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With a Single Glance: Buddhist Icon and Early Mikkyō Vision (review)

With a Single Glance: Buddhist Icon and Early Mikkyō Vision (review) of the issues that Samuel Hideo Yamashita outlines in the introduction to his translation Master Sorai's Responsals.6 There are commonalities and differences between the reading of Sorai as presented by Flueckiger and by John A. Tucker in the lengthy introduction to the latter's translations in Ogyu Sorai's Philosophical Masterworks.7 Both reject Maruyama's view of ¯ Sorai's thought as a modernizing force, but Flueckiger does not see it as an anachronistic revival of archaic political thought for the purpose of propping up shogunal absolutism as Tucker appears to do. Flueckiger's insightful analysis suggests interpretive possibilities beyond eighteenth-century Confucianism and kokugaku. One that occurs to this reviewer is its application to the poetics of Kagawa Kageki (1768­1843) who, though later than the figures treated here and unconnected to nativism or to Sorai's theories, has similarly been charged with an inconsistency between his bold, "progressive" theorizing and his relatively conservative poetry, which looks to the Kokinshu for its inspiration. Perhaps, like Nori¯ naga's mono no aware, Kageki's elusive shirabe (sometimes translated as "tone") could also be described in terms of idealization of "culture as a unifying force," a possibility that begs further examination. This meticulously researched and carefully edited volume is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Japanese Studies Society for Japanese Studies

With a Single Glance: Buddhist Icon and Early Mikkyō Vision (review)

Graham, Patricia Jane.
The Journal of Japanese Studies , Volume 38 (2) – Jul 14, 2012
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Publisher
Society for Japanese Studies
Copyright
Copyright © Society for Japanese Studies.
ISSN
1549-4721
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Abstract

of the issues that Samuel Hideo Yamashita outlines in the introduction to his translation Master Sorai's Responsals.6 There are commonalities and differences between the reading of Sorai as presented by Flueckiger and by John A. Tucker in the lengthy introduction to the latter's translations in Ogyu Sorai's Philosophical Masterworks.7 Both reject Maruyama's view of ¯ Sorai's thought as a modernizing force, but Flueckiger does not see it as an anachronistic revival of archaic political thought for the purpose of propping up shogunal absolutism as Tucker appears to do. Flueckiger's insightful analysis suggests interpretive possibilities beyond eighteenth-century Confucianism and kokugaku. One that occurs to this reviewer is its application to the poetics of Kagawa Kageki (1768­1843) who, though later than the figures treated here and unconnected to nativism or to Sorai's theories, has similarly been charged with an inconsistency between his bold, "progressive" theorizing and his relatively conservative poetry, which looks to the Kokinshu for its inspiration. Perhaps, like Nori¯ naga's mono no aware, Kageki's elusive shirabe (sometimes translated as "tone") could also be described in terms of idealization of "culture as a unifying force," a possibility that begs further examination. This meticulously researched and carefully edited volume is

Journal

The Journal of Japanese Studies – Society for Japanese Studies

Published: Jul 14, 2012

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