Background The number of medical lawsuits in Japan was between 14 and 21 each year before 1998, but increased to 24 to 35 per year after 1999. There were 210 lawsuits during this 10-year period. There is a need for skills and knowledge related to ethics, which is as fundamental to the practice of medicine as basic sciences or clinical skills. in Japan education in ethics is relatively rare and its importance is not yet recognized. Establishing ethics education using legal (...) precedents, which has already been achieved in Western countries, will be a very important issue in Japan. In the present study, a questionnaire survey was conducted among graduate intern doctors, in order to investigate whether ethics education using precedents might have a positive effect in Japan. Methods In 2002, a questionnaire survey entitled Physicians' Clinical Ethics was carried out in a compulsory orientation lecture given to trainees before they started clinical practice in our hospital. The attendees at this lecture were trainees who came from colleges in various districts of Japan. During the lecture, 102 questionnaires were distributed, completed by attendees and collected. The recovery rate was 100%. The questionnaire consisted of 22 questions (in three categories), of which 20 were answered by multiple choices, and the other two were answered by description. The time required to complete the questionnaire was about 10 minutes. Results The recovered questionnaires were analyzed using statistical analysis software (SPSS for Windows, Release 10.07J-1/June/2000), in addition to simple statistical analysis. answers using multiple choices for the 20 questions in the questionnaire were input into SPSS. The principal component analysis was performed for each question. As a result, the item that came to the fore was "legal precedent". Since many intern doctors were interested in understanding laws and precedents, learning about ethical considerations through education using precedents might better meet with their needs and interests. Conclusion We applied a new method in which the results of principal component analysis and frequencies of answers to other questions were combined. From this we deduced that the precedent education used in Western countries was useful to help doctors acquire ethical sensitivity and was not against their will. A relationship was found between reading precedents and the influence of lawsuits, and it was thought that student participation-type precedent education would be useful for doctors in order to acquire ethical sensitivity. (shrink)

Much of the contemporary philosophical literature on authenticity is secondary work on figures like Kierkegaard, Nietzsche, Heidegger, Sartre, and Camus. I would like to find a different voice by searching for inspiration in the artistic expression that the theme of authenticity has found in the oeuvre of the Japanese film-maker Akira Kurosawa. To be authentic is to be true to ourselves. But what is it to be true to ourselves? The locution suggests that authenticity has something to do with (...) the self and has something to do with being truthful or sincere. Kurosawa’s *Ikiru* illustrates that authenticity requires the creation of a coherent self-image. *Rashomon* illustrates that authenticity requires an attitude of sincerity. -/- There is a tension between both components, which accounts for the precarious nature of the project of authenticity. Much of Kurosawa’s oeuvre can be seen as an exploration of this theme. (shrink)

El presente trabajo expone la conexión entre dos antropologías que huyen de la abstracción y muestran los aspectos más humanos del ser humano: las antropologías de Horkheimer y Kurosawa. El texto presentará la denuncia de la instrumentalización de la época contemporánea y la falta de individuación de los sujetos por parte de ambos autores. Defenderemos la tesis de que tanto Horkheimer como Kurosawa promovieron un tipo de ética alejada de imperativos categóricos o deberes metafísicos, una ética eudemonista basada (...) en la búsqueda de la felicidad individual. Aunaremos la denuncia de la instrumentalización de la época contemporánea con la defensa de un individuo que lucha contra su reificación. Por último, daremos nuestra opinión personal en el apartado Conclusiones. (shrink)

Reviews : Kozo Uno, Principles of Political Economy : Theory of a Purely Capitalist Society, Make to Itoh, Value and Crisis: Essays on Marxian Economics in Japan.

Akira Kurosawa is arguably known as the director who opened up Japanese film to Western audiences and following his death in 1998, a process of reflection has begun about his life's work as whole and its legacy to the cinema and its global audiences. Rashomon has arguably become the best known Japanese film, ever. After this, his twelfth film, Kurosawa's reputation was firmly established in international cinema, and Rashomon continues to be discussed and imitated more than sixty years (...) after its first screening. This volume addresses issues beyond the realm of Rashomon within film studies, and to do with the Rashomon effect which itself has become a widely recognized English term referring to significantly different perspectives and interpretations of different eyewitnesses to the same dramatic event. The dual figures of ripples and circles comprise the organizing image and principle of this book as each chapter addresses either the movement of ripples, representing the continuing and vibrant influence of Rashomon effects into the twenty-first century, or of circles, representing specific events, such as the publication of a new script, a particular production, or a remake. (shrink)

In the first part of the paper, I try to clarify the cluster of moods and questions we refer to generically as the problem of the meaning of life. I propose that the question of meaning emerges when we perform a spontaneous transcendental reduction on the phenomenon my life, a reduction that leaves us confronting an unjustified and unjustifiable curiosity. In Part 2, I turn to the film ikiru, Kurosawa''s masterpiece of 1952, for an existentialist resolution of the problem.

