Dialetheism in the Work of Nishida Kitarō

2021 ◽  
pp. 123-142
Author(s):  
Yasuo Deguchi ◽  
Naoya Fujikawa
Keyword(s):  
20Th Century ◽  
East Asian ◽  
The Self ◽  
Kyoto School ◽  
Self Identity ◽  
The World ◽  
The Subject ◽  
Nishida Kitaro

This chapter shows that the 20th-century Kyoto School philosopher Nishida Kitarō was committed to dialetheism. We show that he argues both that the subject must be knowable as an object and that it cannot be known as an object. We also show that he argues that the self both is and is not identical to the world and to itself in the relation he calls “contradictory self-identity.” This chapter demonstrates that East Asian dialetheism persists in the 20th century.

Piktoriale Reflexivität–(Nach-)Denken über Bilder als Denken in Bildern

2010 ◽  
Vol 55 (2) ◽  
pp. 101-113
Author(s):  
Simone Mahrenholz
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
The Self ◽  
States Of Affairs ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
20Th Century Art ◽  
Self Reference

Der Text untersucht, inwiefern wir von »bildlichem Denken« sprechen können, insbesondere mit Bezug auf Kunst: Denken in Bildern also statt allein in Worten. Er verbindet diese Frage mit dem Konzept der konstitutiven Reflexivität der Kunst. Hierfür werden drei Bedeutungen von ästhetischer Reflexivität unterschieden und zu einander in Bezug gesetzt (Teil I): Reflexivität der Kunst im Sinne des Bezugnehmens und damit des Thematisierens, Reflektierens von etwas außerhalb des Werks: der Welt und./.oder des Selbst (R1), ferner Reflexivität im Sinne des materialen Selbst-Rückbezugs des Werks auf Züge seiner selbst (R2) sowie Reflexivität im Sinne des Selbst-Rückbezugs in Form einer Transformation des Subjekts im Prozeß der künstlerischen Erfahrung (R3). Die nähere Erläuterung an Beispielen zeigt, daß und inwiefern diese drei Formen zwar immer interagierend präsent sind, jedoch in verschiedenen Epochen und Stilen mit deutlich unterschiedlichen Akzentuierungen (Teil II). Abschließend wird die These aufgestellt (Teil III), daß diese Folge von Reflexivitäts-Akzenten Entwicklungen in der Kunst des 20. Jahrhunderts spiegelt.<br><br>The text examines forms of »pictorial thinking«, in particular with regard to artworks: thinking »in pictures« as analogous to thinking in words. It relates this topic to the concept of reflexivity in art. Three forms of aesthetic reflexivity are distinguished and related to each other (part I): reflexivity in the sense of reflecting, thematizing states of affairs outside the work: the world and./.or the self (R1), second: reflexivity as material self-reference within the artwork (R2), third: reflexivity as transformation of the subject in the process of the aesthetic experience (R3). The subsequent elucidation makes evident, that these forms of reflexivity never occur alone, but interact. Nevertheless, depending on the epoch and style of the work in question, distinctive emphases and accentuations arise, one of which generally dominates the others: (part II). As an upshot, the text suggests that this succession of reflexivity-forms from R1 to R3 mirrors developments in 20th century art (part III).

EXPLORING THE INTERNAL STRENGTHS AND WEAKNESSES OF THE ORGANIZATION

2018 ◽  
Vol 28 (1) ◽  
pp. 73-78
Author(s):  
Venelin Terziev ◽  
Marin Georgiev
Keyword(s):  
20Th Century ◽  
Structural Changes ◽  
Cumulative Effect ◽  
Professional Culture ◽  
Social Revolution ◽  
Modern Times ◽  
The World ◽  
History Of ◽  
Scientific Technical ◽  
The Subject

The subject of this article is the genesis of the professional culture of personnel management. The last decades of the 20th century were marked by various revolutions - scientific, technical, democratic, informational, sexual, etc. Their cumulative effect has been mostly reflected in the professional revolution that shapes the professional society around the world. This social revolution has global consequences. In addition to its extensive parameters, it also has intensive ones related to the deeply-rooted structural changes in the ways of working and thinking, as well as in the forms of its social organization. The professional revolutions in the history of Modern Times stem from this theory.Employees’ awareness and accountability shall be strengthened. The leader must be able to formulate and bring closer to the employees the vision of the organization and its future goal, to which all shall aspire. He should pay attention not to the "letter" but to the "spirit" of this approach.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Las presencias de la Reto´´rica en la obra de Alfonso Reyes: Esbozo de una evolucio´´n

2003 ◽  
Vol 21 (3) ◽  
pp. 149-174
Author(s):  
Eugenia Houvenaghel
Keyword(s):  
20Th Century ◽  
Spanish America ◽  
Classical Rhetoric ◽  
Spanish American ◽  
Third Phase ◽  
The World ◽  
Alfonso Reyes ◽  
The Subject ◽  
American Society

The Mexican diplomat Alfonso Reyes (1889––1959) was notable in the cultural panorama of Spanish America in the first half of the 20th century for his acquaintance with classical rhetoric, a discipline rarely studied at that time in that part of the world. This article distinguishes four aspects of rhetoric throughout Reyes' oeuvre: (i) a vulgar sense, (ii) an erudite sense, (iii) classical theories, (iv) and modern applications. In his early work, Reyes uses rhetoric in a pejorative and vulgar sense. Around the year 1940, Reyes starts to show a lively interest in rhetoric, opts definitively for an erudite sense of the term, and initiates the study of the classical art of persuasion. In his third phase, Reyes gains deeper knowledge of rhetoric, lectures on the subject, and explains his favorite orators andtheorists. Finally,his use of rhetoric reveals a commitment to the reality of Spanish America. Reyes' rhetoric is an "actualised" and "Americanised" version that shows the possibilities of the classical art of persuasion in Spanish American society.

