Upon his return from Europe, Kuki Shûzô (–) made use of the new Hiroshi Nara first traces Kuki’s interest in a philosophy of life through his exposure. The Structure of Detachment: The Aesthetic Vision of Kuki Shuzo. HIROSHI NARA. with a translation of Iki no kōzō. J. Thomas Rimer. Jon Mark Mikkelsen. Being born posed a particular problem that Kuki Shuzo spent the rest of his life untangling. The fateful event occurred in Tokyo on February

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The semesters are full of lectures on contemporary French philosophy, on literature, on contingency.

Kuki Shuzo: A Philosopher’s Poetry and Poetics

While Zen is kjki matter of intuitive spirit, the manifestations of this spirit are aesthetic in that they manifest themselves as art and poetry. The new, modern restaurants and movie theaters incant international dreams. This baron or count, as he sometimes identifies himself. Kuki marries his widow, Nuiko Nakahashi. First, one should mention surrealism, which has obviously inherited some of the potential that this “philosophy of contingency” has released over almost two centuries in Sshuzo.

Shūzō Kuki

The Kyoto School seeks to reconcile eastern and western ideas, particularly melding Nietzschean nihilism with Zen-Buddhist nothingness. The lines reflect the peaceful nothingness from which everything emerges and to which it returns.

What Kuki calls “interiorization of contingency in the domain of the practical” is constituted by “correlations between an endless number of parts which form a suhzo totality” p.

Carolyn added it Oct 08, One way to prevent science from proceeding in an abstract manner is to help it to “discover the contingency that exists in the world” p. Although marginal for French philosophical discussions, the French writer Emile Chartier Alain has entered Kuki’s intellectual world in a rather consistent way, a fact that shows that Kuki was not choosing his authors at random-that is, because they were “popular” or only because they were presented to him by Sartre.

In fact, it is not only contingency but also necessity that needs to be seen as a metaphysical phenomenon because whenever we come across it we might ask ourselves: He is 53, not young, but not old for a philosopher, one whose work had always been in front of him.


The difference between the typically modern reception shjzo contingency and the way Kuki understands it becomes manifest through the treatment mainly of three problems: There are no discussion topics on this book yet.

The development of a special concept of time, which has been sketched above, a time that is not at all “determined” by abstract presuppositions, necessarily goes together with these ideas. In the same way Kuki writes that “the ideal of judgment is to identify concretely the exterior you within the identity of an interior me” Guzensei, p. Pacing the cobblestoned banks of the Seine, a lanky silhouette, when a clock rings two in the morning.

This work has been translated into French as a leading work of Japanese philosophy. Even Nishida Kitaro’s philosophy itself, like Kuki’s, could be understood as a “synthesis of transcendental philosophy and Bergsonism.

Most of kuuki philosophers who have been presented here with the exception of Bergson and, to some extent, Ravaisson are rather forgotten in France today.

Why to his parents and why in Japan, as opposed to France, Egypt, or perhaps America? It is necessary to develop here the ethical implications of habit or style, as opposed to physiological norms, to which the norm of “race” would also shuoz point for which Kuki as well as the Kyoto School has often been criticized.

Kuki Shuzo: A Philosopher’s Poetry and Poetics by Kuki Shūzō

Trivia About Kkui Shuzo: Better to take from his story what is valuable and notice the potential for an aesthetics that resists hard boundaries, that exists in the ambiguous spaces between things, that is always moving away from the simple definition.

We have now established Kuki’s treatment of contingency at least to some extent within an East Asian religious and intellectual environment.

Moreover, Kuki suggests, in Iki no kozo, that it is necessary to question “the ‘quis’ before the ‘quid’ in the face of objective expressions” p. He is homesick for his homesickness, the feeling of an expat suddenly unsure of where he belongs. This is odd because one of the suhzo works by Kuki that have been translated into European languages is his doctoral thesis on the subject of contingency, the Guzensei no mondai, which Kuki finished in In a similar way Emile Boutroux, in De La Contingence des lois de la nature, attacks a fundamental principle of science that up to that time had been defended in France by determinist philosophers like Hippolyte-Adolphe Taine: On Kuji 29, he writes a poem to a friend thanking him for a sickbed gift of potted azaleas.


Memory gathers diverse bits of remembrance from all sides and presents them in an incoherent fashion to the consciousness of the sleeper. One understands why the dream is, as an aesthetic phenomenon and as an element of a philosophy of knowledge, of so much interest for this philosophy: In this book Ravaisson attempts to establish habit as a “general way of being” and examines in what way it would be produced within the givens of time and space. Literature poses theories; the city at night proffers the life of the body.

Contingency and the “time of the dream”: Kuki Shuzo and French prewar Philosophy

He commits to his ethos of everything-at-once. Shortly after Kuki’s return to Japan, he wrote and published his masterpiece, “The Structure of Iki” In this work he undertakes to make a phenomenological analysis of iki, a variety of chic culture current among the fashionable set in Edo in the Tokugawa period, and asserted that it constituted one of the essential values of Japanese culture.

But it is clear that you understand it in this sense-that you understand it universally-but you do not understand it simpliciter. For Chuang Tzu, however, the issue seems [to be] to seek not a final dreamer but relativity as an end in itself This means that contingency does not exist, abstractly, as the contrary of necessity but that, in order to exist, it needs to be reflected against a world in which necessity and contingency have been relativized beforehand.

Aesthetics are always political because nothing is inextricable from politics. Boutroux thought that science has the right to establish links between the phenomena that it observes; however, this does not give us the right to think that these phenomena must be subordinated to an order that is based only on abstractions.

Jokumck marked it as to-read Jan 24, Relations between things can be established in terms not of static but only of dynamic laws.