Philosophers of Nothingness examines the three principal figures of what has come to be known as the "Kyoto school" -- Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji -- and shows how this original current of twentieth-century Japanese thought challenges traditional philosophy to break out of its Western confines and step into a world forum.

The six lectures that make up this book were delivered in March 2011 at London University's School of Oriental and Asian Studies as the Jordan Lectures on Comparative Religion. They revolve around the intersection of two ideas, nothingness and desire, as they apply to a re-examination of the questions of self, God, morality, property, and the East-West philosophical divide.

Students who have learned to read and write the kanji taught in Japanese schools run into the same difficulty that Japan university students themselves face: the number of characters included in the approved list is not sufficient for advanced reading and writing. Although each academic specialisation requires supplementary kanji of its own, there is considerable overlap. With that in mind, this book employs the same methods as Volumes 1 and 2 of Remembering the Kanji to introduce additional characters useful for upper-level proficiency, bringing the total of all three volumes to 3,000 kanji. The 3rd edition has been updated to reflect the 196 new kanji approved by the government in 2010, all of which have been relocated in Volume 1. The selection of 800 new kanji is based on frequency lists and cross-checked against a number of standard Japanese kanji dictionaries. Separate parts of the book are devoted to learning the writing and reading of these characters. The writing requires only a handful of new “primitive elements.” A few are introduced as compound primitives (“measure words”) or as alternative forms for standard kanji. The majority of the kanji are organised according to the elements introduced in Volume 1. As in Volume 2, Chinese readings are arranged into groups for easy reference, enabling the student to take advantage of the readings assigned to “signal primitives” already learned. Seven indexes include hand-drawn samples of the new characters introduced and cumulative lists of the key word and primitive meaning, and of the Chinese and Japanese pronunciations, that appear in all 3 volumes of the series.

At long last the approach that has helped thousands of learners memorize Japanese kanji has been adapted to help students with Chinese characters. Book 1 of ""Remembering Simplified Hanzi"" and ""Remembering Traditional Hanzi"" covers the writing and meaning of the 1,000 most commonly used characters in the Chinese writing system, plus another 500 that are best learned at an early stage. (Book 2 adds another 1,500 characters for a total of 3,000.) Of critical importance to the approach found in these pages is the systematic arranging of characters in an order best suited to memorization. In the Chinese writing system, strokes and simple components are nested within relatively simple characters, which can, in turn, serve as parts of more complicated characters and so on. Taking advantage of this allows a logical ordering, making it possible for students to approach most new characters with prior knowledge that can greatly facilitate the learning process. Guidance and detailed instructions are provided along the way. Students are taught to employ 'imaginative memory' to associate each character's component parts, or 'primitive elements', with one another and with a key word that has been carefully selected to represent an important meaning of the character. This is accomplished through the creation of a 'story' that engagingly ties the primitive elements and key word together. In this way, the collections of dots, strokes, and components that make up the characters are associated in memorable fashion, dramatically shortening the time required for learning and helping to prevent characters from slipping out of memory.

The aim of this book is to provide the student of Japanese with a simple method for correlating the writing and the meaning of Japanese characters in such a way as to make them both easy to remember. It is intended not only for the beginner, but also for the more advanced student looking for some relief from the constant frustration of forgetting how to write the kanji, or for a way to systematize what he or she already knows. The author begins with writing the kanji because—contrary to first impressions—it is in fact simpler than learning how to the pronounce them. By ordering the kanji according to their component parts or “primitive elements,” and then assigning each of these parts a distinct meaning with its own distinct image, the student is led to harness the powers of “imaginative memory” to learn the various combinations that make up the kanji. In addition, each kanji is given its own key word to represent the meaning, or one of the principal meanings, of that character. These key words provide the setting for a particular kanji’s “story,” whose protagonists are the primitive elements. In this way, one is able to complete in a few short months a task that would otherwise take years. Armed with the same skills as Chinese or Korean students, who know the meaning and writing of the kanji but not their Japanese pronunciations, one is then in a much better position to learn the readings (which are treated in a separate volume).Remembering the Kanji has helped tens of thousands of students advance towards literacy at their own pace, and to acquire a facility that traditional methods have long since given up on as all but impossible for those not raised with the kanji from childhood. The 6th edition has been updated to include the 196 new kanji approved by the government in 2010 as “general-use” kanji.

Following on the phenomenal success of Remembering the Kanji, the author has prepared a companion volume for learning the Hiragana and Katakana syllabaries of modern Japanese. In six short lessons of about twenty minutes, each of the two systems of "kana" writing are introduced in such a way that the absolute beginner can acquire fluency in writing in a fraction of the time normally devoted to the task. Using the same basic self-taught method devised for learning the kanji, and in collaboration with Helmut Morsbach and Kazue Kurebayashi, the author breaks the shapes of the two syllabaries into their component parts and draws on what he calls "imaginative memory" to aid the student in reassembling them into images that fix the sound of each particular kana to its writing. For further information and a sample of the contents, visit http: ///www.nanzan-u.ac.jp/SHUBUNKEN/publications/miscPublications/Remembering_the_Kana.htm. Now in its third edition, Remembering the Kana has helped tens of thousands of students of Japanese master the Hiragana and Katakana in a short amount of time ... and have fun in the process.

James Heisig has spent his life traveling along many roads--living in Japan, Spain, England, and the United States, and listening to other religious traditions while remaining a Roman Catholic. In this book, Heisig draws from this worldly insight, and presents an invaluable dialogue between Christianity and Buddhism.

Can Zen tell us whether particular wars are right or wrong? What role did D. T. Suzuki and other Zen figures play in the Japanese nationalism that fueled World War II? What are we to make of nationalistic elements in the thought of Nishida Kitaro, Tanabe Hajime, Nishitani Keiji, and other philosophers of the Kyoto School? What connection was there between the Japanese project of overcoming the modernity of the West and the militarism of its 15-year war in Asia? In a collection of carefully documented essays, 15 Japanese and Western scholars take up these and other questions about the political responsibility of Japanese Buddhist intellectuals. This well-indexed and meticulously edited volume offers a variety of critical perspectives and a wealth of information for those interested in prewar and wartime history, Zen, Japanese philosophy, and the problem of nationalism today.