His book Some Japanese flowers of 1896. an original copy of which is in the collection of the J. Paul Getty Museum, features handcolored collotypes of flowers native to Japan, including the lotus, several varieties of chrysanthemum and lily ...

Various disciplines, including evolutionary biology, anthropology, archaeology, and psychology, have studied the evolution of rituals. Archaeologists have typically argued that burial practices are one of the most prominent manifestations of ritual practices in the past and have explored various aspects of burial practices, including burial directions. One of the important hypotheses on the cultural evolution of burial practices in Japan is the kitamakura hypothesis, which claims that burial directions (including Kofuns and current burials) were intended to be oriented toward the (...) north after the Kofun period under the influence of Confucianism or Buddhism. This hypothesis would be more plausible if burial directions were not oriented northward before the Kofun period. This research focused on the burial directions in the northern Kyūshū area of the Yayoi period, i.e., the directions of the kamekan jar burials. The results are almost consistent with the hypothesis, although one notable exception is found, and its possible interpretations and implications are discussed. (shrink)

The present study assesses imitative ability in chimpanzees and human children. A direct comparison of these two species was conducted in an object-manipulation task. The subjects were required to copy the model stack by stacking colored blocks in the same order as the model. Four juvenile/adolescent chimpanzees failed to copy the model stack even after a long training-period. Two adult chimpanzees eventually learned to copy the model stack of two blocks. However, they failed to copy the model of three blocks, (...) and analysis of their stacking patterns revealed that they only focused on the color of the top block in the model. Human children started to copy the model of two blocks when they were two years of age and gradually increased the number of successfully copied blocks. The results from both chimpanzees and humans are discussed in terms of the social intelligence involved in object manipulation. (shrink)

文献的知識の皮相ではなく、内部にひそむ日本独特の悲哀の感情を読む梅原日本学。縁故をもつ著者達が回顧しつつ思想的意義を説く。.

This essay retrieves the meaning and importance of renga, or linking poetry. Long forgotten, even in Japan, it was the form of which the great Bashō was the mater (not haiku as is now believed). When examining renga poetry, one can see that it is based not on authorial vision, but rather the trans-subjective mood that guides the different links made by the various poets who collaborate in the “rolling” of a renga. The radical implications of this form for both (...) aesthetics and ethics will be considered. (shrink)

越後長岡藩の知られざる逸材、藩儒・秋山景山に焦点を結び、文武にわたって藩政改革を担った藩儒の存在と歴史の実相を描く。.

東アジア共通の知の基盤を創った99人。日本・中国・韓国の3か国から各33名、近世の代表的思想家を紹介。単なる技術の学ではなく、儒学を基調として、自己修養や自然への畏敬など「心」を重んじる実心実学思想は 、東アジア世界の独自かつ共通の知的達成であった。近代以降を席巻した西洋の知的体系が大きな見直しを迫られるいま、東アジア独自の知の源泉を再認識する。.

Increasing psychophysical evidence suggests that specific image features - or statistics - can appear unpleasant or induce visual discomfort in humans. Such unpleasantness tends to be particularly profound if the image's amplitude spectrum deviates from the regular 1/f spatial-frequency falloff expected in natural scenes. Here, we show that profound unpleasant impressions also result if the orientation spectrum of the image becomes flatter. Using bandpass noise with variable orientation and spatial-frequency bandwidths, we found that unpleasantness ratings decreased with spatial- frequency bandwidth (...) but increased with orientation bandwidth. Similarly, a subsequent experiment revealed that sinusoidal modulations in the amplitude spectrum of 1/f noise along the spatial frequency increased unpleasantness, but modulations along the orientation decreased it. Given that natural scenes tend to have a linear slope along the spatial frequency but an uneven spectrum along the orientation dimension, our opposing results in the spatial-frequency and orientation domains commonly support the idea that images deviating from the spectral regularity of natural scenes can give rise to unpleasant impressions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music Teacher Education in Japan:Structure, Problems, and PerspectivesMasafumi OgawaSchool music education in Japan is in a less than ideal situation. In April 2002, the new course of study was implemented by the Ministry of Education, Culture, Sports, Science and Technology (MEXT).1 The total number of music classes in the new curriculum was reduced to 33% of what it had been by the end of 2002. The reduction went from (...) two hours of music classes every week in grades one through nine to one hour in grades five through nine. This inevitably caused many problems. First, it became very difficult to teach music sequentially and instead music classes tended to be fragments of introductory experiences taught as disconnected activities. In this situation, it has been difficult for students to develop musical knowledge and skills. Second, the number of full-time music teachers was reduced greatly. It became common for a music teacher to teach at more than two schools in order to fill a full-time assignment. In some scenarios, many full-time music teachers were replaced with part-time teachers or teachers of other subjects. Music teachers have become disposable.Many music teachers are losing their effectiveness in the classroom. Students consider school music classes as a time to relax compared with other "intellectual subjects."2 They sometimes question music as an essential subject because they [End Page 139] do not value the developing skills that music requires or studying the theory of music. They believe that they can enjoy music outside of school anyway. Consequently, they are quite reluctant to participate in music classes and so behavioral problems arise and classroom management becomes more difficult. Some teachers attempt to force students to obey and force them to order; other teachers totally give up and let students behave as they like in class.3 In either case, teachers and students do not relate well to each other. It is not an exaggeration to say that school music in Japan is at risk of collapsing altogether and disappearing from the curriculum.One of the reasons for this, I believe, is that we have not wrestled with the fundamental problems of school music education until today. We might have intentionally avoided reviewing and criticizing the curriculum, expectations, and purposes of music education because it has been taboo to discuss the national standards, particularly for public school teachers to do so. Social and environmental conditions have changed greatly since the current system of Japanese education was established in 1947. It is obvious that the existing system does not match the new conditions.I strongly feel that it is time to review and reexamine what our pioneers of music education and the government had achieved in the field of music education. If we continue to avoid doing so, music in the schools will face serious consequences. In this paper, I discuss some of the fundamental issues of music teacher education in Japan. There are two reasons for focusing on music teacher education. First, starting with music teacher education is most important because music teachers have the most significant roles in school music education. Second, I have been engaged in music teacher education for seventeen years, and this is not only my research area but also an area in which, as an insider, I can offer direct insights. I will limit this essay to looking at the preparation of teachers in music for elementary and middle schools (grades 7 to 9).StructureThe course of study (COS) is a set of national curriculum standards for kindergarten, elementary, middle, and high school, and schools for the handicapped and is issued by the MEXT.4 All schools, public or private, are required to follow these standards. No other curriculum is allowed. Therefore, in Japan, the COS is law through which the government controls all educational actions. The COS was first issued in 1947 and has been revised seven times.5 The most recent revision was announced in December 1998 for kindergarten, elementary, and middle schools, and in March 1999 for the other levels. All schools in Japan were required to implement the revised COS by April 2002. [End Page 140]The COS of... (shrink)

