The intention of this project is to make a case for the cakras by finding their place in contemporary discourse. The assumption that allows for this project is that the structure and context of the cakras as psycho-physical phenomenon are not sufficiently established in scholarship. The method employed is to illuminate the cakras, which are primarily addressed as historical/textual entities, as phenomenological and psychological entities. This will be done through the phenomenology of Maurice Merleau-Ponty and the additions to his depiction of the lived body as per YUASA Yasuo, who introduces the “unconscious quasi-body” (i.e., the subtle body) as a level of the body of which one may become aware. The cakras will also be presented as that which function similarly to psychological entities, introducing the depth psychology and commentary of C.G. Jung. By doing so, the human component of the cakras will be drawn out of historical/textual matters and into the lived experience of the human body where they may become the subject of phenomenological and psychological analysis. Through arguing for the addition of these standpoints, future dialog with other disciplines, especially contemporary cakra practitioners, may be facilitated. / Religion

El tema principal d’aquesta tesi és considerar la noció sinojaponesa del Ki en la filosofia de Yasuo Yuasa com a fil conductor per a la seva recerca antropològica i el seu camí vers la transcendència. Calia constatar que l’aportació de Yuasa és principalment la seva determinació del lloc del Ki en la corporalitat i, per tal de fer-ho, centrar en aquest punt el tema de la present tesi. Aquesta tesi està dividida en sis capítols: En el primer capítol, tractem de Yasuo Yuasa en la seva circumstància, vida i pensament i, el seu influx i el desenvolupament del seu pensament en alguns autors actuals. En el segon capítol, abordem com Yuasa ha arribat a tenir la idea del Ki com a clau de la unitat corpòria-espiritual i l’obertura a la transcendència, mitjançant un recorregut per la seva obra. Al llarg de tota la seva obra, podem trobar les preguntes radicals sobre sí mateix, sobre el món, sobre l’origen que els transcendeix. Yuasa les anomena Ethos, els corrents filosòfics espirituals latents i fonamentals en el fons de cada tradició i cultura. En el tercer capítol, tractem una visió de conjunt al voltant de la noció del Ki i la tradició de pensament que l’acompanya per tal d’introduir el seu sentit i les seves funciones fonamentals. Per això, pretenem analitzar-la tant des de la perspectiva del seu sentit etimològic i de llurs diverses accepcions en l’ús del llenguatge, com des del punt de vista històric i de llurs diverses dimensions. En el quart capítol, considerem l’aspecte de l’ésser humà com a unitat cos-ment i el seu doble caràcter; ésser immanent i transcendent del món. En abordar la qüestió de la transcendència i de la immanència en la filosofia existencial que es troba en els filòsofs moderns japonesos, Yuasa sent la necessitat de remuntar-se a l’ontologia en la tradició occidental com ara la de Sant Tomàs. La forma d’aquest pensament ontològic (o metafísic) té uns aspectes universals i equivalents amb el pensament tradicional d’Orient que es troba en el fons de la filosofia existencial en la modernitat japonesa. A partir d’aquesta base, en el cinquè capítol, intentem analitzar si existeix la pregunta vers la transcendència en la tradició oriental, especialment la tradició xinesa japonesa representada per Yuasa. Yuasa té en compte la unitat corpòria-espiritual com a obertura a la pregunta vers la transcendència. La clau d’aquesta unitat és el Ki, el qual, segons Yuasa, és el flux que té una funció fisiològica i psicològica, així com també una funció espiritual, que fa connectar a l’ésser humà amb el món exterior. La idea del Ki ens fa abastar la visió de l’ésser humà al llarg de la història del pensament científic i antropològic i religiós o espiritual. Per això, intentarem analitzar la noció del Ki des de tres perspectives: científica, antropològica i espiritual. En el sisè capítol, finalment, tractem la pràctica del shugyô la qual té un sentit molt important a fi de poder considerar la teoria oriental de la unitat cos-ment i és una clau per tal de comprendre la transcendència en la tradició oriental. El shugyô indica l’ascesi, la pràctica o la formació del cultiu d’un mateix. Dins el concepte del shugyô Yuasa distingeix entre la praxi exterior (preceptes sîla) i la praxi interior (contemplació samâdhi). Ens fixem especialment en la praxi interior que és l’activitat que s’orienta cap a la pròpia interioritat de l’ésser humà, el significat del qual és equivalent a la vida contemplativa en el terme occidental. / El tema principal de esta tesis es considerar la noción chino-japonesa del Ki en la filosofía de Yasuo Yuasa como hilo conductor para su búsqueda antropológica y su camino hacia la trascendencia. Había que constatar que la aportación de Yuasa es principalmente su determinación del puesto del Ki en la corporalidad y, para ello, centrar en este punto el tema de la presente tesis. Esta tesis está dividida en seis capítulos: En