In every part of the world and in every era, philosophers have reflected on the meaning of culture and its philosophical significance. Japanese Philosophers on Society and Culture:Nishida Kitarō, Watsuji Tetsurō, and Kuki Shūzō explores how three of Japan's preeminent philosophers of the twentieth century—Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō—defined culture and analyzed what it tells us about social relations. Graham Mayeda also explores little-known aspects of the work of each philosopher, including a philosophical analysis of Watsuji's travel diary, Pilgrimages to the Ancient Temples in Nara, the place of intuition in Kuki's ethics of otherness, and the role of culture in realizing Nishida's concept of reality as the historical world. Each of these three philosophers adapted philosophical methodologies such as phenomenology, hermeneutics, and dialectical logic to studying the traditional sources of Japanese culture: Confucianism, Buddhism, Bushidō and Shintō. This book focuses on the way that Nishida, Watsuji and Kuki critiqued the methodologies that they adopted from European philosophy and modified them to reflect the values that form the basis of their own cultural tradition. Finally, Mayeda engages with the problem of cultural essentialism by identifying the progressive and conservative elements of each philosopher's characterization of Japanese culture.
Watsuji's Koji Junrei is a book of impressions of a trip he took in 1918 to Japan's ancient capital of Nara, where he saw a number of Buddhist temples. By then, Watsuji had already published influential, groundbreaking books on Nietzsche, Schopenhauer, Kierkegaard and the book Gūzū saikō (Resurrection of Idols). Koji Junrei is significant in that it began a modern literary trend of "travel writing" about ancient temples and shrines in Japan and elsewhere. While the genre had existed for centuries, it was Koji Junrei that almost singlehandedly resurrected it.
Watsuji's Koji Junrei is a book of impressions of a trip he took in 1918 to Japan's ancient capital of Nara, where he saw a number of Buddhist temples. By then, Watsuji had already published influential, groundbreaking books on Nietzsche, Schopenhauer, Kierkegaard and the book Gūzū saikō (Resurrection of Idols). Koji Junrei is significant in that it began a modern literary trend of "travel writing" about ancient temples and shrines in Japan and elsewhere. While the genre had existed for centuries, it was Koji Junrei that almost singlehandedly resurrected it.
Receptions of Greek and Roman Antiquity in East Asia is an interdisciplinary, collaborative, and global effort to examine the receptions of the Western Classical tradition in a cross-cultural context. The inclusion of modern East Asia in Classical reception studies not only allows scholars in the field to expand the scope of their scholarly inquiries but will also become a vital step toward transcending the meaning of Greco-Roman tradition into a common legacy for all of human society.
Allegories of Time and Space explores efforts by leading photographers, artists, architects, and commercial designers to re-envision Japanese cultural identity during the turbulent years between the Asia Pacific War and the bursting of the economic bubble in the 1990s. This search for a cultural home was a matter of broad public concern, and each of the artists under consideration engaged a wide audience through mass media. The artists under study had in common the necessity to establish distance from their immediate surroundings temporally or geographically in order to gain some perspective on Japan's rapidly changing society. They shared what Jonathan Reynolds calls an allegorical vision, a capacity to make time and space malleable, to see the present in the past and to find an irreducible cultural center at Japan's geographical periphery. The book commences with an examination of the work of Hamaya Hiroshi. A Tokyo native, Hamaya began to photograph the isolated "snow country" of northeastern Japan in the midst of the war. His empathetic images of village life expressed an aching nostalgia for the rural past widely shared by urban Japanese. Following a similar strategy in his search for authentic Japan was the photographer Tōmatsu Shōmei. Although Tōmatsu originally traveled to Okinawa Prefecture in 1969 to document the destructive impact of U.S. military bases in the region in his characteristically edgy style, he came to believe that Okinawa was still in some sense more truly Japanese than the Japanese main islands. The self-styled iconoclast artist Okamoto Tarō emphatically rejected the delicacy and refinement conventionally associated with Japanese art in favor of the hyper-modern qualities of the dynamic and brutal aesthetics that he saw expressed on the ceramics of the prehistoric Jōmon period. One who quickly recognized the potential in Okamoto's embrace of Japan's ancient past was the architect Tange Kenzō. As a point of comparison, Reynolds looks at the portrayal of the ancient Shintō shrine complex at Ise in a volume produced in collaboration with the photographer Watanabe Yoshio. Reynolds shows how this landmark book contributed significantly to a transformation in the meaning of Ise Shrine by suppressing the shrine's status as an ultranationalist symbol and re-presenting the shrine architecture as design consistent with rigorous modernist aesthetics. In the 1970s and 1980s, there circulated widely through advertising posters of the designer Ishioka Eiko, the ephemeral "nomadic" architecture of Itō Toyo'o, TV documentaries, and other media, a fantasy that imagined Tokyo's young female office workers as urban nomads. These cosmopolitan dreams may seem untethered from their Japanese cultural context, but Reynolds reveals that there were threads linking the urban nomad with earlier efforts to situate contemporary Japanese cultural identity in time and space. In its fresh and nuanced re-reading of the multiplicities of Japanese tradition during a tumultuous and transformative period, Allegories of Time and Space offers a compelling argument that the work of these artists enhanced efforts to redefine tradition in contemporary terms and, by doing so, promoted a future that would be both modern and uniquely Japanese.
