Emi Joanne Foulk
Bio: Emi Joanne Foulk is an academic researcher. The author has contributed to research in topics: Kokugaku. The author has an hindex of 1, co-authored 1 publications receiving 20 citations.
01 Jan 2016
TL;DR: Foulk and Joanne as mentioned in this paper studied the eighteenth-century kokugaku scholar Motoori Norinaga's (1730-1801) conceptions of language, and in doing so also reformulated the manner in which we understand early modern Japanese history.
Abstract: Author(s): Foulk, Emi Joanne | Advisor(s): Ooms, Herman | Abstract: This dissertation seeks to reconsider the eighteenth-century kokugaku scholar Motoori Norinaga’s (1730-1801) conceptions of language, and in doing so also reformulate the manner in which we understand early modern kokugaku and its role in Japanese history. Previous studies have interpreted kokugaku as a linguistically constituted communitarian movement that paved the way for the makings of Japanese national identity. My analysis demonstrates, however, that Norinaga--by far the most well-known kokugaku thinker--was more interested in pulling a fundamental ontology out from language than tying a politics of identity into it: grammatical codes, prosodic rhythms, and sounds and their attendant sensations were taken not as tools for interpersonal communication but as themselves visible and/or audible threads in the fabric of the cosmos. Norinaga’s work was thus undergirded by a positive understanding of language as ontologically grounded within the cosmos, a framework he borrowed implicitly from the seventeenth-century Shingon monk Keichū (1640-1701) and esoteric Buddhist (mikkyō) theories of language. Through philological investigation into ancient texts, both Norinaga and Keichū believed, the profane dust that clouded (sacred, cosmic) truth could be swept away, as if by a jeweled broom.The dissertation is divided into four chapters. The first chapter takes a historiographical look at the study of kokugaku and Norinaga’s central role therein. It also sets out the thesis that the remaining three chapters of the dissertation attempt to substantiate: that kokugaku, at least up to Norinaga’s time, ought to be considered as a form of philology, traditionally conceived. It was, in other words, an attempt to uncover cosmological truth from the language of ancient texts. In the second chapter, I present a genealogy of Norinaga’s kokugaku, tracing Norinaga’s thought back to Keichū. This chapter attempts to demonstrate that Keichū’s empirical methodology was a direct result of his esoteric Buddhist training and background and, indeed, was grounded firmly within an esoteric Buddhist doctrinal system. It then goes on to argue that Norinaga’s philology and positive valuation of language, too, is predicated on a Buddhological framework that stresses the immanence of the truth in the world known by ordinary people. The third and fourth chapters explore Norinaga’s conception of language and its role in the world, looking specifically at his studies of teniwoha and his much celebrated theory of mono no aware. In these final two chapters, I demonstrate that mono no aware and teniwoha lie at the foundation of both Norinaga’s epistemology and ontology, offering a means for knowing and apprehending the cosmos as well as a model for how that cosmos itself exists.
TL;DR: In this paper, Imagined communities: Reflections on the origin and spread of nationalism are discussed. And the history of European ideas: Vol. 21, No. 5, pp. 721-722.
TL;DR: In this article, a study of Kant's Critique of Judgment (1790) is presented, including Kant's motivations for a critique of judgment, principles of'reflective' and 'determining' judgment, theory of aesthetic judgment, including epistemology and metaphysics of the beautiful and sublime; theory of genius; teleology in the critical philosophy, including harmony of the cognitive faculties, organisms, scope and limits of mechanical explanation.
Abstract: A study of Kant’s Critique of Judgment (1790). Our topics will include Kant’s motivations for a critique of judgment; principles of ‘reflective’ and ‘determining’ judgment; theory of aesthetic judgment, including epistemology and metaphysics of the beautiful and sublime; theory of genius; teleology in the critical philosophy—including harmony of the cognitive faculties, organisms, scope and limits of mechanical explanation, physicoand ethico-theology; the relation of ethics, aesthetics and teleology. A basic familiarity with Kant’s theoretical philosophy is presupposed.
28 Jul 2013
TL;DR: The authors argue that the poetry of science is a function of scientists' dramatic problematisation of prior conceptions, which opens up a space of irreconcilable dialogue between those conceptions and some new persuasive set of facts, thus generating a desire to know / resume monologue.
Abstract: My poem dramatises and extrapolates upon key and passing ideas in the writings of the Soviet philosopher Mikhail Bakhtin, particularly his 1929 text Marxism and the Philosophy of Language . Part 1 explores Bakhtin's argument that experience only exists within signs, following his example of the discursive nature of experiences of extreme hunger. The poem suggests a likely implication of those necessarily guarded arguments: that the 1917 revolution was no more foundational than any other verbal experience. Parts 2 & 3 similarly extrapolate from Bakhtin's writings, particularly those that relate to his extraordinary assertion in Ch.1 of Marxism as to the dramatic nature of 'inner speech' (i.e. the thesis that when any individual ponders an issue to him or herself, their cogitation is not in the form of a monologue, but rather a sequence of distinct voices that propose and rejoin, dialogically). The poem concludes by suggesting that the poetry of science is a function of scientists' dramatic problematisation of prior conceptions, which opens up a space of irreconcilable dialogue between those conceptions and some new persuasive set of facts, thus generating a desire to know / resume monologue. A prose translation of the poem is appended. This translation also contains some comment on the new field of creative arts research, including a polemic argument urging the field to eschew the attempt (a.k.a. practice-led research) to imitate all stages of 'the' scientific method. Rather it should be taking its lead from the poetic moments within otherwise scholarly / scientific texts like Bakhtin's, imagining the sorts of art that might generate similar intellectual and emotional experiences in its audiences.
TL;DR: This website becomes a very available place to look for countless studies in the intellectual history of tokugawa japan sources.
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01 Jan 2005
TL;DR: A social theory of state, Civility and Publics: aesthetic Japan and the Tokugawa Network Revolution is presented in this paper, where a comparative overview of culture and identity as emergent properties in networks is provided.
Abstract: Part I A Social Theory of State, Civility and Publics: Introduction: aesthetic Japan and the Tokugawa Network Revolution 1 Civility without civil society: a comparative overview 2 Culture and identity as emergent properties in networks: a theoretical overview Part II The Transformation of Associational and the Rise of Aesthetic Publics: 3 The medieval origin of aesthetic publics: linked poetry and the ritual logic of freedom 4 The Late Medieval transformation of Za arts in struggles between vertical and horizontal alliances 5 Tokugawa state formation and the transformation of aesthetic publics 6 The rise of aesthetic civility 7 The Haikai, network poetry: the politics of border crossing and subversion 8 Poetry and protest: the rise of social power 9 Tacit modes of communication and their contribution to Japanese national identities Part III Market, State, and Categorical Politics: 10 Categorical protest from the floating world: fashion, state and gender 11 The information revolution: Japanese commercial publishing and styles of proto-modernity 12 Hierarchical civility and beauty: etiquette and manners in Tokugawa manuals Part IV Concluding Reflections: 13 The rise of aesthetic Japan Epilogue: toward a pluralistic view of communication styles Endnotes List of illustrations