Relevant bibliographies by topics / Fiction, buddhist

Academic literature on the topic 'Fiction, buddhist'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Fiction, buddhist"

1

Clarke, Jim. "Buddhist Reception in Pulp Science Fiction." Literature and Theology 35, no. 3 (August 1, 2021): 355–73. http://dx.doi.org/10.1093/litthe/frab020.

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Abstract Science fiction has a lengthy history of irreligion. In part, this relates to its titular association with science itself, which, as both methodology and ontological basis, veers away from revelatory forms of knowledge in order to formulate hypotheses of reality based upon experimental praxis. However, during science fiction’s long antipathy to faith, Buddhism has occupied a unique and sustained position within the genre. This article charts the origins of that interaction, in the pulp science fiction magazines of the late 1920s and early 1930s, in which depictions of Buddhism quickly evolve from ‘Yellow Peril’ paranoia towards something much more intriguing and accommodating, and in so doing, provide a genre foundation for the environmental concerns of much 21st-century science fiction.
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Li, Mengjun. "Genre Conflation and Fictional Religiosity in Guilian meng (Returning to the Lotus Dream)." Journal of Chinese Literature and Culture 6, no. 2 (November 1, 2019): 331–58. http://dx.doi.org/10.1215/23290048-8041944.

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Abstract The early Qing (1644–1911) midlength vernacular novel Guilian meng 歸蓮夢 (Returning to the Lotus Dream, hereafter Lotus Dream), attributed to Su'an zhuren 蘇庵主人 (Master of Su'an, hereafter Su'an), features a triple hybrid narrative: a hagiographic account of the female protagonist's path to Buddhist enlightenment, a scholar-beauty romance, and a heroic military adventure. Although Su'an (himself a lay Buddhist) claims to preach Buddhist teachings through the novel, the text does not represent the exclusive voice of a single religion or belief system. Instead, its hybrid narrative allows Buddhism, Daoism, Confucianism, and the teachings of other popular sects to interact, intertwine, and compete. This essay argues that the novel's narrative amalgamation is a result of the author's conscious adherence to established genre conventions and market tastes, while it quietly subsumes other religious beliefs into its own Buddhism. In its own way, the novel reflects the larger trend of syncretism, found in literary and religious practices alike in the seventeenth century. As such, Lotus Dream offers us a good example of “fictional religiosity,” encompassing both the religious elements scattered throughout vernacular novels and these novels' growing cultural authority. The religiosity of fiction is best understood in light of the notion of xiaoshuo jiao 小說教 (cult/teachings of fiction), denoting the genre's quasi-religious power of persuasion. Lotus Dream thus serves as an excellent starting point for a reconsideration of the spiritual authority that vernacular novels exercised in the Qing dynasty.
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Wadhwa, Soni. "Love as Enlightenment and Enlightenment as Love: Reading Feminist Hermeneutic of Reconstruction in Vanessa R Sasson’s Yasodhara and the Buddha." Feminist Theology 31, no. 3 (April 29, 2023): 353–65. http://dx.doi.org/10.1177/09667350231163311.

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Exercises in feminist theology outside Western contexts and outside of discourses of theorisation can prove to be enriching to address the disconnection between secular and religious feminisms. One way to address this disconnection is to locate the intersection between secular and religious feminisms in the space of fiction. While mytho-fiction about the Hindu epics, the Ramayana and the Mahabharata, has been around for quite some time and has been extensively analysed for its critique of religion and diversity of representation of heroines, the feminist hermeneutic of reconstruction is only now witnessing a resurgence in Buddhism. This article focuses on Buddhist Studies scholar Vanessa R Sasson’s debut novel Yasodhara and the Buddha for its blending of feminist consciousness with the Buddhist ethos of love. It is hoped that this exercise will be found meaningful in understanding women’s experiences of and attitudes towards religion.
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Kuan, Yan. "Buddhism in the worldview of the characters in Gaito Gazdanov's works." World of Russian-speaking countries 1, no. 7 (2021): 73–81. http://dx.doi.org/10.20323/2658-7866-2021-1-7-73-81.

