequences resulting from a psychologist and voluntarist point of view typical of the first period of Nishida's works. It wants to clarify the conditions and how Nishida uses certain idea about subjectivity and, especially, how is conduced his asking about some epistemological, ethical as well as artistic schemes shared and common to philosophical modernity. (shrink)

The enactive and ecological approaches to embodied cognitive science are on a collision course. While both draw inspiration from similar views in psychology and phenomenology, the two approaches initially held seemingly contradictory views and points of focus. Early enactivists saw value in the ecological approach but insisted that the two schools remain distinct. While ecological psychology challenged the common foes of mental representation and mind-body dualism, it seemingly did so at the cost of the autonomy of the agent. This is (...) evidence that the early enactive and ecological approaches told different stories about how agents and environments interact. Whereas the enactive approach broadly focuses on agency and the organism’s resilience to environmental perturbations, the ecological approach insists that organisms are best understood in terms of the organism–environment system and at the ecological scale. Historically, this tension created space for harsh criticisms from both sides and for some ecological psychologists to dismiss enactivism altogether. Despite their differences, both approaches use dynamic systems theory to explain the interactions between embodied agents and the environment or contextual milieu in which they are embedded. This has led some scholars to focus on the complementary elements of each approach and argue that the two schools are allies, thus rejecting the historical disagreements between the two approaches and calling for an ecological–enactive synthesis. The attempts to synthesize the approaches are noteworthy and should be considered steps in the right direction but are potentially problematic. If the two schools are merely synthesized to some form of ecological–enactivism, then something of value from both approaches could be lost. This is analogous to the hasty comparison between two seemingly similar schools of thought found in early attempts at East-West comparative philosophy. I argue that the relationship between the enactive and ecological approaches is both complementary and contrary and is thus best understood in terms of complementarity. Given the complexity of complementarity I will unpack the notion in steps. I will begin with the exploration of analogous concepts in Japanese Philosophy and gradually build a lens through which both agent environment and ecological enactive complementarities can be understood. (shrink)

RESUMO Hans-Georg Gadamer retomou e elevou a atividade hermenêutica ao status de filosofia. Uma das suas idiossincrasias consiste em entrelaçar, no seu discurso, experiências de ordem ética, política, metafísica e estética. A hermenêutica filosófica pauta-se pela prática do diálogo sobre questões relativas ao pensar e à conduta humana. O presente artigo tem por meta realizar um exercício dialógico entre o projeto filosófico de Gadamer e o pensamento oriental - mais especificamente, o budismo zen da tradição da escola de Kyoto, representada (...) pelo pensamento de Nishida Kitarō. Nossa reflexão será articulada sobre quatro momentos distintos, mas que devem ser tomados dialeticamente: inicialmente, apresentaremos um quadro geral, indicando o estado da questão da hermenêutica gadameriana relativo ao pensamento oriental; a seguir, sustentaremos as semelhanças sobre o modo de proceder de ambas, sua metodologia dialética; posteriormente, aprofundaremos a noção fundamental de experiência e as proximidades que permeiam as perspectivas de ambas as tradições; enfim, como implicação das reflexões precedentes, sustentaremos a hipótese de um saber intuitivo enquanto experiência e ação intuitivas. Ao final, apontaremos algumas conclusões instauradas a partir desse exercício dialógico para a prática filosófica. ABSTRACT Hans-Georg Gadamer has taken over and raised hermeneutic activity to philosophy status. One of his idiosyncrasies is weaving, in his speech, ethical, political metaphysical and aesthetic experiences. Philosophical hermeneutics is guided by the practice of the dialogue on issues related to thinking and human behavior. This paper aims to perform a dialogic exercise between Gadamer's philosophical project and the Eastern thought-more specifically, the Zen Buddhism of Kyoto school tradition, represented by Nishida Kitarō's thought. Our reflection will be divided into four distinct moments that should be taken dialectally: first, we will present a general framework mentioning the status quaestionis of Gadamer's hermeneutics concerning Eastern thought; then, we will maintain the similarities on how the way to proceed in both, its dialectical methodology; subsequently, we will go deeper into the fundamental notion of experience and the proximities that permeate the perspective of both traditions; finally, as implication of foregoing reflections, we will maintain the hypothesis of an intuitive knowledge as intuitive experience and action. In order to conclude, we will consider some conclusions instituted from that dialogical exercise towards philosophical practice. (shrink)