Faith and the Sublation of Modernity: Kierkegaard and the Transformation of Fideism

This article retraces the “genealogy” of the fideist perspective in philosophy as well as literature, especially within the writings of Søren Kierkegaard and the novel Don Quixote. It contends that a demythologized perspective of the fideist-humanist sort, based upon Erasmian tolerance and intellectual creativity and updated with the insights of post-analytic theory (e.g., the work of Alasdair MacIntyre, Richard Rorty, and Jeffrey Stout), without revoking the vocabulary of transcendence, can reinforce the weathered but still valuable post-Enlightenment moral vocabulary, and can reiterate the humaneness of liberal hope without undue encumbrance from the dogmatic baggage of traditional theological jargon and metaphysics.

The Social Principles of Jesus: A Critical Re-examination of Walter Rauschenbusch’s Social Gospel

It has been nine decades since Walter Rauschenbusch (1861-1918) published a slim volume entitled The Social Principles of Jesus. Though today less well known than his other works Christianity and the Social Crisis (1907) and Theology for the Social Gospel (1917), it is Social Principles that most adeptly summarizes the theological ethics of Rauschenbusch’s “social gospel.” Taking the form of a pedagogical treatise, Social Principles reads as both a finely tuned analysis of the modern relevance of the teachings of Jesus, and an impassioned plea on the part of its author for an end to the folly of interpreting Christianity solely in “individualistic” terms. It is Rauschenbusch’s expressed aim to resurrect the core teachings of Jesus, which are social and ethical, and apply these to a renewed, socially conscious liberal democracy, establishing a grand harmony between religion, ethics, and social evolution. How far this vision was from the burgeoning “fundamentalism” of his day (and ours) is more than evidenced by the critical reaction of many of his more conservative peers, but also indicates the continuing relevance of his work for theologians and others looking for alternative paths. The following exposition is supplemented with appreciative and critical comments.

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.

Ogawa Mimei's Children's Stories: A Case Study of the Rise of Childhood in the Context of Westernization and Japanese Modernization

In this thesis, I examine the influences of westernization, the tension between Japanese modernity and tradition, and the stories of Hans Christian Andersen on Ogawa Mimei’s children’s stories. I begin the body of my thesis with a brief historical background of Japan, beginning with the start of the Meiji period in 1868. Within the historical section, I focus on societal and cultural elements and changes that pertain to my thesis. I also include the introduction of Hans Christian Andersen in Japan. I wrap up the historical section by a description of Ogawa’s involvement in the Japanese proletarian literature movement and the rise of the Japanese proletarian children’s literature movement. Then, I launch into an analysis of Ogawa’s works categorized by thematic elements. These elements include westernization, class conflict, nature and civilization, religion and morals, and children and childhood. When relevant, I also compare and contrast Ogawa’s stories with Andersen’s. In the westernization section, I show how some of Ogawa’s stories demonstrate contact between Japan and the West. In the Class Conflict section, I discuss how Ogawa views class through a socialist lens, whereas Andersen does not dispute class distinctions, but encourages his readers to attempt an upward social climb. In the nature and civilization section, I show how Ogawa and Andersen share common opinions on the impact of civilization on nature. In the religion and morals section, I show how Ogawa incorporates religion, including Christianity, into vii his works. Andersen utilizes religion in a more overt manner in order to convey morals to his audience. Both authors address religious topics like the concept of the afterlife. Finally, in children and childhood, I demonstrate how both Ogawa and Andersen treat their child protagonists and use them and their situations to instruct their readers. Through this case study, I show how westernization and the tensions between Japanese modernization and tradition led to the rise of the proletarian children’s literature movement, which is exemplified by Ogawa’s stories. The emergence of the proletarian children’s literature movement is an indication of the establishment of a new concept of childhood in Japan. Writers like Ogawa Mimei attempted to write children’s stories that represented the new Japanese culture that was a result of adapting Western ideals to fit Japanese society. Some of Ogawa’s stories are a direct commentary on his opinion of Japanese interaction with the West. By comparing Ogawa’s and Andersen’s stories, I demonstrate how Ogawa borrows certain Western elements and possibly responds directly to Andersen. Ogawa also addresses some of the same topics as Andersen, yet their reactions are not always the same. What I find in my analysis supports my thesis that Ogawa is able to maintain Japanese tradition while infusing his children’s stories with Western and modern elements. In doing so, he reflects a largely popular social and cultural practice of his time.