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In the historical context of the total disintegration that occurred in Europe between 1920 and 1940, the Russian community abroad was particularly interested in Buddhism and the Buddhist worldview. This is connected with the general pessimistic atmosphere among Russian emigrants. Because of their disillusionment with harsh reality, many of them find consolation in Eastern religion to escape from the whirlwind of earthly existence. Such an unusual phenomenon wasnoticed by the young writer Gaito Gazdanov. The writer described this psychological phenomenon in his fiction. The main purpose of this article is to discover in Gazdanov's characters a psychological mindset closely linked to Buddhism. Accordingly, the aim of the study is to highlight the main characteristics of the Buddhist worldview in Gazdanov's characters, analyse the writer's perception of some Buddhist concepts and examine Gazdanov's attitude to the Buddhist teaching on life and superrealism. The material for the study is the novels An Evening at Clare's and The Return of the Buddha, meaningful in the early and mature periods of the writer's work. The analysis of the «Buddhist text» in Gazdanov's novels reveals a number of psychological traits in the characters that are similar to the category of Buddhism, such as detachment from the major history, deliberate alienation from the real world and dreamlike meditation as the main way of perceiving the world. At the same time, a number of Buddhist concepts, such as metempsychosis and nirvana, become the theme of the writer's work as well. This shows the mystical side of Gazdanov's work. However, the article concludes that the writer also warns of the danger and harm of the nihilism and indifference to life inherent in this Eastern religion, which eventually leads to the disappearance of the personality
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Liu, Lydia H. "Life as Form: How Biomimesis Encountered Buddhism in Lu Xun." Journal of Asian Studies 68, no. 1 (January 27, 2009): 21–54. http://dx.doi.org/10.1017/s0021911809000047.

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The fraught encounters between biological sciences and religions such as Buddhism have raised philosophical issues for many. This essay will focus on one of them: Can form ground the truth of life? The author suggests that, along with the introduction of evolutionary biology from Europe, literary realism in China has emerged as a technology of biomimesis, among other such technologies, to grapple with the problem of “life as form.” Focusing on Lu Xun's early interest in Ernst Haeckel and science fiction, especially his translation of “Technique for Creating Humans” and his narrative fiction “Prayers for Blessing,” which drew extensively on a Buddhist avadāna, the essay seeks to throw some new light on the familiar as well as unfamiliar sources relating to Lu Xun's life and works and to develop a new understanding of how the debates on science and metaphysics have developed in modern China.
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Dubakov, Leonid V. "Buddhist aspects of the image of Baron Ungern von Sternberg in the story Horsemen of the Sands by Leonid Yuzefovich." Vestnik Tomskogo gosudarstvennogo universiteta, no. 483 (2022): 16–23. http://dx.doi.org/10.17223/15617793/483/2.

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The article explores the Buddhist components of the image of Baron Roman Ungern von Sternberg in the works of Leonid Yuzefovich. The analysis is carried out within the framework of the concept of the “Buddhist text” in modern Russian literature. The author of the article discovers and comprehends Buddhist ideas and motifs present in the story Horsemen of the Sands and the documentary novel The Autocrat of the Desert. Indirectly, the article also uses the essay “The Six-Armed God and His ‘Sons’ ” from Yuzefovich’s The Most Famous Impostors. The story and the novel were reprinted several times, and each time the writer made significant edits to them, which fixed significant changes in the image of the main character and reflected the writer’s deepening knowledge about Buddhism. The image of Baron Ungern in the story and in the novel is a complex and synthetic image, it combines the signs of a positive hero and of an infernal being, each of which is rooted in Buddhist metaphysics. The image of the baron as a character in Yuzefovich’s fiction correlates with the image of the real Roman Ungern von Sternberg. The real Baron Ungern looks no less exotic than his literary reflection. He is a participant in the White Movement, a religiously motivated warrior for the Buddhist faith, who comes into conflict with the West. He realizes himself inspired by Buddhist hierarchies and exists in the space of the approaching apocalypse. At the same time, in connection with the image of Baron Ungern in the story Horsemen of the Sands, the writer turns to the problems rooted in Buddhist philosophy, in particular, he raises questions of the illusory nature of being, karma and nonviolence. The image of horsemen of the sands fixed in the title of the story is a metaphor of time absorbing people and events, of the illusory space, of the unreliable human ontology, and of the unseemly vanity. Another idea of the story is the impossibility of avoiding the consequences of what has been done both at the level of the history of nations and of the fate of an individual due to karma, that is, the Buddhist law of created causes and matured consequences. The writer interprets both the appearance of Ungern in Mongolia and his passing away as a manifestation of bad karma. Finally, another important idea of the story is the idea of the essential discrepancy between the ethics of Buddhism and the idea of its violent, military propagation. The convergence of Buddhism and war in Horsemen of the Sands looks wrong and inappropriate, and leads people who have embarked on such a road to collapse at the level of their own destiny and to a historical defeat.
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7

