Rock-paper-scissors is a game of random chance. Anyone has the chance to win at this game. It is also a game that is outside the traditional top-down structures of social relations. More importantly, the game reflects the idea that there is never an absolute top-dog or winner in nature (even the strongest or cleverest mammal can fall prey to germs). So rock is defeated by paper, paper is in turn defeated by scissors, and scissors is in turn defeated by rock.
The tendency of European languages to submerge two polarities into one is also observed in the word ‘man’ which can include both male and female. In a sense, the ‘woman’ has disappeared into the ‘man’.
Lee O-young [李御寧] (1933 – present) is a renowned critic of East Asian cultures from South Korea, and though he is best known in the West for his study of Japanese culture entitled Smaller is Better: Japan’s Mastery of the Miniature (1984)*, I think his magnum opus is actually an untranslated work named Janken Bunmei-ron [ジャンケン文明論] (2005), or “A Cultural Theory of Rock, Paper and Scissors”. It is a compact collection of his penetrating observations and insights into East Asian cultures and their contrasting differences with the West. This series of posts is intended to be an introduction to some of his ideas.
A language is like a software programme that is installed in the human brain. When you use that language to think, the programme executes certain commands that lead to certain inevitable results – that is to say, the language you speak predisposes you to think in a certain way. Moreover, the language programme also comes with bugs.