el primer capítulo, tratamos acerca de Yasuo Yuasa en su circunstancia, vida y pensamiento y, el influjo y el desarrollo de su pensamiento en algunos autores actuales. En el segundo capítulo, abordamos sobre cómo Yuasa ha llegado a tener la idea del Ki como clave de la unidad corpóreo espiritual y apertura a la trascendencia, mediante el recorrido por su obra. A lo largo de toda su obra, podemos encontrar las preguntas radicales sobre sí mismo, sobre el mundo, sobre el origen que los trasciende. Yuasa las llama Ethos, las corrientes filosóficas espirituales latentes y fundamentales en el fondo de cada tradición y cultura. En el tercer capítulo, tratamos una visión de conjunto acerca de la noción del Ki y la tradición de pensamiento que la acompaña para introducir su sentido y sus funciones fundamentales. Por ello, pretendemos analizarla tanto desde la perspectiva de su sentido etimológico y sus diversas acepciones en el uso del lenguaje, como desde el punto de vista histórico y de sus diversas dimensiones. En el cuarto capítulo, consideramos el aspecto del ser humano como unidad cuerpo-mente y su doble carácter; ser inmanente y trascendente del mundo. Al abordar la cuestión de la trascendencia y de la inmanencia en la filosofía existencial que se encuentra en los filósofos modernos japoneses, Yuasa siente la necesidad de remontarse a la ontología medieval en la tradición occidental como la de Santo Tomas. La forma de este pensamiento ontológico (o metafísico) tiene unos aspectos universales y equivalentes con el pensamiento tradicional de Oriente que se encuentra en el fondo de la filosofía existencial en la modernidad japonesa. A partir de esta base, en el quinto capítulo, intentamos analizar si existe la pregunta hacia la trascendencia en la tradición oriental, especialmente la tradición china japonesa representado por Yuasa. Yuasa tiene en cuenta la unidad corpóreo espiritual como apertura a la pregunta hacia la trascendencia. La clave de esta unidad es el Ki, que según Yuasa, es el flujo que tiene una función fisiológica y psicológica, así como también una función espiritual, que hace conectar al ser humano con el mundo exterior. La idea del Ki nos hace abarcar la visión del ser humano a lo largo de la historia del pensamiento científico y antropológico y religioso o espiritual. Por ello, intentaremos analizar la noción del Ki desde tres perspectivas: científica, antropológica y espiritual. En el sexto capítulo, finalmente, tratamos la práctica del shugyô que tiene un sentido muy importante para poder considerar la teoría oriental de la unidad cuerpo-mente y es una clave para comprender la trascendencia en la tradición oriental. El shugyô indica la ascesis, la práctica o la formación del autocultivo. Dentro del concepto del shugyô Yuasa distingue entre la praxis exterior (preceptos sîla) y la praxis interior (contemplación samâdhi). Nos fijamos especialmente en la praxis interior que es la actividad que se orienta hacia la propia interioridad del ser humano, cuyo significado es equivalente a la vida contemplativa en el término occidental. / The main purpose of this dissertation is to study the Chino-Japanese thought about Ki in the philosophy of Yuasa as a key for his anthropological search and as a way toward transcendance. We had to clarify the contribution of Yuasa to both the anthropological and the metaphysical question. The main contribution of Yuasa to this problem is the determination of the role of Ki within the Mind-Body theory. That is why we had to focus our research upon this point as the main subject of our dissertation. Our research follows the steps of the following chapters: In the first chapter we present the thought of Yuasa within the context of his biographical circumstances, as well as the influence of further developments of his thought in other contemporary thinkers. In the second chapter we go through the whole complete works of Yuasa in order to find the development of his thought about Ki and the way he has arrived to the conclusion of setting the idea of Ki as the leading thread to grasp both the Mind-body unity and the openness toward transcendence. Throughout his work we find him seeking to answer the basic questions about himself, about the world and about the tarscendental origins of both the human being and the cosmos. Yuasa sees these basic questions as the Ethos of the philosophical and spiritual currents in the bottom of each tradition and culture. In the third chapter we present an overall view about the idea of Ki and the tradition of thought developed around this fundamental concept of Eastern philosophy, trying to show its meaning and its role for the understanding of both the human being and the cosmos. For that purpose we analyse the notion of Ki from the viewpoint of its etimological, historical and other dimensions. In the fourth chapter we deal with the Mind-body unity of the human being and the two characteristics of his way of being in the world, namely, inmanence and transcendance. Yuasa studied the problem of inmanence and transcendence in the existential philosophy of the modern Japanese thinkers, and the roots