The Art of Aidagara: Ethics, Aesthetics, and the Quest for an Ontology of Social Existence in Watsuji Tetsurō’s Rinrigaku

This paper provides an analysis of the key term aidagara (“betweenness”) in the philosophical ethics of Watsuji Tetsurō (1889-1960), in response to and in light of the recent movement in Japanese Buddhist studies known as “Critical Buddhism.” The Critical Buddhist call for a turn away from “topical” or intuitionist thinking and towards (properly Buddhist) “critical” thinking, while problematic in its bipolarity, raises the important issue of the place of “reason” versus “intuition” in Japanese Buddhist ethics. In this paper, a comparison of Watsuji’s “ontological quest” with that of Martin Heidegger (1889-1976), Watsuji’s primary Western source and foil, is followed by an evaluation of a corresponding search for an “ontology of social existence” undertaken by Tanabe Hajime (1885-1962). Ultimately, the philosophico-religious writings of Watsuji Tetsurō allow for the “return” of aesthesis as a modality of social being that is truly dimensionalized, and thus falls prey neither to the verticality of topicalism nor the limiting objectivity of criticalism.

Córdoban Discourses: A Drama of Interreligious Dialogue

SETTING: Cordoba, Spain, 1135 CE, 29th year of the reign of ‘Ali “amir al-muslimin,” second king of the Berber Almoravid dynasty, rulers of Moorish Spain from 1071 to 1147. Cordoba, the capital of Andalus and the center of the Almoravid holdings in Spain, is a bustling cosmopolitan center, a crossroads for Europe and the Middle East, and the meeting-point of three religious traditions. Most significantly, Cordoba at this time is the hub of European intellectual activity. From the square—itself impressively large and surrounded by a massive collonade, the regularity and ordered beauty of which typifies the Moorish taste for symmetry (so beloved of M.C. Escher)—can be seen the huge Cordoban mosque, erected in the 8th-century by Khalif Abd-er-Rahman I to the glory of Allah, oft forgiving, most merciful. It is the second largest building in Islam, and the bastion of the still entrenched but soon to fade Muslim presence in western Europe. SCENE: Three figures sit upon stone benches beneath the westernmost colonnade of the Cordoban mosque, involved in an animated, though friendly discussion on matters of faith and reason, knowledge and God, language and logic. The host is none other than Jehudah Halevi, and his esteemed guests Master Peter Abelard and the venerable Råmånuja, whose obviously advanced age belies his youthful voice, gleaming eye, quick hands, and general exuberance. It is autumn, early evening…

Parameters of Reform and Unification in Modern Japanese Buddhist Thought: Murakami Senshō and Critical Buddhism

Reform is a word that, one might easily say, characterizes more than any other the history and development of Buddhism. Yet, it must also be said that reform movements in East Asian Buddhism have often taken on another goal—harmony or unification; that is, a desire not only to reconstruct a more worthy form of Buddhism, but to simultaneously bring together all existing forms under a single banner, in theory if not in practice. This paper explores some of the tensions between the desire for reform and the quest for harmony in modern Japanese Buddhism thought, by comparing two developments: the late 19th century movement towards ‘New Buddhism’ (shin Bukkyō) as exemplified by Murakami Senshō 村上専精 (1851–1929), and the late 20th century movement known as ‘Critical Buddhism’ (hihan Bukkyō), as found in the works of Matsumoto Shirō 松本史朗 and Hakamaya Noriaki 袴谷憲昭. In all that has been written about Critical Buddhism, in both Japanese and English, very little attention has been paid to the place of the movement within the larger traditions of Japanese Buddhist reform. Here I reconsider Critical Buddhism in relation to the concerns of the previous, much larger trends towards Buddhist reform that emerged almost exactly 100 years previous—the so-called shin Bukkyō or New Buddhism of the late-Meiji era. Shin Bukkyō is a catch-all term that includes the various writings and activities of Inoue Enryō, Shaku Sōen, and Kiyozawa Manshi, as well as the so-called Daijō-hibussetsuron, a broad term used (often critically) to describe Buddhist writers who suggested that Mahāyāna Buddhism is not, in fact, the Buddhism taught by the ‘historical’ Buddha Śākyamuni. Of these, I will make a few general remarks about Daijō-hibusseturon, before turning attention more specifically to the work of Murakami Senshō, in order to flesh out some of the similarities and differences between his attempt to construct a ‘unified Buddhism’ and the work of his late-20th century avatars, the Critical Buddhists. Though a number of their aims and ideas overlap, I argue that there remain fundamental differences with respect to the ultimate purposes of Buddhist reform. This issue hinges on the implications of key terms such as ‘unity’ and ‘harmony’ as well as the way doctrinal history is categorized and understood, but it also relates to issues of ideology and the use and abuse of Buddhist doctrines in 20th-century politics.