Alain Badiou in his philosophy on ethics underscores four fields of truth procedures—love, politics, art, and science—that seek to break with the existing order or conventional flow of things. These four fields indicate both collective (politics, art, and science) as well as individual (love) instances of the subject’s relationships and actions. The individual realm of ‘love’, which is the central focus of this study, however, as a generic, complex category does not clearly explicate the significance of the associated concept, friendship. (...) Akira Kurosawa’s filmography is illustrative as it opens up a possibility for disentangling the concept of friendship from love along with making significant contributions to the ethics of truth, particularly with respect to the “friendship event”. His films vividly capture some of the essential themes of Badiou’s philosophy of truth ethics, including “break”/“encounter”, referred to as ‘event’, “keep going”/“perseverance”, and “fidelity”. Even if the philosophers Badiou and Kurosawa do not make direct references to each other’s works, this research reveals significant parallels between cinephilosophy created through “cine-images” and the written philosophy. By analyzing Kurosawa’s films in the light of Badiou’s philosophy of truth ethics, and vice versa, this study embarks on exploring the complementarities between the works of the two. The study showcases how love and friendship as truth procedures are formed in particular contexts in Kurosawa’s filmography, and how they intersect with other truth events, particularly politics. Most importantly, this study does not view Badiou’s “truth events” such as love, friendship, and politics as mutually exclusive categories; rather, they are seen as complementary in practice. (shrink)

Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially (...) competent in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components... (shrink)

This essay is part of a doctoral dissertation presented to the Department of Philosophy, University of São Paulo, in 1993, named 'Genealogy of the Real' . Its core idea is a Nietzschean approach to a masterpiece among philosophical inspired movies, namely, Akira Kurosawa's Rashomon, which surely touches deep groundings of the concept of truth and reality.

The debate around labour power, and particularly regarding its status as the ‘most peculiar’ of commodities, has been widely revisited in contemporary Marxist thought and critical theory. This concept, which has often resurfaced in works by Negri, Spivak, Virno and numerous other contemporary thinkers, has a long prehistory in the work of Marx and subsequent Marxist theorists, perhaps most importantly in the work of Uno Kōzō, arguably the most influential and widely known Marxist thinker in modern Japan. Uno’s work, and (...) particularly his major theoretical works of the 1950s, developed an entirelogicalanalysis of the peculiar position of the labour-power commodity within capital’s drive, noting that this site marks the place wherein capital’slogical interiorand itshistorical exteriorinterpenetrate each other, generating a volatile force of excess at the core of capital’s supposedly smooth and pure circuit-process. By developing around this point an extensive theoretical discussion of its dynamics ofimpossibilityorirrationality, centred on a term –muri– that he raises to the level of a concept, Uno formulates a series of original theses in methodology, on the concept of population, and particularly around the figures of thelogicaland thehistoricalin the critical analysis of capitalism. Focusing in particular on this ‘impossibility’ ormurithat is nevertheless constantly ‘passing through’ the capital-relation, this essay investigates the entire range of Uno’s analysis, revealing not only a crucial thread of theoretical inquiry that remains contemporary for us today, but also another set of possibilities linking the critique of political economy to the renewal of revolutionary politics. (shrink)

_Seven Samurai_ Directed by Akira Kurosawa Japan, 1954.

Name der Zeitschrift: Zeitschrift für kritische Sozialtheorie und Philosophie Jahrgang: 4 Heft: 1-2 Seiten: 177-208.

Dalla figura di Macbeth emerge l'idea di un'epoca crudele e violenta, che tende a esaltare gli aspetti brutali e malvagi dell'uomo.

_Rashomon_ Directed by Akira Kurosawa Japan, 1951.

