Raji Steineck
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raji-steineck.bsky.social
Raji Steineck
@raji-steineck.bsky.social

Chair of Japanology at UZH. Philosopher. In love with language and music. Believes in the complementarity of the sciences and the humanities. Views my own.

Pinned
Instead of an introduction: 10 books I like and a picture of how I work.

brill.com

Schweidler's article (see yesterday's post) had me read #Leibniz. There are indeed further points of similarity between L. and #Dōgen: e.g. the idea that each "monad" (L.) or "ware" (D.) "lines up the whole world" (as D. would say). (See #Monadology 62 and SBGZ Uji)

... pond, be neither plant or fish; yet they also contain plants and fish, but mostly so minute as to be imperceptible to us." (Par. 68)

Walter Schweidler in his contribution to the most recent volume of the Study of #Time series has a quote from #Leibniz that sounds so much like #Dōgen: "And though the earth and water which are between the plants of the garden, or the water which is between the fish in the
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brill.com

Finally in my hands - with chapters on such interesting thinkers as Kakehashi Akihide, Yoshinori Takaaki, Tokoro Mitsuko, Kuroda Kan'ichi, and a contribution by yours truly on Hiromatsu Wataru. @Enojp_org

#Nishida Kitarō's and Heinrich #Rickert 's reflections on "the logic of the predicate" were both published around the same time (1930/1931). Although they were quite different, one wonders about possible influences. Anyone in the know at ENOJP? @takeshimorisato.bsky.social

Because Doi views the "world of facts" deterministically, he sees all of it as belonging to the past. Therefore, the #past, #present, and #future do not line up: the present, a principle of consciousness, "shelters" the past and the future.

Reposted by Raji C Steineck

My department is hiring a College Fellow in modern Japanese history or sociology.

Deadline, including reference letters: March 23.

facultyresources.fas.harvard.edu/college-fell...
College Fellows Program | Faculty of Arts & Sciences
facultyresources.fas.harvard.edu

In "Time and Eternity", Doi Torakazu reflects on how subjective freedom hinges on engagement with facts. Let that sink in.

Stumbled upon Doi Torakazu's " #Time and #Eternity" in the library. He posits that the sphere of facts and the chronological order of time that connects them belong in essence to the "past" mode of time. Present and future only exist for consciousness.

Your hunch was correct. The pertinent chapter is solely about field theory in physics. The chapter on "place" by Nakamura Yūjirō says very little about time.

On the shape or shapes of #time, the classic to recommend is Maki Yusuke's "Comparative Sociology of Time" 時間の比較社会学. Maki introduced four basic morphologies of time (oscillating, cyclical, segmented linear, and infinite linear) and reflected on the social conditions for each to become dominant.

I would think so, too!

Would you sort this as "playing" or "walking", in Hosokawa's terms?

Now reading Nakamura Yūjirō's chapter on "topology", which starts from the premise that modern "Western" philosophy privileged #time and did not seriously engage the subject of #space. And I wonder, why would he say that? #Merleau-Ponty for one was long translated by that time, as was #Cassirer.

Araki Michio's chapter on #time and space in #religion provides an assessment of #MirceaEliade's ideas on religious in contrast to profane time. He criticizes Eliade's emphasis on the return to #mythicalOrigins in ritual, pointing to the plurality of religious time orientations.

Unfortunately, however, the remainder of his analysis hinges on particularities of tonal harmony. I had hoped for a broader view in a contribution from Japan.

Btw. #KronoScope, the journal of @studyoftime.bsky.social will have a special issue on time in music/music making time out this year.

I share this curiosity. Nitta speaks about the combination of progress and repetition, of periodicity (cyclicity) and irreversibility as essential to music and the selection of the "right" tempo- and the fact that music draws us into its time.

Now you might say, what's more conventional than Beethoven - but just go and listen!

Nitta Hiroe's chapter on #time in #art came off to a rather conventional start ("art is about sensations/perceptions") bit now sent me off to listen to #Beethoven 's #Appassionata. I chose #Gulda. youtu.be/wIbN4z4AeGI?...
Postdoc opportunity:
ERC Research Associate in History of Philosophy (48 months)

University College Dublin
Project BMoral (18th-century British moral philosophy & women philosophers)

Start: Sept 1, 2026
Deadline: Feb 10, 2026
Details & apply: my.corehr.com/pls/coreport...

#philsky #philjobs

Thank you, this looks fascinating!

Thus Hosokawa. I wonder what you make of it? Would you like to read my thoughts?

This exploration is a form of transcendence that stays within. In transcending and staying with "this I" existing here, I open up to the other as mysterium equal to myself.

Vexations live from a strong attraction whose source remains in the dark. The mystery that "this I exist" (or that "I exist as this me") is not hidden by anything; it is not meant to be resolved, but to be explored.

The third form, "walking," accepts life as limited and opens up within. It takes up the "mystery" that "this I exists". Hosokawa distinguishes mystery from problems, secrets, and vexations. Problems are meant to be solved, overcome. Secrets may be revealed.

It is sought to escape from the anxieties of ordinary life, and then becomes another "means to and end" - and element in the form of passing through.

In celebratory dance, the participants unite and forget their individual selves, opening up to receiving the divine. But the time of play is always limited, and framed by the time of ordinary life. Where it is integrated into the form of passing, it becomes a diversion.