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)

Review of The Oxford Handbook of Japanese Philosophy by Bret W. Davis (ed.), Oxford University Press, 2022.

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 bibliographical guide gives a comprehensive overview of the historiography of philosophy and thought in the Japanese language through an extensive and thematically organized collection of relevant literature. Comprising over one thousand entries, the bibliography shows not only how extensive and complex the Japanese tradition of philosophical and intellectual historiography is, but also how it might be structured and analyzed to make it accessible to a comparative and intercultural approach to the historiography of philosophy worldwide. The literature is (...) categorized and organized according to thematic focus areas such as geographical regions and continents, nations or peoples, religious traditions and philosophical teachings such as Buddhism, Islam, Shintō, and Confucianism, as well as disciplines such as ethics, aesthetics, and political thought. The bibliography is accompanied by an introduction outlining the research method as well as quantitative and qualitative approaches to analyzing the material, followed by a chronological overview of the historiography of philosophy and thought in the Japanese language and of the Japanese tradition of writing “world histories of philosophy.” As a first step towards a “history of the historiography of philosophy” in non-European languages, we hope that this guide will provide a useful tool for interculturally oriented scholarship aimed at a non-Eurocentric and diversified historiography of philosophy in a global perspective. (Open access, see link below.). (shrink)

This short article is based on my special lecture entitled "Aristotle and the Philosophy of Education" at Tamagawa University Research Institute in Tokyo on September 19, 2015, through a recording of the spoken language transcribed in written form with some corrections. The lecture delivered on that day consists of two parts: referring to historical research and a statistical survey, the first half focuses on uncovering the fact that the philosophy of education has been slighted both in Japanese and Western (...) academia and that this fact is valid for both Aristotle's and contemporary studies on the philosophy of education; the second half endeavors to describe two possible research projects - namely, a classical-philosophical and interpretative study of Aristotle's philosophy of education and a contemporary-philosophical and Aristotelian study of the philosophy education. Some of these topics have been published but others have not. This short article concerns the first half of the lecture and measures the gap between philosophy and the philosophy of education in Japan through a statistical survey of the largest competitive research funding database in Japan: KAKEN. (shrink)

Thirteen scholars gather together to discuss current issues in Japanese philosophy, critically examine its ongoing dialogue with Western philosophy, and open new questions for future research.

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)

In this essay I will illustrate how a Japanese philosopher reacted to a newly imported discipline, “bioethics,” in the 1980s and then tried to create an alternative way of looking at “life” in the field of philosophy. This essay might serve as an interesting case study in which a contemporary “western” way of thinking succeeded in capturing, but finally failed to persuade, a then-young Japanese researcher’s mind.

In American universities, even Asian Philosophy is still often taught following methods adapted from European universities of the nineteenth century. Whether or not this approach is well-suited to philosophy as it was conceived in that era, it is inadequate if the aim is to develop a deep appreciation of Japanese philosophy. To limit what we consider Japanese philosophy to only what bears a distinct resemblance to academic Western philosophy, and accordingly to approach Japanese philosophy purely theoretically, is (...) to risk missing the greater part. Much of Japanese philosophy is applied philosophy, or in other words, what Pierre Hadot calls a “way of life,” and to appropriate it meaningfully requires practice rather than mere intellectual study alone. Thus, I contend that a proper means for introducing Western students is a more holistic method grounded in practicing traditional arts, such as composing haiku. I argue that the seventeenth century poet Matsuo Bashō can serve as a valuable resource in this process. I conclude with a description of the methods that I use in my efforts at teaching Japanese philosophy to undergraduate university students in South Texas. (shrink)

Japan has been one of the nations where music education is not grounded on its own indigenous music. The universal slogan that school music education should be based on each country's own music has mainly remained unpracticed here. This essay is to clarify the exing questions raised by the above discussion--why Western music is still the core of public music education in Japan and how this came to be so. I then offer my views on the future of Japanese (...) public music education: how Japanese traditional music should be dealt with in school music education. The responsibility of Japanese music educators might be concerning this issue. (shrink)