The Pursuit of Tangible Happiness: Religion and Politics in a Japanese New, New Religion

The decline of traditional religions in Japan in the past century, and especially since the end of World War Two, has led to an explosion of so-called “new religions” (shin shūkyō 新宗教), many of which have made forays into the political realm. The best known—and most controversial—example of a “political” new religion is Sōka Gakkai 創価学会, a lay Buddhist movement originally associated with the Nichiren sect that in the 1960s gave birth to a new political party, Komeitō 公明党 (lit., Clean Government Party), which in the past several decades has emerged as the third most popular party in Japan (as New Komeitō). Since the 1980s, Japan has also seen the emergence of so-called “new, new religions” (shin shin shūkyō 新新宗教), which tend to be more technologically savvy and less socially concerned (and, in the eyes of critics, more akin to “cults” than the earlier new religions). One new, new religion known as Kōfuku-no-Kagaku 幸福の科学 (lit., Institute for Research in Human Happiness or simply Happy Science), founded in 1986 by Ōkawa Ryūho 大川隆法, has very recently developed its own political party, Kōfuku Jitsugentō 幸福実現党 (The Realization of Happiness Party). This article will analyse the political ideals of Kōfuku Jitsugentō in relation to its religious teachings, in an attempt to situate the movement within the broader tradition of religio-political syncretism in Japan. In particular, it will examine the recent “manifesto” of Kōfuku Jitsugentō in relation to those of New Komeitō and “secular” political parties such as the Liberal Democratic Party (Jimintō 自民党) and the Democratic Party (Minshutō 民主党).

Beyond Belief: Japanese Approaches to the Meaning of Religion

For several centuries, Japanese scholars have argued that their nation’s culture—including its language, religion and ways of thinking—is somehow unique. The darker side of this rhetoric, sometimes known by the English term “Japanism” (nihon-jinron), played no small role in the nationalist fervor of the late-nineteenth and early twentieth centuries. While much of the so-called “ideology of Japanese uniqueness” can be dismissed, in terms of the Japanese approach to “religion,” there may be something to it. This paper highlights some distinctive—if not entirely unique—features of the way religion has been categorized and understood in Japanese tradition, contrasting these with Western (i.e., Abrahamic), and to a lesser extent Indian and Chinese understandings. Particular attention is given to the priority of praxis over belief in the Japanese religious context. Des siècles durant, des chercheurs japonais ont soutenu que leur culture – soit leur langue, leur religion et leurs façons de penser – était en quelque sorte unique. Or, sous son jour le plus sombre, cette rhétorique, parfois désignée du terme de « japonisme » (nihon-jinron), ne fut pas sans jouer un rôle déterminant dans la montée de la ferveur nationaliste à la fin du XIXe siècle, ainsi qu’au début du XXe siècle. Bien que l’on puisse discréditer pour l’essentiel cette soi-disant « idéologie de l’unicité japonaise », la conception nippone de la « religion » constitue, quant à elle, un objet d’analyse des plus utiles et pertinents. Cet article met en évidence quelques caractéristiques, sinon uniques du moins distinctives, de la manière dont la religion a été élaborée et comprise au sein de la tradition japonaise, pour ensuite les constrater avec les conceptions occidentale (abrahamique) et, dans une moindre mesure, indienne et chinoise. Une attention toute particulière est ici accordée à la praxis plutôt qu’à la croyance dans le contexte religieux japonais.

