Rudi Capra

The paper offers a critical appreciation of sand in the Japanese tradition of karesansui 枯山水gardens. At first, sand is approached from a phenomenological standpoint, then described in relation to the Daoist ideals of “blandness” (dan 淡) and its original function in Shinto shrines. The following sections draw an East-West comparison between the sand garden at Ginkaku-ji 銀閣寺 and the sand sculptures by the Basque artist Andoni Bastarrika, and between the sand garden at Shisen-dō 詩仙堂 and the Renaissance garden at Villa di Castello. The main purpose is to illustrate the philosophical significance of sand in respect to the aesthetic expression of such Buddhist-influenced notions as ku 空 (“emptiness”), yuge 遊戲(“play”), kire-tsuzuki 切れ続き(“cut-continuance” or “dis/continuity”) and the dialectic of conventional and ultimate reality.

The article explores similarities between the philosophies of Zhuangzi and Aristippus, focusing in particular on play and eudaimonism. The main thesis is that both authors encourage the cultivation of a playful mindset, defined in the paper as the “ludic self”, which operates as a strategy for leading a flourishing life. By shaping a fluid, unstructured identity, the ludic self promotes negative subtraction from the structuring power of social nexus and proactive adaptation to shifting circumstances. Furthermore, some aspects of these philosophies present an inter-disciplinary convergence with scientific findings from the psycho-biology of play, concerned with the mobilization of cathected energies and the prevention, or resolution, of addictive states. These promising connections with the fields of psychology and biology also represent an original contribution in respect to the existing debates within Zhuangzi studies, and scholarship on the Cyrenaics. From a methodological point of view, the article pursues what Rorty defines as a “rational reconstruction”, which involves a re-interpretation of past philosophies in light of present debates, ideas and vocabularies with the aim of engaging a trans-cultural, trans-historical dialogue. The value of this operation relies upon the universality of human experience, which always allows re-interpretation and re-actualization of past philosophies as a dialogical exercise of questioning otherness within a hermeneutic framework.

Abstract:This essay establishes a cross-cultural comparison between Kierkegaard's ironist and the figure of the Chan master, with specific reference to Kierkegaard's dissertation The Concept of Irony and the renowned gongan collection Blue Cliff Record (Biyan lu 碧巖錄). The main thesis is that the comparison makes explicit significant aspects of Chan orthopraxis, since Chan masters, as presented in the Blue Cliff Record, exemplify Kierkegaard's portrayal of the ironist. In particular, these aspects pertain to the progressive detachment from the discriminating action of karmic consciousness and self-centered thinking, toward the cultivation of a selfless stance. The first section focuses on Kierkegaard's ironist. The following sections analyze relevant gongan narratives from the Blue Cliff Record with the purpose of expounding on the relation between performative irony and the discriminating mind, playfulness, and selflessness. The final section considers the major incommensurable differences that mark the present cross-cultural dialogue.

Non una pacifica esplorazione ma un’avanscoperta bellicosa, in sardonica guerrilla con alcuni baluardi della tradizione filosofica occidentale: le leggi e il linguaggio della metafisica, la concezione stabile e unitaria dell'identità personale, il modello tragico della volontà, il pregiudizio antropocentrico e l’asservimento della natura al dominio della tecnica. Senza la pretesa di comporre un discorso esaustivo o sistematico, Capra recupera soprattutto Nietzsche e il Wittgenstein delle Ricerche Logiche in una (auto)critica comparativa, per mostrare in quali modi il pensiero correlativo delle filosofie orientali possa integrare e talvolta superare le impasse del pensiero antitetico.

The pedagogy of Chan Buddhism relies on a binary trend: on the one hand, it requires careful study and active participation in formalized rituals and ceremonies; on the other hand, it requires the simultaneous emancipation from such means and practices, since the transmission of the truth has the character of suddenness and immediacy. In other words, the subversion of standard doctrinal interpretations and ordinary pedagogical strategies is itself an essential part of Chan training. This chapter analyzes the fourth Case of the Blue Cliff Record, which exemplifies in a bright fashion the self-negating dialectics of Chan pedagogy. First, the analysis focuses on the narrated event; second, it moves at the level of meta-narrative, focusing on glosses and commentary. The purpose is to show that the subversive hermeneutics of Chan take place at both levels, narrative and meta-narrative, demanding (and favoring) a proactive and critical progression toward understanding.

The present study consists of a cross-cultural analysis of the role of irony in the Blue Cliff Record. The analysis is structured in four chapters, one devoted to methodological concerns and three to equivalent types and functions of irony within the text, a pivotal literary work of the Chan Buddhist tradition. In relation to Chan studies, a discussion of irony is particularly important since the wide corpus of Chan literature includes a significant number and a consistent variety of ironic features such as puns, wordplay, extravagant acts, and so forth. The idea of the present paper is that the ironic temperament of Chan is not a contingent circumstance, but a functional strategy purposely employed in textual compositions and oral communication with soteriological purposes.

The present paper identifies creativity as a crucial component in the pedagogical process envisaged by Chan masters in the Song era. In particular, the paper considers ritual dialogues between masters and students involving questions and answers taken from the renowned collection known as the Blue Cliff Record. The first section is concerned with the definition of creativity and its role within the contextual framework of Chan pedagogy in the Song era. The second section analyses some significant ritual dialogues included in the Blue Cliff Record with the aim of exploring a variety of different creative expressions in the considered Chan narratives. The third and last section illustrates how the ritualized performance of dialogical encounters, and by extension the use of gongan literature, entails and promotes the recourse to creativity as a functional strategy in Chan practice.

Western philosophy has mainly developed in accordance with the three laws of identity, noncontradiction and excluded middle, also known as “laws of thought”. Since Zen Buddhism often violates these apparently indisputable logical principles, a superficial reading may induce the idea that Zen Buddhism is a completely irrational, illogical doctrine. In this essay, I argue that Zen Buddhism is not absurd or illogical. Conversely, it relies on a different logic, which is perfectly consonant with the Buddhist view of the world.

Since the wide corpus of Chan 禪 literature includes a significant number and a consistent variety of ironic features such as puns, wordplay, extravagant acts, and so forth, a clarification of the role and functions of irony is especially relevant to this framework. The idea of the present essay is that irony works in Chan Buddhism as a functional strategy purposely employed in textual compositions and oral communication. Analysing the Blue Cliff Record, one of the most influential and significant texts in the history of East Asian Buddhism, I individuated three functions of irony that clarify its role in the wider context of Chan rhetoric. Specifically, these functions consist in performing a rhetoric of self-desecration, inducing amusement, and instilling doubt. Upon defining the notion of irony, the current essay expounds on these functions with reference to the text, then the role of irony in the Blue Cliff Record is finally identified as a hermeneutic device.