Recent theorists of cultural studies have noticed the emergence of metamodernity as an ideal type, categorized by an oscillation between postmodern deconstructivism and modern idealism, into a form of transcendentalism. I argue in this chapter that this type of transcendentalism, informed by the historical American Transcendentalist Movement, is the emerging ideal called “Transhumanism.” I use a case study of five Japanese anime to demonstrate how transhumanist, metamodernist, and transcendental thinking often recur in key core plot points and narratives found (...) within. I further suggest that meditation on the major themes in these anime, especially those of metamodernity and transhumanism, is necessary if we are to understand our place in the world today and into the future. -/- The final version of this paper can be found in Anime, Philosophy, and Religion, Ed. Hayashi and Anderson, by Vernon Press. See "external links" for how to order the whole volume, the final version is also available on google books (see link). -/- A previous version of this paper was awarded the Outstanding Doctoral Paper Award 2023, Southwestern Sociological Association. (shrink)

This study examines the relationship between Japanese archaeology and natural science through a quantitative analysis of the two most authoritative archaeological journals and two other relevant journals in Japan. First, although previous studies have emphasized the impact of the Department of Anthropology at the University of Tokyo on the scientific aspects of Japanese archaeology, results of the present study suggest that its impact has been more limited than previously assumed. Second, while previous studies claimed that research funding by (...) the Japanese government from the latter half of the 1970s was an important factor in developing the scientific aspects of Japanese archaeology, the present study shows a result inconsistent with the claim. Finally, although I admit that the previous studies have properly captured some aspects of the relationship between Japanese archaeology and science, I conclude that we should look at the broader array of contributors to the relationship between Japanese archaeology and natural science. (shrink)

We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure-ground (...) segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

Japanese bioethics has created a variety of important ideas that have not yet been reflected on mainstream bioethics discourses in the English-speaking world, which include “the swaying of the confused self” in the field of feminism, “inner eugenic thought” concerning disability, and “human relationship-oriented approaches to brain death.” In this paper, I will examine them more closely, and consider what bioethics in Japan can contribute to the development of an international discussion on philosophy of life.