The study of pilgrimage often centres itself around miracles and spontaneous populist activities. While some of these activities and stories may play an important role in the emergence of potential pilgrimage sites and in helping create wider interest in them, this book demonstrates that the dynamics of the marketplace, including marketing and promotional activities by priests and secular interest groups, create the very consumerist markets through which pilgrimages become established and successful – and through which the ‘sacred’ as a category can be sustained. By drawing on examples from several contexts, including Japan, India, China, Vietnam, Europe, and the Muslim world, author Ian Reader evaluates how pilgrimages may be invented, shaped, and promoted by various interest groups. In so doing he draws attention to the competitive nature of the pilgrimage market, revealing that there are rivalries, borrowed ideas, and alliances with commercial and civil agencies to promote pilgrimages. The importance of consumerism is demonstrated, both in terms of consumer goods/souvenirs and pilgrimage site selection, rather than the usual depictions of consumerism as tawdry disjunctions on the ‘sacred.’ As such this book reorients studies of pilgrimage by highlighting not just the pilgrims who so often dominate the literature, but also the various other interest groups and agencies without whom pilgrimage as a phenomenon would not exist.
This study involves a fourteen-hundred-kilometer-long pilgrimage around Japan's fourth largest island, Shikoku. In traveling the circuit of the eighty-eight Buddhist temples that make up the route, pilgrims make their journey together with Kobo Daishi (774-835), the holy miracle-working figure who is at the heart of the pilgrimage. Once seen as a marginal practice, recent media portrayal of the pilgrimage as a symbol of Japanese cultural heritage has greatly increased the number of participants, both Japanese and foreign. In this absorbing look at the nature of the pilgrimage, Ian Reader examines contemporary practices and beliefs in the context of historical development, taking into account theoretical considerations of pilgrimage as a mode of activity and revealing how pilgrimages such as Shikoku may change in nature over the centuries. This rich ethnographic work covers a wide range of pilgrimage activity and behavior, drawing on accounts of pilgrims traveling by traditional means on foot as well as those taking advantage of the new package bus tours, and exploring the pilgrimage's role in the everyday lives of participants and the people of Shikoku alike. that have shaped it in the past and in the present, including history and legend; the island's landscape and residents; the narratives and actions of the pilgrims and the priests who run the temples; regional authorities; and commercial tour operators and bus companies.
This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online.
The Bloomsbury Research Handbook of Contemporary Japanese Philosophy examines the current vibrant trends in Japanese philosophical thinking. Situating Japanese philosophy within the larger context of global intercultural philosophical discourse and pointing to new topics of research, this Handbook covers philosophy of science, philosophy of peace, philosophy of social justice and healing. Introducing not only new readings of well-known Japanese philosophers, but also work by contemporary Japanese philosophers who are relatively unknown outside Japan, it makes a unique contribution by offering an account of Japanese philosophy from within and going beyond an objective description of it in its various facets. Also featured is the work of a younger generation of scholars and thinkers, who bring in fresh perspectives that will push the field into the future. These critical essays, by leading philosophers and rising scholars, to the past and the present of Japanese philosophy demonstrate ways of doing engaged philosophy in the present globalized age. With suggestions for further reading, a glossary, a timeline and annotated bibliography, The Bloomsbury Research Handbook of Contemporary Japanese Philosophy is an ideal research guide to understanding the origin, transformation, and reception of Japanese philosophy in the 21st century.
Fenollosa’s Legacy in Late Nineteenth Century Japan: An American Scholar’s Role in Resurrecting the Art of Japan makes a critical assessment of American art theorist Ernest F. Fenollosa’s work in Meiji Japan. Ernest F. Fenollosa was first hired as a Tokyo University professor of political philosophy in 1878 but became an art theorist and policymaker for Japan’s Education Ministry. His illustrious career as an art administrator began with the 1882 Bijutsu shinsetsu speech that cemented the reputation of his work. Working closely with Okakura Kakuzō (Tenshin), Fenollosa became the lightning rod in defining the course of modern painting as well as in establishing the first national art school. He is widely credited with resurrecting moribund traditional Japanese painting to health. The author shows this assessment of Fenollosa as the savior of Japanese traditional painting work may not have been deserved by examining the historical context in which he made the 1882 speech. The book offers the first English translation of Fenollosa’s 1882 Bijutsu shinsetsu speech that had been previously unavailable to the non-Japanese reading audience.