Wadhwa, Soni. "Feminist Literary Criticism Meets Feminist Theology: Yashodhara and the Rise of Hagiographical Fiction in Modern Feminist Re-visioning." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061570.

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Feminist re-visioning has led to heterogenous retellings of mythological heroines in fiction. Sita and Draupadi, two of the well-known Indian mythological characters, have been explored in various capacities in mythological fiction. Yashodhara, Buddha’s wife, is a recent addition to this re-visioning project. This article seeks to engage with three retellings of Yashodhara’s story—each of which is radically different from the others. The result is the rise of hagiographical fiction around the character—responsive to the Buddhist ethos of love and spirituality. This article argues that the most intriguing representations of Yashodhara found in this fiction are rooted in the nonoppositional agency given to her character.
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8

Revire, Nicolas. "Facts and Fiction: The Myth of Suvaṇṇabhūmi Through the Thai and Burmese Looking Glass." TRaNS: Trans -Regional and -National Studies of Southeast Asia 6, no. 2 (July 2018): 167–205. http://dx.doi.org/10.1017/trn.2018.8.

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AbstractMost scholars think that the generic name ‘Golden Land’ (Sanskrit, Suvarṇabhūmi; Pali, Suvaṇṇabhūmi) was first used by Indian traders as a vague designation for an extensive region beyond the subcontinent, presumably in Southeast Asia. Some Pali sources specifically link Suvaṇṇabhūmi with the introduction of Buddhism to the region. The locus classicus is the Sri Lankan Mahāvaṃsa chronicle (fifth century AD) which states that two monks, Soṇa and Uttara, were sent there for missionary activities in the time of King Asoka (third century BC). However, no Southeast Asian textual or epigraphic sources refer to this legend or to the Pali term Suvaṇṇabhūmi before the second millennium AD. Conversely, one may ask, what hard archaeological evidence is there for the advent of Buddhism in mainland Southeast Asia? This article re-examines the appropriation of the name Suvaṇṇabhūmi in Thailand and Burma for political and nationalist purposes and deconstructs the connotation of the term and what it has meant to whom, where, and when. It also carefully confronts the Buddhist literary evidence and earliest epigraphic and archaeological data, distinguishing material discoveries from legendary accounts, with special reference to the ancient Mon countries of Rāmaññadesa (lower Burma) and Dvāravatī(central Thailand).
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Wang, Aiqing. "Five Great Families and Telepathy: Folk Religion and Buddhism in Neo-Dongbei Fiction by Zheng Zhi." Al-Adyan: Jurnal Studi Lintas Agama 16, no. 2 (February 14, 2022): 93–122. http://dx.doi.org/10.24042/ajsla.v16i2.9626.