To me, philosophy is the relentless pursuit of 1) how I am to live and die from this moment forward and 2) the meaning of my having been born. This pursuit does not stop until I reach an understanding that satisfies me. If I expand my field of view slightly, it is to understand where humanity came from and where it is going through an intellectual lens. When I entered the ethics program at the University of Tokyo, I thought I (...) could do this sort of thing at a university. This expectation, however, was utterly betrayed. The study of philosophy at Japanese universities in the 1980s was mainly the study of writings by Western philosophers. What was undertaken in the ethics program and neighboring philosophy program was the close reading and interpretation of detailed elements of texts by great philosophers, always in the original language, and this was considered to be philosophy and ethics. I strongly opposed this even as I entered graduate school, and my first presentation given to the Japanese Society for Ethics when I was a graduate student was a critique of this organization.... (This is an English translation of a slightly modified version of my Japanese essay “What Does Doing Philosophy Mean to Me?,” which was published in the August issue of Contemporary Thought (Special Feature: How Philosophy is Made). It offers insight not only into my way of thinking about philosophy but also into the world of contemporary Japanese philosophy.). (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This paper summarizes the evolution of analytic philosophy in Taiwan, examines its impact within and beyond academia, and discusses the future of the discipline. The roots of modern philosophy in Taiwan can be traced back to the Japanese colonial era, and analytic philosophy was introduced to the country in the late 1940s when many intellectuals in China moved to Taiwan. However, massive curbs were imposed on philosophy during Chiang Kai-shek’s dictatorship, and the discipline began to thrive again only after (...) Taiwan’s democratization in the late 1980s. Nonetheless, since its introduction in the colonial era, modern philosophy has made significant contributions in Taiwan, encouraging interdisciplinary engagements, advancing civic education, and promoting the spirit of democracy and political liberation. Philosophy has played a key role in Taiwan’s remarkable transformation from an island colonized for hundreds of years to a country that recognizes democracy, freedom, and human rights. The themes of anti-colonialism and anti-domination seen in the works of modern Taiwanese philosophers not only reflect the discipline’s political and historical underpinnings but also signal how Taiwanese philosophy can acquire a distinct identity, despite being influenced by many other philosophical traditions. While still at a nascent stage, Taiwanese philosophy has the potential to join forces with other philosophical traditions in advancing the vision of decolonizing philosophy. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophies versus Philosophy:In Defense of a Flexible DefinitionRein RaudIt is strange that no one has taken up Carine Defoort's clearly formulated and timely argument about the intercultural tensions in interpreting what philosophy is, although the issue deserves at least a roundtable, if not an international conference.1 I doubt that this is because there is a general consensus that the matter is now settled, and I would therefore like to (...) develop the argument a bit further and offer a few additional factors to consider. It is also obvious that the problem is not limited to the subject of Chinese philosophy alone: all traditions of thought from all over the world, but most notably the Indian, Islamic, and Japanese heritages, are affected by the positions we adopt. As in most debates about the commensurability of cultural traditions, we can find differences when we look for them, and similarities if these are what we would like to see, so the "conflict of sensitivities"2 is also a matter of attitudes. My own position is that regardless of what we prefer to call the practice of deeper thought (and 'philosophy' is a very good name), it would be extremely useful for all of its participants, whatever their origin and upbringing, to find a common denominator for them to be able to exchange ideas and mutually enrich each other on its basis. In what follows I shall try to sketch a perspective from which this could, in my opinion, be theoretically grounded.Four PositionsDefoort has identified four possible points of view on the problem of whether classical Chinese thought could or should be called 'philosophy,' which could be summarized as follows.1. Chinese classical thought is not philosophy, because it does not satisfy the conditions of philosophy as it is generally and traditionally understood in the West.2. Chinese classical thought is philosophy, because it reveals the necessary characteristics if analyzed with the help of an appropriate (Western-type) observation language.3. Chinese classical thought can be called philosophy, but only if we redefine philosophy in order to accommodate some of its nontypical or clearly deviant features.4. Chinese classical thought should not be called philosophy, because philosophy is a culturally closed Western phenomenon with a limited scope and incapable of understanding fundamentally different modes of thought. [End Page 618]If we dismiss the birthright variety of the first position, we could label it essentialist, and its weakest point is certainly that Western philosophy has not remained unchanged during the course of history. It is highly doubtful that Socrates, Diogenes, scholastics, Nietzsche, and Gareth Evans could all be members of the same set if the same strict criteria were applied to all periods and all cultural settings in the same way, and, as Defoort herself stresses,3 the fact that seventeenth-century Jesuits (the basis of whose original worldview, we should think, was much farther from the Chinese than ours) had no problem in calling Chinese thought philosophy should show us that the paradigm shift of the thing called 'philosophy' has occurred in the West and is, so to speak, our problem and not theirs.Now, it is also possible that in some circles even some prominent names in the Western tradition do not qualify as real philosophers, in the sense in which Hegel was treated by Bertrand Russell4 and Heidegger was dismissed by Alfred Ayer5 in their respective histories of philosophy (while they nevertheless felt compelled to include chapters or passages on them). A definition of philosophy that puts forward such criteria that a considerable number of thinkers would have to remain outside its borders should be labeled sectarian-and it can still be met, even if ever less often, in some analytical schools of philosophy. It is my conviction, however, that in our globalizing world any definition that would leave non-European philosophy outside the borders of 'philosophy proper' should be considered sectarian in nature. The main problem that I have with Defoort's family model6 is precisely that in it the head of the family, who makes the decisions as to who can be adopted and who cannot, is always Western, and the... (shrink)

Why would a philosopher choose to convey his ideas in the form of Manga? This discussion between Masahiro Morioka, author of Manga Introduction to Philosophy, and the translator of its French edition, Pierre Bonneels, shows how philosopher and artist Morioka became acquainted, through images, with fundamental abstract notions. After a short historical analysis of the aesthetic advantages of Manga, consideration is given to this unique way of provoking thought. On this basis, theoretical aspects of “time” and the “I” proposed by (...) Ōmori Shōzō are compared with Morioka’s Manga presentation. Although the questions raised are universal, the authors note that the use of Japanese metaphors enables these two thinkers to draw on a concrete understanding of notions like temporality and identity. (shrink)