scholarly journals Affective Pre-Givenness and Accumulation of Oneself

2021 ◽  
pp. 45-49
Author(s):  
Anatolii S. Sharov
Keyword(s):  
Effective Communication ◽  
The Self ◽  
Genetic Phenomenology ◽  
Passive Synthesis ◽  
The World ◽  
The Subject

Based on the analysis of the previously unpublished heritage of Eh. Husserl, the so-called “Bernau-manuscripts” in the horizon of genetic phenomenology, a holistic consideration of subjectivity from the affectively pre-given to the Self as a collection of the self is outlined. Passive synthesis and passive genesis are analysed at the level of sensuality, which refers to the pre-predicative experience of affеction and genetically precedes the thematic correlation between the subject and the world. The accumulation of one’s own Self takes place in onto-reflexive processes through effective communication. Where the Self itself is the identical center, the pole with which the entire content of the stream of experiences is correlated.

scholarly journals Review of Oliveirania santa catharinae (sic) Maury 1927 and associated ichnofossils (Itararé Group, Late Carboniferous of Paraná Basin, Brazil)

Terr Plural ◽  
2021 ◽  
Vol 15 ◽  
pp. e2117741
Author(s):  
Rafael Costa da Silva ◽  
◽  
Antonio Carlos Sequeira Fernandes ◽  
Keyword(s):  
20Th Century ◽  
Late Carboniferous ◽  
Santa Catarina ◽  
The World ◽  
First Occurrence ◽  
Paraná Basin ◽  
The Subject ◽  
Parana Basin

The sedimentary layers of Anitápolis, Santa Catarina, were the subject of relevant discussions about age and paleoenvironment in the first half of the 20th century. Today they are correlated to the ritmites from Itararé Group, but some of the fossils that are part of these studies were not subsequently revised. This is the case of Oliveirania santa catharinae (sic) Maury 1927, a species originally attributed to annelids, and the ichnofossils attributed to it by association. The Annelida fossils were considered here as pseudofossils of inorganic origin. The ichnofossils attributed to Oliveirania were redescribed as a new ichnospecies, Pterichnus mauryae isp. nov., possibly related to the activity of crustaceans. This is the first occurrence of Pterichnus in Brazil and the oldest in the world.

James and Hume

2018 ◽  
Author(s):  
Yumiko Inukai
Keyword(s):  
Critical Point ◽  
The Self ◽  
Ordinary Sense ◽  
Discrete Elements ◽  
Temporal Continuity ◽  
The World ◽  
Subject And Object ◽  
Pure Experience ◽  
The Subject

James contends that the rejection of conjunctive relations in experience leads Hume to the empirically groundless notion of discrete elements of experience, which James takes as the critical point that differentiates his empiricism from Hume’s. In this chapter, I argue that James is not right about this: Hume not only allows but employs experienced conjunctive relations in his explanations for the generation of our naturally held beliefs about the self and the world. There are indeed striking similarities between their accounts: they both use the relations of resemblance, temporal continuity, constancy, coherence, and regularity, and the self. Also, objects are constructed out of basic elements in their systems—pure experience and perceptions, respectively. Although collapsing the inner and outer worlds of the subject and object into one world (of pure experience for James and of perceptions for Hume) may seem unintuitive, this is exactly what allows them to preserve our ordinary sense of our experiences of objects.

Introduction

2019 ◽  
pp. 1-11
Author(s):  
Matthew C. Bingham
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
The Self ◽  
Men And Women ◽  
Self Identity ◽  
English Revolution ◽  
The World ◽  
Central Argument ◽  
To Come ◽  
Considerable Body

Ushering the reader into both the world of early modern radical religion and the considerable body of scholarly literature devoted to its study, the introduction offers a précis of what is to come and a backward glance to explain how the proposed journey contributes to ongoing scholarly conversations. After orienting readers to the basic methodological boundaries within which the book will operate and briefly situating the book within the wider historiography, the introduction adumbrates the shape of the work as a whole and encapsulates its central argument. The introduction contends that the mid-seventeenth-century men and women often described as “Particular Baptists” would not have readily understood themselves as such. This tension between the self-identity of the early modern actors and the identity imposed upon them by future scholars has significant implications for how we understand both radical religion during the English Revolution and the period more broadly.

Nishida, Kitarō [西田 幾多郎] (1870–1945)

2018 ◽  
Author(s):  
Ben Van Overmeire
Keyword(s):  
Pacific War ◽  
Kyoto School ◽  
Distinctive Features ◽  
The Pacific ◽  
Meiji Era ◽  
Pure Experience ◽  
The Subject ◽  
Nishida Kitaro ◽  
Foreign Ideas ◽  
East West

Arguably the most important Japanese philosopher of the 20th century, Nishida Kitarō was one of the first thinkers to engage deeply with the sudden massive influx of foreign ideas that characterized the Meiji era, while still maintaining a distinctive place for Asian ideas. Beginning with An Inquiry into the Good (1911), Nishida’s lifelong philosophical goal was to identify the foundation of consciousness and existence, something he later called the "place" [basho]. Successive works identified this foundation as "pure experience," "absolute will," and, finally, "absolute nothingness." All these "places" have in common the fact that they lack any distinctive features: being fields (another term Nishida employs) that contain oppositions (such as subject-object, me-you, knowledge-feeling), they cannot of themselves have distinguishable qualities. Although Nishida’s actions during the Pacific War have been the subject of significant debate, his influence is uncontested: the so-called Kyoto School of Japanese philosophy comprises those building on or reacting to his ideas. Because he valued both Christian and Buddhist traditions, Nishida has also been a pivotal figure in East-West religious dialog.

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