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The 2010s has witnessed the visibility of literature based on China’s Northeast (Dongbei), exemplified by literary works composed by Zheng Zhi, Ban Yu and Shuang Xuetao, viz. the ‘three masters of Dongbei Renaissance’. In a 2020 novella anthology, Zheng Zhi expatiates upon a veritable cornucopia of representations of folk religion (aka popular religion) and established religions via depictions concerning shamanism, Buddhism and Christianity. In a narrative entitled Xian Zheng ‘Divine Illness’, Zheng Zhi manifests animal worship as a form of folk religion, by means of painting a vivid portrait of shamanic practices pertaining to ‘five major deity families’ that denotes fox, weasel, hedgehog, snake and rat spirits. In a narrative entitled Taxintong ‘Telepathy’, Zheng Zhi depicts Buddhist practices, the preponderant motivations for which are analogous to those for folk religion in contemporary Dongbei, namely, physical wellbeing and psychological solace.
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Demiragić, Ajla. "Overcoming Traumatic Experience in Zdenko Lešić’s Polydiscursive Novel: About Tara as Practice of Compassion." Društvene i humanističke studije (Online) 7, no. 4(21) (December 30, 2022): 199–218. http://dx.doi.org/10.51558/2490-3647.2022.7.4.199.

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Zdenko Lešić, one of Bosnia and Herzegovina's most prominent literary theorists, published two novels in the period following the war: Sarajevo Tabloid (Split 2001) and About Tara (Sarajevo 2004). While the first novel, in the words of the author himself, can be read as a „contemplation of eternal human suffering, which tragically repeated itself in besieged Sarajevo” (2015:283), About Tara is a tragic family story from the immediate wartime past written through the experience of radical displacement in South Korea and the encounter with the Buddhist teachings. Relying on theoretical works about trauma fiction, this article aims to explore the novel About Tara as a polydiscursive text that reflects upon the possibilities of overcoming a traumatic experience through the Buddhist principle of compassion (karunā).
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Dissertations / Theses on the topic "Fiction, buddhist"

1

Barber, Michael. "'The Unravelers' : Rasa, becoming, and the Buddhist novel." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/the-unravelers(6ff07eb3-3289-4c6d-b128-026e31277233).html.

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The Unravelers is a Buddhist novel of literary fiction, which to my knowledge is the first in the last one hundred years to synthesize the Buddhist teachings and values found in the suttas of the Pāli Canon, the theory of ancient Indian kāvya literature, and the latest stylistic and structural innovations of contemporary literary fiction. The narrative follows four characters from the moment of their deaths as they manipulate the process of becoming—the mental act of creating and entering into “worlds”. The novel depicts the characters’ development of dispassion for a variety of realms, resulting in their eventual return to the human world with the motivation necessary to practice the Buddhist path. My critical essay opens with an introduction to kāvya and Theravāda Buddhist concepts that are particularly relevant to the process of creating a fictional world— namely, saṅkhāra (fabrication) and bhava (becoming)—and the inherent karma of writing. Section II “Literary Review” explores narrative modes from Theravāda Buddhist literature and develops them through experimental narrative modes of contemporary literary fiction. Section III discusses the depiction of becoming, fabrication, and dispassion through the novel’s characters. Section IV “Rasa,” explains the theory of how a reader experiences the work’s savor, while relating the use of rasa in The Unravelers to the early Buddhist kāvyas (the Pāli Canon’s Udāna and Dhammapada, and two works by Aśvaghoṣa). Section V evaluates the classic use of Buddhist concepts and metaphors in Aśvaghoṣa’s Handsome Nanda as compared to The Unravelers. Section VI examines Jack Kerouac’s The Dharma Bums as a forerunner to the genre of the Buddhist novel and Keith Kachtick’s Hungry Ghost as archetypal. Section VII concludes by detailing The Unravelers’ contribution to the Buddhist novel.
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Miller, Laura Anne. "The Let Going: Death, Buddhism and Connection." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1800.

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After turning forty and the unexpected death of her father, the narrator seeks to make sense of the story of her father's life and her own. Reflections on Buddhism, death, family history and community flow through the narrator's journey from the backcountry of the Colorado Rocky Mountains to the rolling farmland of the Midwest, from a retreat center in Oregon to the ancient geography of Wisconsin's Driftless Area. With clues gathered from her family home in Waterloo, Iowa, the narrator returns to her current home in Portland, where she comes to understand for herself the significance of the phrase "the let going."
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Weinschenck, George G. "Wallace Stevens dharma Notes toward a supreme fiction and the view from an island hermitage /." Diss., Online access via UMI:, 2007.

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Pillainayagam, Priyanthan A. "The After Effects of Colonialism in the Postmodern Era: Competing Narratives and Celebrating the Local in Michael Ondaatje’s Anil’s Ghost." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1337874544.

