Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGMENTS ix
4. ABBREVIATIONS xi
5. Introduction 1
6. HERMENEUTICS AND JAPAN
7. 1. Method, Hermeneutics, Truth 9
8. 2. Poetics of Intransitivity 17
9. 3. The Hermeneutic Approach to Japanese Modernity: “Art-Way,” “Iki,” and “Cut-Continuance” 25
10. 4. Frame and Link: A Philosophy of Japanese Composition 36
11. 5. The Eloquent Stillness of Stone: Rock in the Dry Landscape Garden 44
12. 6. Motoori Norinaga’s Hermeneutic of Mono no Aware: The Link between Ideal and Tradition 60
13. 7. Between Individual and Communal, Subject and Object, Self and Other: Mediating Watsuji Tetsurō’s Hermeneutics 76
14. JAPAN’S AESTHETIC HERMENEUTICS
15. 8. Nishi Amane on Aesthetics: A Japanese Version of Utilitarian Aesthetics 89
16. 9. Hegel in Tokyo: Ernest Fenollosa and His 1882 Lecture on the Truth of Art 97
17. 10. Ōgai, Schelling, and Aesthetics 109
18. 11. Cognitive Gaps in the Recognition of Masters and Masterpieces in the Formative Years of Japanese Art History, 1880–1900: Historiography in Conflict 115
19. 12. Nature—the Naturalization of Experience as National 127
20. 13. Coincidentia Oppositorum:Ōnishi Yoshinori’s Greek Genealogies of Japan 142
21. 14. Representations of “Japaneseness” in Modern Japanese Aesthetics: An Introduction to the Critique of Comparative Reason 153
22. JAPAN’S LITERARY HERMENEUTICS
23. 15. Constructing “Japanese Literature”: Global and Ethnic Nationalism 165
24. 16. What Is Bungaku? The Reformulation of the Concept of “Literature” in Early Twentieth-Century Japan 176
25. 17. Primitive Vision: Heidegger’s Hermeneutics and Man’yōshū 189
26. 18. Saitō Mokichi’s Poetics of Shasei 206
27. NOTES 215
28. CONTRIBUTORS 241
29. INDEX 245