HISTORY, TRANSHISTORY, AND NARRATIVE HISTORY: A POSTMODERN VIEW OF NISHITANI'S PHILOSOPHY OF ZEN
Truths are illusions whose illusionary nature has been forgotten. . . . Nietzsche, Gay Science
Associate Professor in the Religious Studies Program, Pennsylvania State University
1. Nishitani and Postmodernism
One of the major contributions in Nishitani Keiji's modern philo- sophical exposition of Zen is his discussion of the question of history in a comparative light with Western religious, philosophical, and social scien- tific approaches. Nishitani's main theme probably is the ideological encounter between religion and science as well as religion and nihilism, as critically seen from the standpoint of Buddhist emptiness (Śīnyatā), or what Kyoto School thinkers refer to as absolute nothingness (zettai mu). Yet, Jan Van Bragt comments in the introduction to his translation of Nishitani Religion and Nothingness, "From within the Kyoto School, the treatment of history in the final two essays [on "īnyatā and Time" and "īnyatā and History"] has been received as the strongest and most original part of the book. For the Western reader, on the other hand, these chapters may well be the hardest to digest . . . [for] our view of history seems to be systematically dismantled before our very eyes, stone by stone." Further, in Nishitani "the whole construction [of history as an objectifiable process] is reduced to so much rubble."1 For Van Bragt, Nishitani's approach to history is significant in the way that he stimulates other Kyoto School thinkers and at the same time "offends" (in the positive Kierkegaardian sense) Westerners whose presuppostions are rad- ically undercut by his penetrating analysis.
In his deconstruction of Western notions of history, Nishitani criti- cizes the linear, teleological view implicit in Christian theocentrism and secular anthropocentrism from the standpoint of the Zen philosophy of circular time. According to Nishitani, both Western approaches are based on an "optical illusion" in that they seek to locate the transhistorical dimension by looking infinitely into the past for a beginning or indefinitely into the future for an end, while failing to realize that "the beginning and end of time in itself lie directly beneath the present, at its home-ground, and it is there that they are to be sought originally."2 In contrast, Zen emphasizes the spontaneity and creativity of a transhistorical, holistic present moment which encompasses the historical continuity of past and future in terms of an ever-renewable cyclicality and reversibility of time. Nishitani's critique is greatly influenced by Nietzsche's refutation of the Platonic-Christian world view in favor of the "innocence of becoming" (Unschuld des Werdens), and he considers the notion of eternal recur-
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