This paper provides new tools for philosophical argument analysis and fresh empirical foundations for ‘critical’ ordinary language philosophy. Language comprehension routinely involves stereotypical inferences with contextual defeaters. J.L. Austin’s Sense and Sensibilia first mooted the idea that contextually inappropriate stereotypical inferences from verbal case-descriptions drive some philosophical paradoxes; these engender philosophical problems that can be resolved by exposing the underlying fallacies. We build on psycholinguistic research on salience effects to explain when and why even perfectly competent speakers cannot help making (...) stereotypical inferences which are contextually inappropriate. We analyse a classical paradox about perception, suggest it relies on contextually inappropriate stereotypical inferences from appearance-verbs, and show that the conditions we identified as leading to contextually inappropriate stereotypical inferences are met in formulations of the paradox. Three experiments use a forced-choice plausibility-ranking task to document the predicted inappropriate inferences, in English, German, and Japanese. The cross-linguistic study allows us to assess the wider relevance of the proposed analysis. Our findings open up new perspectives for ‘evidential’ experimental philosophy. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

Recent decades have witnessed a sharp increase of interest in the cultures and regions of South and East Asia, owing in part to the prominent role Asian economies have played in the era of globalization. Asian Worldviews: Religions, Philosophies, Political Theories is a unique, reader-friendly introduction to the intellectual heritage of the region. Assuming no previous background in Asian cultural history, Asian Worldviews moves beyond chronological and geographic boundaries to present an integrated treatment of the beliefs, teachings, and ideologies that (...) have shaped the worldviews of approximately half of the global population. Rein Raud explores forms of knowledge in China, India, Tibet, Japan, Korea, and Southeast Asia, providing balanced coverage of all historical periods from antiquity to the modern day. -/- Asian Worldviews embraces the connections rather than the divisions between the religious and philosophical dimensions of South and East Asian thought, and emphasizes a robust engagement with each culture's political, social, and economic contexts. Clear, accessible chapters discuss the development of religious, philosophical, and political thought in India, China, and Japan, and provide succinct overviews of the history of ideas in Korea, Tibet, and Southeast Asia. Throughout the book, Raud uses a comparative approach to examine the mutual influence and productive dialogue, past and present, between Asian cultures as well as with the West, and considers the impact of various worldviews on the development of modern Asian societies. -/- Comprehensive and well-informed by recent developments in the scholarship, Asian Worldviews: Religions, Philosophies, Political Theories is an unparalleled resource for a broad range of courses in Asian studies, philosophy, religious studies, and global politics, as well as an excellent introduction for non-specialist readers looking for a contextual foothold in the rich cultural and intellectual history of South and East Asia. (shrink)

Written in Japanese, the overall picture of the thoughts of modern philosophers, namely Hume, Kant, and Mill, is put forward.

This essay examines how the standpoint of the gaijin (foreigner) shapes and challenges the act of philosophizing, through the experience of overwhelming cultural difference. I examine three challenges the foreigner faces—the need to understand a foreign culture, the need to contribute to a foreign culture, and the need for caution and self-awareness vis-à-vis the excesses and dangers of this attempt. -/- First, through a reading of Thomas Kasulis’ Intimacy or Integrity: Philosophy and Cultural Difference (2002), I take the reader through (...) the experience of trying to understand a foreign culture by examining the kind of relationships that are prioritized in a particular culture. Kasulis discusses intimacy-oriented cultures as those that stress internal relationships between interdependent individuals, and integrity-oriented cultures as those that stress external relationships between autonomous individuals. He then shows how this affects the way this influences the worldview and norms of a particular culture. -/- Next, through a reading of various writings of Watsuji Tetsurô on culture and ethics, I explore the attempt to go beyond cultural difference—seeking a universal standpoint from which one can contribute to or criticize another culture despite cultural difference. I discuss the relationship Watsuji presents between universal ethics and national morality in his “Theory of National Morals” (1932), and connect it with his project in Ethics (1937, 1942/46, 1949) that tries to resolve the contradiction between individuality (integrity) and totality (intimacy) through a “dual-negative structure.” -/- Finally, through an examination of Sakai Naoki’s Translation and Subjectivity: On “Japan” and Cultural Nationalism (1997), I explore the dangers latent in Kasulis’ and Watsuji’s approach. I delve into the danger of schematizing “us vs. them” or “gaijin vs. nihonjin,” which can be present in the attempt to understand cultures. Then I examine Sakai’s warning as to the danger of trying to have a universal standpoint and its tendency to deny the embeddedness of one’s position. -/- Through a dialogue with these three thinkers, I thus attempt to explore in a relatable but nuanced way, what it might mean for the foreigner to confront cultural difference in a manner that both respects cultural difference but transcends it. (shrink)

Slightly modified PowerPoint slides in the PDF format presented at the first conference of the European Network of Japanese Philosophy, Barcelona, Spain. (December 4th, 2015).