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McArthur, Maxine Elisabeth. "In the gaps left unfilled : historical fantasy and the past." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/20297/1/Maxine_McArthur_Exegesis.pdf.

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The thesis consists of the novel The Fox and the Mirror and an accompanying exegesis. The novel is an historical fantasy set in a world based on early medieval (12-13th century) Japan. The main characters are a young female shaman, Hatsu, and a young warrior’s assistant, Sada, who is a Buddhist believer. When Hatsu’s village and shrine are destroyed by warriors and her summoning mirror is stolen, she is abandoned by her kami . To experience the kami’s presence again, she must follow the thief and retrieve the mirror before it can be used to resurrect an ancient evil. Sada must capture Hatsu and bring her back to his lord, or his family will suffer. Yet he is entranced by Hatsu and feels guilt at the destruction of her village. He must choose whether to abandon his former life and stay with Hatsu, or betray her. In the novel I have tried to invoke the feel of a place and time where the supernatural is as real as the physical world; I also try to imagine how a religion as alien to Japanese native beliefs as Buddhism became a part of that country’s spiritual culture. In the exegesis I reflect upon how I used various kinds of history, both written and unwritten, to build the world, characters and narratives of The Fox and the Mirror, and thereby explore some ways in which historical fantasy, as a sub-genre of historical fiction, is capable of presenting an ‘authentic’ view of the past, in spite of its non-realistic nature. I identify three main ways historical fantasy writers can provide an authentic view of the past: by using telling details from an historical era; by incorporating documented events and persons into the story; and by portraying the world as people in the past believed it to be. Historical fantasy is different from realistic historical fiction in that it can more easily incorporate elements belonging to shared cultural heritage, such as beliefs regarding the dead and the supernatural. This characteristic involves writers in research using material that involves other ways of knowing the past—in particular the expressions of belief such as religion, popular customs, folk tales, and oral history. With the broadening of our historiological perspectives in the postmodern climate, historical fantasy based on non-documentary forms of history may come to be seen as another way of knowing the past.
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McArthur, Maxine Elisabeth. "In the gaps left unfilled : historical fantasy and the past." Queensland University of Technology, 2008. http://eprints.qut.edu.au/20297/.

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The thesis consists of the novel The Fox and the Mirror and an accompanying exegesis. The novel is an historical fantasy set in a world based on early medieval (12-13th century) Japan. The main characters are a young female shaman, Hatsu, and a young warrior’s assistant, Sada, who is a Buddhist believer. When Hatsu’s village and shrine are destroyed by warriors and her summoning mirror is stolen, she is abandoned by her kami . To experience the kami’s presence again, she must follow the thief and retrieve the mirror before it can be used to resurrect an ancient evil. Sada must capture Hatsu and bring her back to his lord, or his family will suffer. Yet he is entranced by Hatsu and feels guilt at the destruction of her village. He must choose whether to abandon his former life and stay with Hatsu, or betray her. In the novel I have tried to invoke the feel of a place and time where the supernatural is as real as the physical world; I also try to imagine how a religion as alien to Japanese native beliefs as Buddhism became a part of that country’s spiritual culture. In the exegesis I reflect upon how I used various kinds of history, both written and unwritten, to build the world, characters and narratives of The Fox and the Mirror, and thereby explore some ways in which historical fantasy, as a sub-genre of historical fiction, is capable of presenting an ‘authentic’ view of the past, in spite of its non-realistic nature. I identify three main ways historical fantasy writers can provide an authentic view of the past: by using telling details from an historical era; by incorporating documented events and persons into the story; and by portraying the world as people in the past believed it to be. Historical fantasy is different from realistic historical fiction in that it can more easily incorporate elements belonging to shared cultural heritage, such as beliefs regarding the dead and the supernatural. This characteristic involves writers in research using material that involves other ways of knowing the past—in particular the expressions of belief such as religion, popular customs, folk tales, and oral history. With the broadening of our historiological perspectives in the postmodern climate, historical fantasy based on non-documentary forms of history may come to be seen as another way of knowing the past.
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Harris-Birtill, Rosemary. "Mitchell's mandalas : mapping David Mitchell's textual universe." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12255.

