As its name implies, Vasubandhu’s _Vyākhyāyukti_ (VyY) explains the logic or methodology (_yukti_) of exegesis or sūtra interpretation (_vyākhyā_) and only survives in a Tibetan translation. In recent years, research on this treatise has been gradually accumulating. However, due to the difficulty of the Tibetan translation, some of the arguments therein have been misunderstood. In this article, after reviewing the general framework of Vasubandhu’s method of interpreting the sūtras, I will present a newly discovered parallel regarding his discussion of the (...) “purpose, _prayojana_” of the sūtras and reread it through a close philological examination of various sources in Sanskrit and Tibetan. Thus, this article will first elucidate the details of Vasubandhu’s explanation of the purpose of the Buddha’s preaching using synonyms and will clarify an aspect of his views on the Buddha’s word. In addition, concerning this “purpose,” I will elucidate the characteristics of the final chapter of this text, which provides stories about hearing the Buddha’s words with respect. By doing so, I would like to reveal the characteristics of the VyY as a manual for vivid preaching. (shrink)

A critical review of five articles that appeared in the special issue of Acta Asiatica, i.e. • Saitō, Akira. “Avalokiteśvara in the Prajñāpāramitāhṛdaya.” • Watanabe, Shōgo. “The Lineage of the Prajñāpāramitāhṛdaya: With a Focus on Its Introduction and Expressions of Emptiness.” • Horiuchi, Toshio. “Revisiting the ‘Indian’ Commentaries on the Prajñāpāramitāhṛdaya: Vimalamitra’s Interpretation of the Eight Aspects.” • Ishii, Kōsei. “The Chinese Texts and Sanskrit Text of the Prajñāpāramitāhṛdaya Seen by Wŏnch’ŭk 円測.” • Silk, Jonathan A. “The Heart (...) Sūtra as Dhāraṇī.” -/- My overall impression of Frontier is that the authors are committed to a hermeneutic dictated by the Buddhist religion itself, that the Heart Sutra is an Indian text, composed in Sanskrit. The articles in Frontier seem to suggest that no counterfactual evidence exists, or could exist, that would change this conclusion. (shrink)

Pyridoxal 5′‐phosphate, the vitamin B6 derivative, acts as the coenzyme of many enzymes involved in amino acid metabolism. Exceptionally, this compound was found covalently bound to glycogen phosphorylase, the key enzyme in the regulation of glycogen metabolism. Although it is essential for the function of phosphorylase, its direct role has remained an enigma. We have recently found that the glucose moiety of pyridoxal (5′)diphospho (1)‐α‐D‐glucose, a conjugate of pyridoxal 5′‐phosphate and glucose 1‐phosphate through a pyrophosphate linkage, is transferred to the (...) nonreducing end of glycogen, forming a new α‐1,4‐glucosidic linkage. This finding emphasizes the importance of the direct phosphate‐phosphate interaction between the coenzyme and the substrate in the phosphorylase catalytic reaction. We have proposed a catalytic mechanism for phosphorylase in which the phosphate group of pyridoxal 5′‐phosphate acts as an electrophile to the phosphate group of glucose 1‐phosphate. This appears to represent the first instance of the direct involvement of a phosphate group in catalysis by enzymes. (shrink)

The author proposes the development of systems learning guidebooks to accompany famous children's classic books. Children's classic books can make excellent bases for children's learning guidebooks on systems thinking and global ecology, because they are fun to read and well known worldwide. If such learning guidebooks are properly designed with humor and entertaining aspects, they could stimulate children to learn more about systems thinking. Lewis Carroll's Alice's Adventures in Wonderland is chosen as a pilot case for developing such a children's (...) guidebook. The systems learning guidebook that accompanies Alice's Wonderland shall be entitled Alice in Systems Wonderland and will help its readers look at the Alice's Wonderland story with a systems perspective. (shrink)

It is one of the peculiar features of the movement of translation of Western scientific treatises from Dutch into Japanese, known as Dutch learning , that if first originated in Nagasaki with a group of Japanese interpreters. This group differed from the scholarly community of the capital, Edo, by both training and social status. This article shows how this difference contributes to explaining some of the particularities of rangaku in its initial phase. A case in point is Shizuki Tadao's introduction (...) of Newtonian physics and astronomy. Yet, Sugita Genpaku, a major representative of the Edo scholarly community, gave an account of the beginning of Dutch learning that attempted to minimise, or even to erase, the contribution of the Nagasaki interpreters, who were dismissed as unscholarly. This attempt, too, is best understood in the light of the difference between the two communities. (shrink)

The uncertainty relation in quantum mechanics has been explicated sometimes as a statistical relation and at other times as a relation concerning precision of simultaneous measurements. In the present paper, taking the indefiniteness of individual experiments as represented by diameters of Borel sets in projection-valued measure, we mathematically distinguish four expressions, two statistical and two concerning simultaneous measurements, of the uncertainty relation, study their interrelations, and prove that they are nonequivalent to each other and to the eigenvector condition (EV) in (...) infinite-dimensional Hilbert space. (shrink)

「教育学」の新しい領野を切り拓いてきた著者積年の集大成!日本の自生的な教育論の誕生に迫る。.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey in 1992, distributed to 156 (...) art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)