Abstract: Perhaps dating back to the fourth century BCE, Shinto traditions in Japan have evolved through the years and have become distinct as Buddhist and Chinese influences have migrated eastward. Kami, supernatural creatures that live in heaven or exist on Earth as sacrosanct forces in nature, are a distinctive aspect of Shinto, which continues to permeate modern Japanese culture. The term "Shinto" refers to the religious ideas and customs that are said to have originated in Japan before the sixth (...) century CE, when Asian religious traditions began to be imported into the country. With a few historical exceptions, the Japanese have avoided attempting to spread Shinto outside of their country because they consider it to be the core of their cultural identity and legacy. Contrary to popular belief, Shinto has had a significant influence on world history. Shinto had a significant impact on how Japan interacted with foreign cultures. Furthermore, it is still a significant religious and cultural institution in modern Japan. Keywords: Shinto, kami, Buddhism, monk, Japan, worship, political dominance, shrine. (shrink)

This interdisciplinary volume connects the philosophy of history to moral philosophy with a unique focus on time. Taking in a range of intellectual traditions, cultural, and geographical contexts, the volume provides a rich tapestry of approaches to time, morality, culture, and history. -/- By extending the philosophical discussion on the ethical importance of temporality, the editors disentangle some of the disciplinary tensions between analytical and hermeneutic philosophy of history, cultural theory, meta-ethical theory, and normative ethics. The ethical and existential character (...) of temporality reveals itself within a collection that resists the methodological underpinnings of any one philosophical school. The book's distinctive cross-cultural approach ensures a wide range of perspectives with contributions on life and death in Japanese philosophy, ethics and time in Maori philosophy, non-traditional temporalities and philosophical anthropology, as well as global approaches to ethics. -/- These new directions of study highlight the importance of the ethical in the temporal, inviting further points of departure in this burgeoning field. (shrink)

Although written in Japanese, this article deals with what the gender theory is all about by reference to Beauvoir's Le Deuxième Sexe. Sartre's works are also heavily cited to clarify the background of Beauvoir's philosophy.

In his project of going beyond the “modern worldview,” Hiromatsu Wataru attached great importance to Ernst Mach’s philosophical thought and Einstein’s theory of relativity as challenging the premises of modern philosophy, which he characterized as substantialist and bound by the subject / object schema. This paper surveys Hiromatsu’s analysis of Mach’s phenomenalist element-monism, specifically his critique of Mach’s insufficient break with modern philosophy; his inquiry into Einstein’s relativity theory with a focus on its intersubjective cognitive structure; and the way he (...) extends his views on these themes to a general ontological-epistemological theory of the “fourfold structure.” Finally, it examines questions about Hiromatsu’s arguments regarding the tension between the dimensions of synchronic structure and structuring movement. An earlier version of this paper can be found as “Philosophers” in John T. Blackmore, Itagaki Ryōichi, and Tanaka Setsuko, eds., Ernst Mach’s Influence Spreads, 425–76. (shrink)

Originally published as 「明治の哲学界：有機体の哲学とその系譜」in 井上克人編『豊饒なる明治』, Kansai Daigaku Shuppannbu, 2012, 3–22. Translated by Morisato Takeshi. German Idealism was introduced to Japanese intellectuals in the middle of Meiji era and was mainly received from a mystical or religious perspective, as we see in Inoue Tetsujirō’s “harmonious existence,” Inoue Enryō’s “unity of mind and body,” and Kiyozawa Manshi’s “existentialism.” Since these theories envisioned true reality as a unified and living whole, I group them under the label “philosophy of organism” and from there (...) argue that their conviction that “all is truth and truth is all” was shaped in large part by the Awakening of Faith in the Mahayana. The understanding of Buddhist concepts by Meiji philosophers was philosophical in its content, and those who devoted themselves to the study of Western philosophy were encouraged to describe Eastern thought in Western philosophical terms. As a result, the philosophical world of the Meiji era developed an original standpoint that unified Eastern and Western perspectives by means of a logic of “phenomena-in-reality.”. (shrink)

The Japanese scholar Miura Baien (1723-1789) worked throughout his life to produce a philosophical analysis of the natural world. Misinterpretations of his intentions arise from drawing diagrams on his behalf that are inconsistent with his text, or by applying to his text Western academic terms that are quite foreign to his thought. When Baien's text is examined in his own terms we can understand its significant role in the scientific thought of the Edo period.