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This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.
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Chang, Rei-Fen, and 張瑞芬. "The Literature of Buddhist Retribution and Classical Chinese Fiction." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/48756523917823571945.

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Nortjé, Johannes Andries. "Holographic memoirs of a dream : the invention of tram hopping." Thesis, 2012. http://hdl.handle.net/10500/7042.

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The medium is the message in the first place: the medium as presence, as the author. His contribution to the academic world is his academic Holographic Memoirs. His story, the author's memoirs, is a fictive-narrative discourse with an organic ubuntu open-endedness. The Hologram is both an autobiography, but also all the information at all places simultaneously – nonlocal in quantum physical terms - within an intense hallucinating dream: no illusion, but rather a HyperReality with all its Virtual Identities. The invention of tram hopping is the plot of the story. The plot is like an hourglass where the first part of the story is the emptying of the sand, the deconstruction of modernism, but while the top chamber runs empty and the bottom chamber fills up, so the deconstruction is simultaneously a dependent arising/(social) construction/ubuntuing to revival – the synagogal Shekinah presence of YAHWEH. The top chamber is the unreasonable Newtonian physics and the bottom chamber reasonable quantum physics. The metaphysics (before the physics) of the top chamber is poststructuralism and deconstruction, while the bottom chamber is the virtual Hebraic worldview that delutively merges ubuntu and Buddhism. The long narrow neck in the middle is the moonily narrative that lives us with psychology (Psycho-logic) lost in sociology (Social-physics). Hermeneutics is set forth in the same contrasting hourglass of the top chamber, the inherited tradition, emptying to what it should accomplish – (virtual) presence.
Philosophy & Systematic Theology
D. Th. (Systematic Theology)
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Nortje, Johannes Andries. "Holographic memoirs of a dream : the invention of tram hopping." Thesis, 2012. http://hdl.handle.net/10500/7042.

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The medium is the message in the first place: the medium as presence, as the author. His contribution to the academic world is his academic Holographic Memoirs. His story, the author's memoirs, is a fictive-narrative discourse with an organic ubuntu open-endedness. The Hologram is both an autobiography, but also all the information at all places simultaneously – nonlocal in quantum physical terms - within an intense hallucinating dream: no illusion, but rather a HyperReality with all its Virtual Identities. The invention of tram hopping is the plot of the story. The plot is like an hourglass where the first part of the story is the emptying of the sand, the deconstruction of modernism, but while the top chamber runs empty and the bottom chamber fills up, so the deconstruction is simultaneously a dependent arising/(social) construction/ubuntuing to revival – the synagogal Shekinah presence of YAHWEH. The top chamber is the unreasonable Newtonian physics and the bottom chamber reasonable quantum physics. The metaphysics (before the physics) of the top chamber is poststructuralism and deconstruction, while the bottom chamber is the virtual Hebraic worldview that delutively merges ubuntu and Buddhism. The long narrow neck in the middle is the moonily narrative that lives us with psychology (Psycho-logic) lost in sociology (Social-physics). Hermeneutics is set forth in the same contrasting hourglass of the top chamber, the inherited tradition, emptying to what it should accomplish – (virtual) presence.
Philosophy and Systematic Theology
D. Th. (Systematic Theology)
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Books on the topic "Fiction, buddhist"

1

Dahlke, Paul. Buddhist stories. New Delhi: Asian Educational Services, 2000.

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Toccoli, Vincent Paul. Le Bouddha revisité ou la genèse d'une fiction. Paris: L'Harmattan, 2005.

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O'Hanlon, Jim. The Buddhist of Castleknock. Dublin, Ireland: New Island, 2007.

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Keith, Kachtick, ed. You are not here and other works of Buddhist fiction. Boston: Wisdom Publications, 2006.

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Bùi, Anh Tấn. Không và sắc. Thành phố Hồ Chí Minh: NXB Trẻ, 2008.

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1955-, Wheeler Kate, ed. Nixon under the bodhi tree and other works of Buddhist fiction. Boston: Wisdom Publications, 2004.

