Ralf Müller

Adam Loughnane

Raquel Bouso

This book presents the first collection of essays on the philosophy of Ueda Shizuteru in a Western language. Ueda, the last living member of the Kyoto school, has fostered the East-West dialogue in all his works and has helped to open up the Western image of philosophy by engaging the Zen tradition. The book reflects this particular trait of Ueda’s philosophy, but it also covers all thematic fields of his writings. Contributions from both young and established scholars and experts from Japan, Europe and the U.S. make this a unique introduction to and reception of Ueda’s philosophy. Readers will discover discussions of mysticism in the East and West, and consideration of modern philosophy topics including self-awareness, nature and poetic language. The book also presents a focussed look at language and nothingness, considering silence and nihilism. Chapters allow the reader to understand the timeliness of a thinking that mediates and transcends the dichotomy of East and West. This volume will appeal not only to scholars of Nishida, Japanese philosophy, mysticism and religious experience in Japan, but also to scholars of Western philosophy, especially those interested in Meister Eckhart, Martin Heidegger and Martin Buber. It makes an ideal introduction to Zen philosophy and presents important contributions to scholarship on language and experience.

Language, Experience, and Zen

Tetsugaku Companion to Ueda Shizuteru

Places the phenomenologies of Merleau-Ponty and Nishida in dialogue and uncovers a demand for a motor-perceptual form of faith in both philosophers’ meditations on artistic expression. In Merleau-Ponty and Nishida, Adam Loughnane initiates a fascinating new dialogue between two of the twentieth century’s most important phenomenologists of the Eastern and Western philosophical worlds. Throughout the book, the reader is guided among the intricacies and innovations of Merleau-Ponty’s and Nishida’s ontological approaches to artistic expression with a focused look at a rarely explored connection between faith and negation in their philosophies. Exploring the intertwining of these concepts in their broader ontologies invokes a reappraisal of the ambiguous status of religion and art in the writings of both thinkers. Measuring these ambiguities, the ontologies of Flesh and Basho are read in-depth alongside great artworks and the motor-perceptual practices of seminal landscape artists such as Cézanne, Sesshū, Taiga, and Hasegawa, as well as other major figures of European, Chinese, and Japanese art history. Loughnane studies these artists’ bodily practices, focusing on the intimate relations realized with the landscapes they paint, and illuminating a valence of their expressive disciplines as a motor-perceptual form of faith. Merleau-Ponty and Nishida is an exciting intercultural reading, expanding two philosophers’ projects toward new horizons of research, revealing incitements in their writings that challenge unambiguous distinctions between art, philosophy, faith, and ultimately philosophy East and West. Adam Loughnane is Assistant Professor of Philosophy at University College Cork, Ireland.

Artistic Expression as Motor-Perceptual Faith

Merleau-Ponty and Nishida

Places the phenomenologies of Merleau-Ponty and Nishida in dialogue and uncovers a demand for a motor-perceptual form of faith in both philosophers’ meditations on artistic expression. In Merleau-Ponty and Nishida, Adam Loughnane initiates a fascinating new dialogue between two of the twentieth century’s most important phenomenologists of the Eastern and Western philosophical worlds. Throughout the book, the reader is guided among the intricacies and innovations of Merleau-Ponty’s and Nishida’s ontological approaches to artistic expression with a focused look at a rarely explored connection between faith and negation in their philosophies. Exploring the intertwining of these concepts in their broader ontologies invokes a reappraisal of the ambiguous status of religion and art in the writings of both thinkers. Measuring these ambiguities, the ontologies of Flesh and Basho are read in-depth alongside great artworks and the motor-perceptual practices of seminal landscape artists such as Cézanne, Sesshū, Taiga, and Hasegawa, as well as other major figures of European, Chinese, and Japanese art history. Loughnane studies these artists’ bodily practices, focusing on the intimate relations realized with the landscapes they paint, and illuminating a valence of their expressive disciplines as a motor-perceptual form of faith. Merleau-Ponty and Nishida is an exciting intercultural reading, expanding two philosophers’ projects toward new horizons of research, revealing incitements in their writings that challenge unambiguous distinctions between art, philosophy, faith, and ultimately philosophy East and West. “Loughnane illuminates the ambiguous, chiasmatic, and dynamic relationality between the body and the world, providing concrete examples from art history East and West. He not only skillfully explains Nishida’s and Merleau-Ponty’s ontological notions, but also puts their philosophy to the test of art works, proving that their thinking reveals an important truth of art.” — Takeshi Kimoto, Chukyo University

Adam Loughnane

About

Books

Join the club