This is the leading reference on Japanese private international law in English. The chapters systematically cover the whole of Japanese private international law, not just questions likely to arise in commercial matters, but also in family, succession, cross-border insolvency, intellectual property, competition (antitrust), and environmental disputes. The chapters do not merely cover the traditional conflict of law areas of jurisdiction, applicable law (choice of law), and enforcement. The chapters also look into conflict of law questions arising in arbitration and assess Japanese involvement in the global harmonisation of private international law. In addition to summarising relevant principles and scholarly views, the authors discuss case law whenever possible and identify deficiencies and anticipate difficulties in the existing law. The book thus presents the Japanese conflict of laws through a combination of common and civil law analytical techniques and perspectives, providing readers worldwide with a more profound and comprehensive understanding of the subject.
This is the leading reference on Japanese private international law in English. The chapters systematically cover the whole of Japanese private international law, not just questions likely to arise in commercial matters, but also in family, succession, cross-border insolvency, intellectual property, competition (antitrust), and environmental disputes. The chapters do not merely cover the traditional conflict of law areas of jurisdiction, applicable law (choice of law), and enforcement. The chapters also look into conflict of law questions arising in arbitration and assess Japanese involvement in the global harmonisation of private international law. In addition to summarising relevant principles and scholarly views, the authors discuss case law whenever possible and identify deficiencies and anticipate difficulties in the existing law. The book thus presents the Japanese conflict of laws through a combination of common and civil law analytical techniques and perspectives, providing readers worldwide with a more profound and comprehensive understanding of the subject.
Intercultural Phenomenology explores the nature of reality by engaging in a cross-cultural dialogue between two of the most influential philosophical traditions of the 20th century. Drawing on ideas from phenomenology, Japanese philosophy and Zen Buddhism, it follows the philosophers who changed their perception of the world by choosing to suspend judgement. Guided by this philosophical method known as the “epoché”, or suspension of judgment in ancient Greek, it is an introduction to the philosophy and practice of letting objects in the world speak for themselves. Inspired by Nishida Kitaro's insight that true reality is beyond the subject-object duality, the book uses a series of examples and exercises to explore the background to Husserl's idea of the phenomenological epoché, Hans-Georg Gadamer's emphasis on play in human understanding and the haiku poet Matsuo Basho's call for a new level of freedom. This practice-oriented approach moves beyond the traditional East-West divide. It connects various traditions, old and new, contemplative and theoretical, and explains why Japanese philosophy and phenomenology can enrich the quality of our lived experience.
National, disciplinary, and linguistic boundaries all play a role in academic study and nowhere is this more apparent than in traditional humanities scholarship surrounding the atomic bombing of Hiroshima and Nagasaki. How would our understanding of this seminal event change if we read Japanese and Euro-American texts together and across disciplines? In Producing Hiroshima and Nagasaki, Yuko Shibata juxtaposes literary and cinematic texts usually considered separately to highlight the “connected divides” in the production of knowledge on Hiroshima and Nagasaki, shedding new light on both texts and contexts in the process. Shibata takes up two canonical works—American journalist John Hersey’s account, Hiroshima, and French director Alain Resnais’ avant-garde film, Hiroshima Mon Amour—that are traditionally excluded from study in Japanese literature and cinema. By examining Hersey’s Hiroshima in conjunction with The Bells of Nagasaki (Nagai Takashi) and Children of the A-Bomb (Osada Arata), both Japanese bestsellers, Shibata demonstrates how influential Hersey’s Hiroshima has been in forging the normative narrative of the hibakusha experience in Japan. She also compares Hiroshima Mon Amour with Kamei Fumio’s documentary, Still It’s Good to Live, whose footage Resnais borrowed to depict atomic bomb victimhood. Resnais’ avant-garde masterpiece, she contends, is the palimpsest of Kamei’s surrealist documentary; both blur the binaries between realist and avant-garde representations. Reading Hiroshima Mon Amour in its historical context enables Shibata to offer an entirely new analysis of Renais’ work. She also delineates how Japanese films came to produce the martyrdom narrative of the hibakusha in the early postwar period. Producing Hiroshima and Nagasaki allows us to trace the complex and entangled political threads that link representations of Hiroshima and Nagasaki, reminding us that narratives and images deploy different effects in different places and times. This highly original approach establishes a new kind of transnational and transpacific studies on Hiroshima and Nagasaki and raises the possibility of a comparative area studies to match the age of world literature.
Intercultural Phenomenology explores the nature of reality by engaging in a cross-cultural dialogue between two of the most influential philosophical traditions of the 20th century. Drawing on ideas from phenomenology, Japanese philosophy and Zen Buddhism, it follows the philosophers who changed their perception of the world by choosing to suspend judgement. Guided by this philosophical method known as the “epoché”, or suspension of judgment in ancient Greek, it is an introduction to the philosophy and practice of letting objects in the world speak for themselves. Inspired by Nishida Kitaro's insight that true reality is beyond the subject-object duality, the book uses a series of examples and exercises to explore the background to Husserl's idea of the phenomenological epoché, Hans-Georg Gadamer's emphasis on play in human understanding and the haiku poet Matsuo Basho's call for a new level of freedom. This practice-oriented approach moves beyond the traditional East-West divide. It connects various traditions, old and new, contemplative and theoretical, and explains why Japanese philosophy and phenomenology can enrich the quality of our lived experience.
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