- Copyright Page
- Introduction: What Is Japanese Philosophy?
- Prince Shōtoku’s <i>Constitution</i> and the Synthetic Nature of Japanese Thought
- Philosophical Implications of Shintō
- National Learning: Poetic Emotionalism and Nostalgic Nationalism
- Saichō’s Tendai: In the Middle of Form and Emptiness
- Kūkai’s Shingon: Embodiment of Emptiness
- Philosophical Dimensions of Shinran’s Pure Land Buddhist Path
- Modern Pure Land Thinkers: Kiyozawa Manshi and Soga Ryōjin
- The Philosophy of Zen Master Dōgen: Egoless Perspectivism
- Dōgen on the Language of Creative Textual Hermeneutics
- Rinzai Zen Kōan Training: Philosophical Intersections
- Modern Zen Thinkers: D. T. Suzuki, Hisamatsu Shin’ichi, and Masao Abe
- Japanese Neo-Confucian Philosophy
- Ancient Learning: The Japanese Revival of Classical Confucianism
- <i>Bushidō</i> and Philosophy: Parting the Clouds, Seeking the Way
- The Japanese Encounter with and Appropriation of Western Philosophy
- The Kyoto School: Transformations Over Three Generations
- The Development of Nishida Kitarō’s Philosophy: Pure Experience, Place, Action-Intuition
- Nishida Kitarō’s Philosophy: Self, World, and the Nothingness Underlying Distinctions
- The Place of God in the Philosophy of Tanabe Hajime
- Miki Kiyoshi: Marxism, Humanism, and the Power of Imagination
- Nishitani Keiji: Practicing Philosophy as a Matter of Life and Death
- Ueda ShizuteruThe Self That Is Not a Self in a Twofold World
- Watsuji Tetsurō: The Mutuality of Climate and Culture and an Ethics of Betweenness
- Kuki Shūzō: A Phenomenology of Fate and Chance and an Aesthetics of the Floating World
- Comparative Philosophy in Japan: Nakamura Hajime and Izutsu Toshihiko
- Japanese Christian Philosophies
- Yuasa Yasuo’s Philosophy of Self-Cultivation: A Theory of Embodiment
- Postwar Japanese Political Philosophy: Marxism, Liberalism, and the Quest for Autonomy
- Raichō: Zen and the Female Body in the Development of Japanese Feminist Philosophy
- Japanese Phenomenology
- The Komaba Quartet: A Landscape of Japanese Philosophy in the 1970s
- Philosophical Implications of the Japanese Language
- Natural Freedom: Human/Nature Nondualism in Zen and Japanese Thought
- Japanese Ethics
- Japanese (and Ainu) Aesthetics and Philosophy of Art
- The Controversial Cultural Identity of Japanese Philosophy
Abstract and Keywords
Japanese aesthetics have impacted global arts and aesthetics through traditional, modern, and post-modern aesthetic categories (mononoaware, iki, or moe, haikyo respectively) and qualities (vagueness, spontaneity). This chapter traces accomplishments of Japanese aesthetics, analyzes their complexities, highlights some challenges to philosophy of art, and introduces some emerging aesthetics and new analyses of traditional aesthetics, including Ainu. Japanese aesthetics offer valuable opportunities for developing abilities that extend, modify, and deepen our range of emotional, sensory, and artistic feeling (joy, awareness of seasonal change, the beauty of folk arts) commonly recognized as the purview of aesthetics. They also enhance a range of cognitive skills, such as comprehending the ineffable, and strengthen social and personal skills such as expressing individuality, experiencing community, encountering the other and the land, and/or surviving atomic destruction. Sections address the unparalleled millennia-old importance of women’s gaze/voices and the interactions of aesthetics with fascism and with war.
Mara Miller, a professor of philosophy and of Japanese art and literature and an artist, is the author of The Garden as an Art (SUNY Press), The Philosopher’s Garden (forthcoming), and six dozen scholarly articles on feminist, East Asian, and environmental philosophy; selfhood; and Japanese arts /aesthetics. Miller has been a visiting fellow/research associate at the University of Canterbury (Christchurch, NZ), Rutgers University’s Center for Historical Analysis, and the Folger Library’s Center for the Study of British Political Thought. Her articles on Japanese aesthetics have appeared in The Monist, Philosophy and Literature, The Journal of Aesthetics and Art Criticism, Oxford’s The Encyclopedia of Aesthetics, Sztuka i Filozofia (Studies in Philosophy), and The Oxford Handbooks of World Philosophy, among others. She is currently finishing Terrible Knowledge, philosophical reflections on the importance of teaching and thinking about the atomic bombings. She earned her doctorate in philosophy from Yale University, master’s degree from University of Michigan’s Center for Japanese Studies, and B.A. from Cornell University.
Koji Yamasaki is Associate Professor at the Center for Ainu and Indigenous Studies, Hokkaido University and co-curator of the 2009 exhibit teetasinrit tekrukoci: The Handprints of our Ancestors: Ainu Artifacts Housed at Hokkaido University and co-author of the catalogue. He specializes in cultural anthropology and museum studies. His research in collaboration with the Ainu people focuses on modern meanings and uses of museum materials.
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