of their thought in the Eastern tradition. Then, in order to compare them with Western thought, he felt the need to seek the roots of contemporary existential Western philosophy in the tradition of ontology in the Middle Age, as in Thomas Aquinas. Yuasa arrived at the conclusion that this ontological (or metaphysical thinking) has some universal aspects which can be related to the traditional Eastern thought as we find it within the existential philosophy of some modern Japanese thinkers. Taking into account this comparative approach, we ask in our analysis of the fifth chapter, whether the question toward transcendence can be found in the Eastern tradition, especially in the tradition represented by Yuasa. Yuasa gives a great importance to the unity of mind and body as a key toward the question about transcendence. The key of the Mind and body unity is, according to Yuasa, the Ki, which plays not only a physiological and psychological role, but also an spiritual one in order to connect the human being with the world outside. The idea of Ki helps us to reach an overall perspective about human being along the history of anthropological, scientific, and religious or spiritual thought. Therefore, it was important for us to analyse the notion of Ki from the viewpoint of its three main dimensions, namely, scientific, anthropological and spiritual dimensions. Finally, in the sixth chapter we deal with the practice of shugyô or cultivation, which has a very important meaning for the understanding of the Eastern Mind-Body theory, and which is a key for the understanding of transcendence in that tradition. The meaning of shugyô points to ascesis or practices of self-cultivation. Within the concept of shugyô Yuasa makes a distinction between external practices (precepts, sîla) and internal practices (contemplation samâdhi). We concentrate our analysis in the internal practices, orientated toward the interiority of the human being. These practices can be related to the Western tradition of contemplative life.

Masaaki Yuasa's 2014 series Ping Pong: The Animation approaches the ideas of play, competition, and victory in unique ways, especially when compared to other series in the sports anime genre. Through the protagonist Smile, Yuasa encourages viewers to engage with play in a childlike, empathetic and naïve way, as opposed to focusing on victory. By analyzing the series using De Koven's ways to approach play, scholars and fans can better understand the variety of ways in which the characters approach play, and how each of them eventually learns to play well. Analyzing this series through the perspective of metamodernism as defined by Robin Van Dan Akker and Thomas Vermeulen helps viewers to understand how Yuasa approaches the cynical nature of sports and competition while ultimately deciding to focus on and encourage the sincere and optimistic approach to competition and play. He uses the conventions of the sports anime genre and the broader conventions of anime to make the series accessible, while also subverting traditional expectations. Susan Napier's work on analyzing anime will give context to the study and research done on this series as a piece of the anime medium. Some of Yuasa's other works are also briefly analyzed in order to show his consistent themes and subverting of conventions across other anime genres.

ABSTRACT This study investigates performer training in ankoku buto dance, focusing specifically on the methods of Japanese avant-garde artist Hijikata Tatsumi, who is considered the co-founder and intellectual force behind this form. The goal of this study is to articulate the buto dancers preparation and practice under his direction. Clarifying Hijikata's embodied philosophy offers valuable scholarship to the ongoing buto studies dialogue, and further, will be useful in applying buto methods to other modes of performer training. Ultimately, my plan is to use the findings of this study in combination with research in other body-based performance training techniques to articulate the pathway by which a performer becomes empty, or nothing, and what that state makes possible in performance. In an effort to investigate the historically-situated and culturally-specific perspective of the body that informed the development of ankoku buto dance, I am employing frameworks provided by Japanese scholars who figure prominently in the zeitgeist of 1950s and 1960s Japan. Among them are Nishida Kitaro, founder of the Kyoto School, noted for introducing and developing phenomenology in Japan, and Yuasa Yasuo, noted particularly for his study of ki energy. Both thinkers address the body from an experiential perspective, and explore the development of consciousness through bodily sensation. My research draws from personal interviews I conducted with Hijikatas dancers, as well as essays, performance videos and films, and Hijikata's choreographic notebooks. I also track my own embodied understanding of buto, through practicing with these various teachers and using buto methods to teach and create performance work. / Dance

This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?