Many of us have experienced a peculiar feeling of freedom, of the world being open before us. This is the feeling that is captured by phrases like “the freedom of the open road” and “free spirits,” and, to quote Phillip Larkin, “free bloody birds” going “down the long slide / To happiness, endlessly.” This feeling is associated with the ideas that my life could go in many different directions and that there is a vast range of things that I could (...) become. It arises in concert with a wide range of human experiences, including experiences of artistic creation, play, fun, and resistance to authority. This freedom of openness and spontaneity, which I call spontaneous freedom, is central to our ordinary talk about freedom. Yet it is a phenomenon largely ignored in discussions of freedom in contemporary moral philosophy. This is because moral philosophers are primarily concerned to identify the sort of freedom that is a prerequisite for moral responsibility, and so focus on deliberate, voluntary action rooted in rational choice. When moral philosophers do discuss spontaneous freedom, it is often to disparage it as, in the words of Harry Frankfurt, the freedom of “the wanton” whose liberty is merely that of “anarchic impulsive behavior.” My dissertation develops a theory of spontaneous freedom and of the role it does and should play in our lives, including our moral and political lives. I argue that, to do full justice to the human aspiration for freedom, moral and political theory must recognize the value of spontaneity. Through a study of characters from stories and films by Virginia Woolf, Saki, Akira Kurosawa, and Aman Sethi, I develop a phenomenological account of the nature of spontaneous freedom. I argue that we experience spontaneous freedom when we experience our actions as arising out of ourselves but not fixed in advance either by the decisions of other agents or by our own preexisting commitments or plans. I further argue that spontaneous freedom is valuable because it allows for the distinctive pleasure of feeling that one’s life is unforetold and that one is among the sources of novelty in the world, a feeling that is central to artistic creativity. It also affords solace from the anxiety associated with the inevitability of death. As with many experiences, like falling in love or seeing an alpine lake, experiences of spontaneous freedom are most valuable when they are veridical. But even the subjective experience of spontaneous freedom, I suggest, activates our awareness of and openness to possibility. Achieving this awareness, at least on occasion, is valuable because it provides us with a sense of our own psychological potential and sharpens a skill that contributes to practical deliberation. My claim that spontaneous freedom is valuable conflicts with a popular account of the self. According to that account—endorsed by a number of moral philosophers but most famously associated with Christine Korsgaard—the ideal self is one that is well-ordered, actively constituted through rational deliberation. Such integrity theories of the self are attractive because they provide an account of agency according to which ideal moral agents invariably endorse their own actions and beliefs. Integrity theories view freedom as involving rational, deliberative control of one’s actions. But I argue that integrity theories forbid well-constituted moral agents to seek out experiences of spontaneous freedom: such agents must act in a manner that they antecedently and reflectively endorse, while spontaneous freedom requires acting in a manner not antecedently fixed by one’s own decisions. Insofar as spontaneous freedom is a kind of freedom that we do and should value, my account exerts pressure on this standard view of agency and the self. My account of spontaneous freedom also has important political implications. One version of liberal theory holds that the only sort of political freedom worth having is the freedom of each individual to effectively exercise choice compatibly with every other individual doing likewise. On this picture, I have all of the freedom that I could want if I am able to choose autonomously and act in accordance with my choices. But I argue that a community that secures this liberal variety of freedom does not yet provide its members with all the freedom for which people rightly yearn. When public and private institutions arrange our circumstances in ways that make the courses of our lives predictable, our own choices about how to act may be largely settled by the plans and decisions of other agents. This in turn makes it difficult for us to regard our futures as open in the way that is characteristic of experiences of spontaneous freedom. States should promote spontaneous freedom by providing the material and social preconditions for us to feel that our lives could head in radically different and unanticipated directions. (shrink)

Adaptations have varied relations to their source material, making it hard to formulate a general theory. Avoiding the attempt, we characterize a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source's framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation with a radically shifted perspective on the relation between character and (...) situation compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations. (shrink)

Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony of cinema, each chapter begins by focusing upon (...) one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

In his doctoral dissertation, Harold Garfinkel critically examined Talcott Parsons' classical formulation of the problem of order referred to as the Hobbesian problem. Garfinkel's criticism can be summarized under the following three headings: (1) common sense rationality replaces scientific rationality; (2) the level of the premises of conduct replaces the level of de facto action; (3) congruence theory replaces the correspondence theory. The aim of this paper is to make some observations on the structure of the problem of order which (...) Garfinkel discovered through this criticism. I propose to call it the Rashomon problem after Akira Kurosawa's film Rashomon. Ethnomethodology can be regarded as an attempt to solve the Rashomon problem. (shrink)