Smashing the Mirror of Yamato: Sakaguchi Ango, Decadence & a Postmetaphysical Buddhist Critique of Culture

This article focuses on several key philosophical themes in the criticism of Sakaguchi Ango (1906–1955), one of postwar Japan’s most influential and controversial writers. Associated with the underground Kasutori culture as well as the Burai-ha of Tamura Taijirō (1911–1983), Oda Sakunosuke (1913–1947) and Dazai Osamu (1909–1948), Ango gained fame for two provocative essays on the theme of daraku or “decadence”—Darakuron and Zoku darakuron—pubished in 1946, in the wake of Japan’s traumatic defeat and the beginnings of the Allied Occupation. Less well-known is the fact that Ango spent his student years studying classical Buddhist texts in Sanskrit, Pali and Tibetan, and that he at at one time aspired to the priesthood. The article analyses the concept of daraku in the two essays noted above, particularly as it relates to Ango’s vision of a refashioned morality based on an interpretation of human subjectivity vis-à-vis the themes of illusion and disillusion. It argues that, despite the radical and modernist flavor of Ango’s essays, his “decadence” is best understood in terms of Mahāyāna and Zen Buddhist concepts. Moreover, when the two essays on decadence are read in tandem with Ango’s wartime essay on Japanese culture (Nihon bunka shikan, 1942), they form the foundation for a “postmetaphysical Buddhist critique of culture,” one that is pragmatic, humanistic, and non-reductively physicalist.

A Blueprint for Buddhist Revolution: The Radical Buddhism of Seno’o Girō (1889–1961) and the Youth League for Revitalizing Buddhism

In the early decades of the twentieth century, as Japanese society became engulfed in war and increasing nationalism, the majority of Buddhist leaders and institutions capitulated to the status quo. One notable exception to this trend, however, was the Shinkō Bukkyō Seinen Dōmei (Youth League for Revitalizing Buddhism), founded on 5 April 1931. Led by Nichiren Buddhist layman Seno’o Girō and made up of young social activists who were critical of capitalism, internationalist in outlook, and committed to a pan-sectarian and humanist form of Buddhism that would work for social justice and world peace, the league’s motto was “carry the Buddha on your backs and go out into the streets and villages.” This article analyzes the views of the Youth League for Revitalizing Buddhism as found in the religious writings of Seno’o Girō to situate the movement in its social and philosophical context, and to raise the question of the prospects of “radical Buddhism” in twenty-first century Japan and elsewhere.

Review of The Great Pictorial History of World Crime. By Jay Robert Nash. Wilmette, Ill.: History, Inc., 2004.

Frazier reviews The Great Pictorial History of World Crime by Jay Robert Nash.

Liberation as Revolutionary Praxis: Rethinking Buddhism Materialism

While it is only in recent decades that scholars have begun to reconsider and problematize Buddhist conceptions of “freedom” and “agency,” the thought traditions of Asian Buddhism have for many centuries struggled with questions related to the issue of “liberation”—along with its fundamental ontological, epistemological and ethical implications. With the development of Marxist thought in the mid to late nineteenth century, a new paradigm for thinking about freedom in relation to history, identity and social change found its way to Asia, and confronted traditional religious interpretations of freedom as well as competing Western ones. In the past century, several attempts have been made—in India, southeast Asia, China and Japan—to bring together Marxist and Buddhist worldviews, with only moderate success (both at the level of theory and practice). This paper analyzes both the possibilities and problems of a “Buddhist materialism” constructed along Marxian lines, by focusing in particular on Buddhist and Marxist conceptions of “liberation.” By utilizing the theoretical work of Japanese “radical Buddhist” Seno’o Girō, I argue that the root of the tension lies with conceptions of selfhood and agency—but that, contrary to expectations, a strong case can be made for convergence between Buddhist and Marxian perspectives on these issues, as both traditions ultimately seek a resolution of existential determination in response to alienation. Along the way, I discuss the work of Marx, Engels, Gramsci, Lukàcs, Sartre, and Richard Rorty in relation to aspects of traditional (particularly East Asian Mahāyāna) Buddhist thought.