Japan has been one of the nations where music education is not grounded on its own indigenous music. The universal slogan that school music education should be based on each country's own music has mainly remained unpracticed here. This essay is to clarify the exing questions raised by the above discussion--why Western music is still the core of public music education in Japan and how this came to be so. I then offer my views on the future of Japanese public (...) music education: how Japanese traditional music should be dealt with in school music education. The responsibility of Japanese music educators might be concerning this issue. (shrink)

ベストセラー『7日間で突然頭がよくなる本』の著者による、はじめてのニッポン論。古代の神話や仏教、儒学、武士道から国学、さらには福澤諭吉らによる啓蒙書さえも「日本哲学である」と定義する。1500年にもお よぶ日本思想の遺伝子的深層を新視点から読み解く最新の入門書。.

Mādhyamikas argue that ultimate reality, which is without any delimitation and hence cannot be verbalized in itself, can be expressed in words on the basis of the attribution or superimposition of the basis for the application of the word. The denotation theory of ultimate reality Bhartṛhari advances in the Dravyasamuddeśa of his Vākyapadīya convincingly explains that, insofar as ultimate reality is spoken of, we must say that it is denoted by the word; ultimate reality is said to be ineffable only (...) in the sense that it is far from what is conveyed as something by the word; language is a pointer to the ultimate reality. The point that the application of a word to ultimate reality depends on the attribution of the basis for the application of the word to it naturally leads to an idea that one should not hypostatize the basis, although without resorting to it any word cannot be used to convey the ultimate reality; otherwise, it would have to be said that the ultimate reality to which the word is applied has in essence the property which serves as the basis. Such a property is precisely what the Mādhyamikas consider to be the svabhāva ‘intrinsic nature’. What they understand by the term śūnyatā is precisely that everything has no real basis for the application of the word to it. (shrink)

Philosophy is global, insofar as it is a relation of a human being towards its world and as such a thinking of the »betweenness«, of logos and of structure, as they disclose themselves in the relations between the Ego and the world, between the beginning and the end, between the Ego and the others. e theme of »the relational thinking« transcends boundedness to a particular cultural sphere. e transcendence is possible because of the insight into the identity of structures in (...) every culture, which is founded on the performance of a deliberation upon a repeated analysis of the most fundamental issues. e thinking of the relation is the heart of philosophy. (shrink)

The topic of translation is in my view not only a linguistic problem, but also a problem in the philosophy of culture. In the lexicon of a foreign language we may find an unfamiliar word that designates an object that is unknown in the eyes of our own culture. Instruments employed in a religious ceremony of the Catholic church, for example, an “encensoir,”, “reposoir,”, or “ostensoir,” will have no corresponding word in the Japanese language. But you must translate words of (...) this type if you wish to translate Baudelaire’s poem “Harmonie du soir.” If these Catholic words are translated into Japanese, then we must use some traditional Japanese word as a rough equivalent of the original word, or we have to make up some new word in order to effect a translation. Through this, however, the single signans of the original word yields two meanings, since the new use of the old word or the new word must somehow carry the traditional meaning also. In the first case two meanings come to be involved, meanings derived from two different cultures. In the second case, the new word must somehow be explained in terms of Japanese, if it is to bear the new linguistic load. (shrink)