A close analysis of the specifically cinematographic procedure in Akira Kurosawa’s ‘Dream’ Crows reveals it as an articulated and insightful philosophical statement, endowed with general relevance conceming ‘natural’ perception, phenomenological Erlebnis, mechanical image and aesthetic rapture. The antagonism between the Benjarninian lineage of a mechanical irreducibility of the cinematic image to anthropocentric categories, and the Cartesian tradition of a film-philosophy still relying on the equally irreducible structure of the intentional act, be it the one of a deeply embodied and (...) enworlded counsciousness, in accounting for the essential structure of film and spectator (and their relation), i.e., the antagonism between the decentering primacy of the image and the self-centered primacy of perception, cannot be settled through a simple Phenomenological shift from occularcentric, intentional counsciousness to its embodyment ‘ in-the-world’ as yet another carrier of intentionality. Still it remains to be explained what is it in the mechanical image that is able to so deeply affect the human flesh, and conversely, to what features in the human bodily experience is its mechanical other, the fascinating image, so successfuly adressing? It should be expected from the anti-Cartesianism of both the early and the late Merleau- Ponty the textual support for an approach to the essential condition of passivity in movie watching, that would be convergent with Benjamin. The Chapter ‘Le sentir’, in Phénoménologie de la perception, will offer us the proper guide to elucidate what we are already perceiving and conceiving in Kurosawa’s film, where the ex-static phenomenological body of the aesthetical contemplator ‘ enters the frame’ like the Benjaminian surgeon enters the body and like the painter - and always already like our deepest levei of ‘sensing’, previously to any act of cousciousness - ‘just looses himself in the scene before him’. The Polichinello secret of cinema watching is nonetheless too evident to be seen, and that is where Phenomenological description and reduction are still required. (shrink)

The Rashomon effect – a phenomenon studied in the arts and social sciences – occurs when the same event is given contradictory interpretations by different individuals involved. The effect was named after Akira Kurosawa's 1950 film Rashomon, in which a murder is described in four contradictory ways by four witnesses. In the film, a samurai has been killed under mysterious circumstances. Four people give contradictory reports about the crime. In particular, the samurai's wife claims that she was sexually abused (...) by a bandit, fainted, and then awoke to find her husband dead; the bandit claims that he seduced the wife and challenged the samurai in a battle to victory or at least to an honorable death; the woodcutter (who may have been an onlooker) claims that he witnessed the rape and murder but was not involved; and the dead samurai's spirit claims that he committed suicide. The Rashomon effect is not only about constructing different versions of the world based on differences in perspective; it occurs when such differences appear together with the absence of evidence to assess any version of the truth, plus “the social pressure for closure on the question.” In this commentary, we describe the relevance of the Rashomon effect beyond the arts and social sciences, namely in the field of biology. We use examples from redox biology, which is full of contradictions, thus making it fertile ground on which to apply reasoning derived from the Rashomon effect. (shrink)

One of several life-affirming themes in Viktor Frankl’s classic Man’s Search for Meaning is the inviolate character of human freedom. Contrasting what he calls “inner freedom” with the dire external restrictions he experienced as a prisoner at Auschwitz and other concentration camps, Frankl insists that no matter how restrictive and dehumanizing one’s situation, the exercise of this internal freedom is always a possibility. Similar sentiments are found in Camus’s The Myth of Sisyphus. Though it contains elements of a typical 1980s (...) American action movie, on closer inspection, Andrei Konchalovsky’s 1985 film, Runaway Train, proves far from typical. In interviews, Konchalovsky draws parallels between the film—based on an original screenplay by Akira Kurosawa—and philosophical themes in Dostoyevsky, and identifies the “relativity of freedom” as one of its primary concerns. My article uses Konchalovsky’s Runaway Train to shed light on the hard-won vision of the inviolate nature of human freedom on display in Frankl’s Man’s Search for Meaning. (shrink)

