In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need (...) emerging among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

This is the first book to explore the cognitive science of effortless attention and action. Attention and action are generally understood to require effort, and the expectation is that under normal circumstances effort increases to meet rising demand. Sometimes, however, attention and action seem to flow effortlessly despite high demand. Effortless attention and action have been documented across a range of normal activities--from rock climbing to chess playing--and yet fundamental questions about the cognitive science of effortlessness have gone largely unasked. (...) -/- This book draws from the disciplines of cognitive psychology, neurophysiology, behavioral psychology, genetics, philosophy, and cross-cultural studies. Starting from the premise that the phenomena of effortless attention and action provide an opportunity to test current models of attention and action, leading researchers from around the world examine topics including effort as a cognitive resource, the role of effort in decision making, the neurophysiology of effortless attention and action, the role of automaticity in effortless action, expert performance in effortless action, and the neurophysiology and benefits of attentional training. -/- Contributors: Joshua M. Ackerman, James H. Austin, John A. Bargh, Roy F. Baumeister, Sian L. Beilock, Chris Blais, Matthew M. Botvinick, Brian Bruya, Mihaly Csikszentmihalyi, Marci S. DeCaro, Arne Dietrich, Yuri Dormashev, László Harmat, Bernhard Hommel, Rebecca Lewthwaite, Örjan de Manzano, Joseph T. McGuire, Brian P. Meier, Arlen C. Moller, Jeanne Nakamura, Evgeny N. Osin, Michael I. Posner, Mary K. Rothbart, M. R. Rueda, Brandon J. Schmeichel, Edward Slingerland, Oliver Stoll, Yiyuan Tang, Töres Theorell, Fredrik Ullén, Robert D. Wall, Gabriele Wulf. (shrink)

Bhattacharyya, K. The Advaita concept of subjectivity.--Deutsch, E. Reflections on some aspects of the theory of rasa.--Nakamura, H. The dawn of modern thought in the East.--Organ, T. Causality, Indian and Greek.--Chatterjee, M. On types of classification.--Lacombe, O. Transcendental imagination.--Bahm, A. J. Standards for comparative philosophy.--Herring, H. Appearance, its significance and meaning in the history of philosophy.--Chang Chung-yuan. Pre-rational harmony in Heidegger's essential thinking and Chʼan thought.--Staal, J. F. Making sense of the Buddhist tetralemma.--Enomiya-Lassalle, H. M. The mysticism of Carl (...) Albrecht and Zen.--Parrinder, G. The nature of mysticism.--Cairns, G. E. Axiological contributions of East and West to the spiritual development of mankind.--Mayeda, S. Śaṇkara's view of ethics.--Mercier, A. On peace.--Barlingay, S. S. A discussion of some aspects of Gaudapāda's philosophy. (shrink)

The question of Theodicy demands a reasonable justification of the nature, structures and goals of evil and suffering in the world. The paper attempts to explain the reasons for its presence in our lives and seeks to unveil its principles. If God is all knowing, almighty and also merciful, we must face the problem of the presence of evil and suffering in this world. The main goal of the paper is to show the way the New Testament deals with this (...) question, and further to show to what extent it has influenced the life of Christians from the point of view of teleology. (shrink)

This book introduces a new category, in-between, that will have a far-reaching impact on classic ways of thinking. Husserl's description of consciousness and Whitehead's criticism of the prejudice of simple location are two starting points. Relativity theory's radical changes in the conception of space and time also motivate some of the lines of thought.

The point of departure of this essay is a paradox in traditional conceptions of historical objectivity. This paradox can best be analyzed in terms of the notion of the “double bind”: the requirement of historical objectivity is formulated in such a way that it is impossible to satisfy the requirement. The substance of this essay is an investigation of how J. M. Coetzee deals with the moral impasses of this double bind in his most recent novel, Elizabeth Costello . In (...) essence Coetzee forces his way through the double bind by an appeal to a direct experience of the world. The Spinozism implied by this strategy is indicated at the end of the essay. The analysis of Coetzee’s novel is preceded by a discussion of Kafka’s “Before the Law,” since the relevant part of Coetzee’s novel clearly is a paraphrase of the Kafka parable. Moreover, insight into the textual double binds in the Kafka parable contributes to an understanding of the moral double binds that are addressed in Elizabeth Costello. (shrink)

Narrativist philosophy of history rejects all attempts to establish an epistemological link between the past and its historical representation. Two forms of narrativism should be distinguished. The first form attacks epistemology by stressing the autonomy of historical writing with regard to the past itself ; the second form does the same by de-contextualizing the elements of the past—the very idea of the past thus becomes problematic and epistemological queries can no longer even be formulated. The first form of narrativism is (...) synthetical, suggesting that the historian should construct broad panoramical views of the past ; the second, on the contrary, aims at a dispersive dissolution of the past. The article concentrates upon the dispersive form of narrativism. It is exemplified in Ginzburg's 'micro-storie'. The implication that these 'micro-storie' should not primarily be seen as historiography in the proper sense of the word but rather as a form of narrativist philosophy of history (expressing a theory of historical representation) is accepted wholeheartedly. It is shown that the 'micro-storie' come very close to Derrida's deconstructivist reading of texts. For in both cases we have to do with 'ruptures' announcing themselves in small, seemingly insignificant details. The conclusion of the article is that the synthetical and the dispersive forms of narrativism need each other and that we can give meaning to the concept of an objective historical reality only if we accept both of them. (shrink)

Der Begriff „Globalisierung“ wird zunehmend nicht nur in den Disziplinen der Ökonomie und der Kommunikationswissenschaft diskutiert, sondern auch in den Gesellschafts- und Erziehungswissenschaften sowie insbesondere in der Interkulturellen Philosophie. Der Diskurs über Globalisierung verläuft dabei teilweise analog demjenigen über Inter- und Multikulturalität. Die Beiträge dieses Bandes geben ein breites Spektrum wieder. Sie reichen von der Konstatierung der Globalisierung als einer Rahmenbedingung, zu der man sich als Wissenschaftler reflexiv oder reaktiv zu verhalten habe, über die Analyse diverser Teilaspekte und über visionäre (...) Einforderungen utopischer Globalisierungsauslegungen bis zur Negierung ihrer erkenntnistheoretischen Bedeutung. Das Gemeinsame dieser Vielfältigkeit ist die Bestimmung des Globalen als eines Szenarios der Begegnung. (shrink)