An Ethical History of Photography in Combat and of Combat Photography in the United States during World War II

With the United States‘ entry into the Second World War, the word ?censorship? was seen largely as antithetical to, rather than a necessary counterpart to, victory among Americans. People did not want to be censored in their writing, photographs or speech,but it proved to be necessary even before the war began, in order to protect government secrets and the people on the home-front from scenes that were too disturbing. Even before the war had officially begun, there were problems with censorship among journalists and newspapers. The initial response of outrage in reference to censorship in the United States was common among journalists, newspapers, magazines, and radio news; nevertheless, there was a necessity for censorship among Americans, on the home frontand the front lines, and it would be tolerated throughout the war to ensure that enemies of America did not gain access to information that would assist in a defeat of the United States in the Second World War. The research I have conducted has dealt with the censorship of combat photography during World War II, in conjunction with the ethics that were in play at the time that affected the censors. Through exploring the work of three combat photographers — Tony Vaccaro, James R. Stephens and Charles E. Sumners — I wasable to effectively construct an explanatory ethical history of these three men. Research on the censorship and effects it had on the United States brought me to three distinctareas of censorship and ethics that would be explored: (1) the restrictions and limitations enforced by the Office of Censorship, (2) a general overview of war and photography as it influenced the soldiers and their families on the home-front, (3) and the combat photographers and personal and military censorship that influenced their work. Although their work was censored both by the military and the government, these men saw the war in a different light that remained with them long after the battles and war had ceased.Using the narratives of Tony Vaccaro, Charles E. Sumners and James R. Stephens as means for more in depth research, this thesis strives to create lenses through which to view the history and ethics of censorship that shaped combat photography during the Second World War and the images to which we refer as representative of that war today.

The Modernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity

In my thesis, I explore the cultural history of the French Revolution and its relation to the modern era which ensued. Many historians have studied the French Revolution as it relates to culture, the rise of modernity, and fashion. I combine the unique histories of all three of these aspects to reach an understanding of the history of the French Revolution and fashion’s role in bringing about change. In the majority of literature of costume history, discussion of fashion surrounds its reflective properties. Many historians conclude fashion as a reflection of the broader cultural shifts that occurred during the Revolution. I, on the other hand, propose that fashion is an active force in bringing out cultural change during this time. In exploring fashion as a historical motivator, I examine the aesthetic world of fashion from 1740 to 1815, the modern system of cultural dissemination of fashion through particular historical heroes, and the rise of “taste” and its relation to modern identity. Through aesthetics, culture, and identity, I argue that fashion is a decisive force of culture in that it creates a visual world through which ideas form and communicate.

Prioritization of Potential Mates' History of Sexual Fidelity During a Conjoint Ranking Task

This series of studies is the first to use conjoint analysis to examine how individuals make trade-offs during mate selection when provided information about a partner's history of sexual infidelity. Across three studies, participants ranked profiles of potential mates, with each profile varying across five attributes: financial stability, physical attractiveness, sexual fidelity, emotional investment, and similarity. They also rated each attribute separately for importance in an ideal mate. Overall, we found that for a long-term mate, participants prioritized a potential partner's history of sexual fidelity over other attributes when profiles were ranked conjointly. For a short-term mate, sexual fidelity, physical attractiveness, and financial stability were equally important, and each was more important than emotional investment and similarity. These patterns contrast with participants' self-reported importance ratings of each individual attribute. Our results are interpreted within the context of previous literature examining how making trade-offs affect mate selection.

The Gandhi Story: An Official Indian Comic Book History of the Mahatma

In 1966, the Publications Division of the Government of India’s Ministry of Information and Broadcasting released a 47-page hardbound comic book entitled The Gandhi Story. Written and illustrated by S.D. Sawant and S.D. Badalkar, it opens with a foreword by independent India’s first prime minister, Jawaharlal Nehru, and presents a state sanctioned narrative of Gandhi’s life and role in the Indian struggle for independence. This articles examines how the creators of The Gandhi Story drew upon both textual and visual sources as reference material during its creation, and investigates the relationship between "official" and "unofficial" nationalisms of twentieth-century Indian history.