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Charu, Singh. Path of the swan. Gurgaon, India: Hachette India, 2014.

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1930-, Takada Mamoru, Nishida Kōzō, and Hara Michio 1936-, eds. Bukkyō setsuwa shūsei. Tōkyō: Kokusho Kankōkai, 1990.

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Zhu, Xingzuo. Er shi si zun de dao luo han zhuan. [Shanghai]: Shanghai gu ji chu ban she, 1990.

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Zhu, Xingzuo. Er shi si zun de dao Luohan zhuan: [6 juan]. [Shanghai]: Shanghai gu ji chu ban she, 1990.

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Book chapters on the topic "Fiction, buddhist"

1

Rüsch, Markus. "The Role of Fiction in Buddhist Hagiography." In The Routledge Handbook of Fiction and Belief, 390–402. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003119456-34.

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Williford, Daniel. "Buddhism and Emotions: Asian Enlightenment and the Anxieties of European Identity." In Emotions in Non-Fictional Representations of the Individual, 1600-1850, 31–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84005-1_3.

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Zablocki, Abraham. "Green Books, Blue Books, and Buddhism as Symbols of Belonging in the Tibetan Diaspora: Towards an Anthropology of Fictive Citizenship." In Religion in Diaspora, 245–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137400307_13.

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Wickham-Smith, Simon. "Contemporary Buddhist Poetry and Fiction." In Sources of Mongolian Buddhism, 501–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0024.

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The literary response to Buddhism in the years since the democratic revolution of 1990 has reflected the revival of interest in spirituality that has accompanied the development of social freedom. Writers have begun to use Buddhist imagery and themes in order to describe not only their own spiritual lives and those of their readers, but also to understand and express the secular. Moreover, the interest in Mongolian traditions among those writers who have come of age since the late 1980s means that Buddhism is now a more common subject in the contemporary literature. Using contemporary language to explore metaphysics, and the human response to metaphysics, these works reflect the difficulties of reviving and healing the image of Buddhism, and of spiritual practice, in post-Soviet Mongolia.
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Beek, Kimberly. "Buddhism and American Literature." In The Oxford Handbook of American Buddhism, 499–516. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197539033.013.25.

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Abstract Buddhism has long been a source of inspiration for American writers, and its teachings and principles have played a meaningful role in shaping the landscape of American fiction and poetry. From the Transcendentalists of the nineteenth century to the Beat poets of the mid-twentieth century, from Asian American authors and poets to postmodernist writers of the twenty-first century, this chapter explores the intersection of Buddhism and American fiction and poetry. Offering a concise, chronological survey, the author highlights key examples of Buddhism in American literature that illustrate the trajectory of Buddhist narratives in fiction and poetry from transnational stories about Buddhism in Asia rendered for an American audience, through mid-century narratives that portray Buddhism as a lived religion and describe how to live as a Buddhist in a diversity of ways, to contemporary Buddhist American literature that has embedded Buddhism into the American social imaginary. In doing so, the author suggests that the umbrella category label “Buddhism and American literature” is more accurately expressed as “Buddhist American literature.”
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"Buddhist Words and Buddhist Symbols in Personal Novels." In The Awakening of Modern Japanese Fiction, 147–70. SUNY Press, 2021. http://dx.doi.org/10.1515/9781438481432-009.

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"Buddhist Attainment and Mystical Experience." In The Awakening of Modern Japanese Fiction, 171–90. SUNY Press, 2021. http://dx.doi.org/10.1515/9781438481432-010.

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"A Shin Buddhist Historical Novel." In The Awakening of Modern Japanese Fiction, 121–44. SUNY Press, 2021. http://dx.doi.org/10.1515/9781438481432-008.

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"Literary Representations of Buddhist Funerals." In The Awakening of Modern Japanese Fiction, 191–213. SUNY Press, 2021. http://dx.doi.org/10.1515/9781438481432-011.

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"Shin Buddhist Confession and Literary Practice." In The Awakening of Modern Japanese Fiction, 89–119. SUNY Press, 2021. http://dx.doi.org/10.1515/9781438481432-007.

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