Original title: 「生の哲學について」『西田幾多郎全集』旧版 [Alte Ausgabe: Gesammelte Werke Nishida Kitarōs]. Tokyo, Iwanami Shoten, 1978, 6: 428–51; 新版 [Neue Ausgabe]. Tokyo, Iwanami Shoten, 2009, 5: 335–53.

There has been no challenge to ‘the tradition of philosophy’ in contemporaneity: philosophy has since evolved past the criticisms of the twentieth century. Indeed, contemporary philosophy is such a diverse pursuit that it is impossible to identify ‘the tradition of philosophy’. There is, however, an ontological philosophic metatradition. This ontological philosophy is inchoate, lacking a meontological pole. This pole can be provided by the spirituality of the east in the form of the philosophy of the Kyoto School, but first, philosophy (...) must recognise this Zen meontology as ‘philosophy’ (哲学) rather than some other ‘thought’ (思想史). (shrink)

Although written in Japanese, this article handles historical and technical survey of Gödel's incompleteness theorem thoroughly.

Fully in accord with the Aristotelian confidence in things that are probable (even if not really likely to happen in the near future), the essay anticipates an interplanetary critique against geocentric ways of thinking peculiar to most humans on Earth: Japanese, Chinese, English, Germans, Russians, etc. who insist on using expressions like sunset and sunrise and thus heavily offend the feelings of anyone coming from planets that do not enjoy Earth’s proximity to the Sun. As this critique would not (...) be significantly different to what currently is going on in intercultural studies (the central issue of the essay), the essay may be regarded as illuminating the ways to secure a peaceful future of interplanetary relations. (shrink)

Originally published as「歴史的世界の個性的な自己創造と国家：西田哲学における〈国家〉と〈民族〉」, in「西田哲学会年報第七号」[ Jahrbuch der Nishida-Gesellschaft] 7 : 55–76. Übersetzt von Leon Krings. In diesem Aufsatz wird der Frage nachgegangen, in welcher Weise der „Staat“ im späten Denken des Philosophen Nishida Kitarō thematisiert wird. Dies geschieht anhand der Staatstheorie Nishidas, wie sie sich in seinen Aufsätzen Das Problem der Staatsraison und Das Problem der japanischen Kultur sowie im Anhang zur Philosophischen Aufsatzsammlung iv darstellt. Zusätzlich werden Nishidas Schriften, die nach den Grundproblemen der Philosophie geschrieben wurden und den theoretischen Hintergrund (...) seiner Staatstheorie bilden, miteinbezogen. In diesen Schriften fragt Nishida – ausgehend von der genetischen Struktur der historischen Wirklichkeit – nach der Daseinsberechtigung sowie der Bedeutung des Staates, d. h. danach, was ein Staat ist und welche Art von Gemeinschaft es verdient, als „Staat“ bezeichnet zu werden. Mithilfe des im Folgenden dargestellten Leitfadens werde ich versuchen, Nishidas Gedankengang genauer nachzuverfolgen. Dabei wird sich zeigen, dass er den „Staat“ als eine im höchsten Maße paradoxe Form der Gemeinschaft interpretiert. (shrink)

Dans la double conception du sujet que précise Tokieda Motoki dans sa théorie du processus langagier : sujet subordonné au prédicat et sujet d’action langagière volontaire, conception fondée sur une théorie linguistique inspirée principalement d’études grammaticales de la langue japonaise et qui s’est donc totalement émancipée du paradigme de la grammaire des langues européennes, on peut retrouver, de manière tout à fait paradoxale et frappante, le sens originaire du sujet, à savoir celui de son origine latine « subjectum » qui (...) est d’ailleurs la traduction du mot grec « ὑποκείμενον », à double titre : celui qui est assujetti ou soumis à une instance supérieure ou plus fondamentale et celui qui est susceptible de donner lieu ou occasion aux accidents, aux faits contingents. (shrink)