The unique conceptual status of Thomas Sekine’s approach to Marx’s Capital and capitalism, heavily indebted to Kōzō Uno’s work, will be analyzed by setting against its own theoretical counterparts, orthodox dialectical materialism. It will also be shown that Sekine’s critique of dialectical materialism differs from other neo-Hegelian perspectives or Althusser’s anti-Hegelian structuralism. These comparisons unearth Sekine’s concealed epistemological preoccupations: totality, subsumption of labor, self-commodification, historical indeterminacy and the logico-historical error. Last, Sekine also considered neoclassical economics as another form of unfounded (...) orthodoxy both in conceptual and empirical terms, which he emphasizes in his analysis of the current phenomenon of financialization. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (1997, by Satoshi Kon), (...) Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Seguindo os passos de Stanley Cavell e de Stephen Mulhall, argumentarei neste artigo que o cinema pode oferecer contribuições genuínas para a filosofia. Para tanto procurarei mostrar que os principais obstáculos para considerar o cinema como capaz de fazer filosofia derivam de pontos de vista bastante restritivos sobre a natureza da racionalidade, da cognição, do significado - e, finalmente, da filosofia e do cinema eles mesmos. Apresentarei alguns desses obstáculos e indicarei formas de removê-los, adotando uma interpretação mais ampla dessas (...) noções. A compreensão resultante será então elaborada em mais detalhes por meio da leitura de um filme específico - Rashomon, de Akira Kurosawa - que considero uma obra exemplar de ficção cinematográfica capaz de refletir filosoficamente sobre a natureza da realidade e de nossa própria existência. Essa leitura será enriquecida por meio de um "interlúdio heideggeriano" que trata da importância dos estados de ânimo para nos sintonizar com o mundo. Finalmente, e com essas considerações em mãos, concluirei minha análise de Rashomon e farei um balanço dos resultados. (shrink)

Taking as starting point Akira Kurosawa’s film, I analyse the tension between the reconstructive nature of memory and the possibility of knowing truths from the past, and I explore if the tendency to align our personal memories to our present interests necessarily leads to an sceptic and relativistic vision of the knowledge from the past.

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore the (...) effect of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)

Sivadó Ákos javasolt megértés-koncepciójában arra is törekszik, hogy a megértés folyamata ne váljék szélsőséges relativizálássá, amely a maga eredményét is kétségessé teheti. Arra a következtetésre jut, hogy mindkét filozófus tanai – különbözőségük ellenére – értelmezhetők egy megértés-elmélet közös alapjaként. Úgy véli, a megértés a társadalomtudományok egyik hivatása, e módszer alkalmazása pedig tudományos igényű ismereteket generál. A lábjegyzetekkel kísért, nemzetközi szakirodalmat fölvonultató bibliográfiával záródó értekezés filozófiai, tudományelmélet, ismeretelméleti szakrészlegek állományába tartozik.

O argumento do filme Rashômon de Akira Kurosawa suscita de um modo provocatório o problema a que o presente artigo pretende dar uma resposta. Como é possível discernir, em relação a um facto histórico, o verdadeiro do falso? Existe um saber capaz de nos ajudar a regular e a orientar o nosso juízo nas experiências humanas? Mostra-se, com efeito, que tanto para Pascal como para Kierkegaard existe um saber específico que tem por objecto o mundo histórico; este saber é (...) a fé, a crença. Mas se para Pascal os conhecimentos de carácter histórico, desde que submetidos a verificação adequada, podem alcançar o mesmo grau de certeza do saber científico, e se Pascal, com base nesta convicção, utilizou as provas históricas para demonstrar a verdade do cristianismo, para Kierkegaard, por sua vez, nenhuma verificação pode tornar certo aquilo que é constitutivamente incerto. Com Lessing, de facto, Kierkegaard defende que "verdades históricas fortuitas" não podem jamais tornar-se uma prova para as "verdades eternas da razão". /// The argument of Akira Kurosawa's movie Rashômon raises the question to which the present article aims at giving an answer. How is it possible to discern, regarding an historical fact, the true from the false? Is there a knowledge that can help us to regulate and to orient our judgment within the realm of human experience? For Pascal and for Kierkegaard there exists a specific wisdom that has as object the historical world, and this knowledge is faith, belief. But if for Pascal historical knowledge, once it is subjected to adequate verification, can reach the same degree of certainty as scientific knowledge, and if Pascal, on the basis of this conviction, has used the historical proofs in order to demonstrate the truth of Christianity, for Kierkegaard, on the other hand, there is no verification possible that can make certain that that is constitutionally uncertain. With Lessing, in fact, Kierkegaard defends that "fortuitous historical truths" can never become proof for the "eternal truth of reason". (shrink)