Thèses : « Buddhismo zen »

1

Falcon, Davide <1991&gt. « Nietzsche e il Buddhismo Zen ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13672.

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Negli ultimi decenni in occidente si è iniziato a prestare sempre più attenzione nei confronti delle filosofie e religioni orientali. Lo Zen, ad esempio, è diventato un fenomeno di costume negli ultimi anni. Vi sono molti richiami a questa religione in parecchi ambiti della nostra vita. Alcuni autori cercarono tratti comuni fra il pensiero orientale e pensatori occidentali, stili di vita (ad esempio la Beat Generation negli anni ’70 ha un notevole “influsso” zen); ma, come sostiene Umberto Eco nel breve saggio “Lo zen e la cultura occidentale”, la maggior parte di questi richiami sono per lo più dettati dalla moda e dalla superficiale comprensione di cosa sia in realtà lo Zen. In questo elaborato intendo costruire una relazione fra il pensiero del filosofo tedesco Friedrch Nietzsche e la religione Zen, sopratutto per quanto riguarda le critiche che queste due differenti correnti di pensiero formulano nei confronti della concezione dell'Io, della relazione Io-tu, dell'eccessivo razionalismo, della metafisica. è mio interesse dunque, svelare i punti di divergenza e convergenza fra questi due stili di pensiero, rifacendomi (e ampliando per quanto è possibile) al capitolo "Nietzsche e il Buddhsmo Zen" contenuto nel testo "Il Tao della fisica" del professor Giangiorgio Pasqualotto.

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NUBILE, GIOVANNI. « I mille corpi di Buddha. Corpo, soggettività e azione rituale in un monastero zen italiano ». Doctoral thesis, Università degli Studi di Milano-Bicocca, 2019. http://hdl.handle.net/10281/241059.

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Il presente lavoro si propone di mettere in dialogo, attraverso la trattazione del caso etnografico, alcune linee teoriche della cosiddetta “svolta ontologica” e la fenomenologia culturale. La tesi si precisa attraverso l’analisi delle pratiche e delle rappresentazioni legate alla corporeità all’interno di una comunità monastica italiana, appartenente alla chiesa buddhista giapponese dello Zen Sōtō. La tesi si propone di “prendere sul serio” – al modo della svolta ontologica - due fattori: 1) la molteplicità estensiva dei corpi riscontrata durante la ricerca etnografica; 2) la prassi preponderante d’immanentizzazione del piano divino nei corpi. Si è delineata dunque una tripartizione analitica, strutturante la tesi, riguardo ai “corpi”: il corpo organico del singolo, il corpo sociale della comunità, il corpo architettonico del monastero. Dopo un’introduzione di tipo storico, la tesi si sofferma sulla pratica-madre dello zazen (la meditazione seduta), analizzando le finalità soteriologiche dei processi di oggettivazione e di soggettivazione dei corpi. S’indaga quindi quale sia il rapporto tra la dimensione immediata ed esoterica della trasformazione rituale e i diversi livelli di mediazione simbolica e morale riscontrati durante la pratica etnografica. Dopo aver constatato come l’apparato simbolico venga trasmesso in maniera principiale attraverso l’enactment liturgico, si esplora la concezione monastica di soggettività in relazione al rito dello zazen. All’interno della medesima cornice interpretativa, ci si concentra sui canoni estetici della gestualità rituale, sulle modalità di trasmissione dell’insegnamento, e sul legame tra l’apparato simbolico, lo sfondo soteriologico e la fatticità della carne. Emerge una concezione del corpo che non può essere scissa dall’azione che lo costituisce e dal quid religioso che è pensato sostanziare l’azione rituale tout court. L’analisi antropologica del corpo della comunità e del monastero ha restituito un’immagine della relazione tra i corpi basata su una relazione di contiguità doppia. Il rapporto tra i corpi risulta essere non soltanto molteplice per metonimia (il tutto per la parte) ma anche frattale per sineddoche (la parte per il tutto). In conclusione della tesi, si è analizzato il concetto di corpo cosmico del Buddha, attraverso il quale è emerso la convivenza di una prassi della trascendentalizzazione con una dell’immanenza. Questo doppio regime di pratica ed enunciazione ha evidenziato un fondamentale limite della svolta ontologica, la quale si presenta come un’antropologia dell’immanenza. Di converso il concetto di corpo-soggetto della fenomenologia culturale emerge come sostanziato da un antropocentrismo che si può assumere come pregiudiziale e che non permette di “prendere sul serio” la pratica religiosa dei soggetti studiati. Infine, si rileva una concezione del corpo inteso non come una sostanza (singola o multipla) quanto, piuttosto, come un modo prospettico di sostanziare gli infiniti livelli di cui è inteso essere costituito il cosmo nella sua totalità. Il concetto nella sua generalità non può essere pensato al di fuori della relazione con un’attività cosmica, di tipo sacrificale, che agisce i diversi livelli dell’esistenza, incorporandovisi. Attraverso tale ampia nozione di attività, si è infine cercato di mettere in tensione le dicotomie soggetto/oggetto, immanenza/trascendenza, processo/sostanza da cui si era partiti.
The dissertation tries to relate, through the analysis of ethnographic case study, the so-called ‘ontological turn’ and cultural phenomenology. It focuses on practices and representations of corporeality enacted in an Italian Zen Buddhist monastery. This work aims to “take seriously” – in the same way of ‘ontological’ anthropology – two ethnographic data: 1) the extensive multiplicity of ‘bodies’; 2) the praxis of immanentization of divine realm in the bodies. The thesis is structured on an analytical tripartition: the organic body, the social body, and the architectural body. The present work focuses, first, on the practice of zazen (“sitting meditation”) and analyses the relation between its esoteric interpretation and the several levels of symbolic and moral mediations embodied by Italian practitioners. At the same time, it tries to elucidate the relation between the intersubjective realm of ritual enactment and the immanentization of extra-human realm. In the same fashion, we concentrated on the monastic patterns of ritual gesture and proper deportment, in the context of the transmission between teacher and pupil of bodily knowledge. Besides, we focused on the relation between symbolical apparatus and the facticity of the body. As a result of this analysis, it emerges that the practitioner’s body cannot be separated from the religious character of the ritual action that substantiate it. The anthropological analysis of the social and architectural bodies returns a double image of the relation between bodies, based on the synecdochic and metonymic contiguity, instead of a metaphorical similarity. Finally, we explored the concept of cosmic body of Buddha, through which emerged the coexistence of a trascendentalization praxis with an immanentistic one. By contrast, this double regime of practice and enunciation showed the limits of ontological turn, ascribable to its exclusivist focus on the immanence. At the same time, the immanence of Buddha in the body highlighted the fundamental anthropocentric stance of phenomenological anthropology that doesn’t allow us to “take seriously” the non-human activity that enliven the monastic community. In conclusion, the concept of “body” emerged not as a substance but as a model of ritual operativity through which the divine and the human merges. Through the vast notion of “total activity” (zenki), lastly, we tried to recalibrate the dichotomies for which this dissertation moved.

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Irion, Susan J. « Women in American Zen variations on adaptations of religious authority / ». Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1070483986.

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Yogo, Rinako. « Jung and Buddhism : a hermeneutical engagement with the Tibetan and Zen Buddhist traditions ». Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365210.

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This thesis examines Jung's relation to Buddhism, in particular the Tibetan and Zen Buddhist traditions from a hermeneutic perspective. It addresses the way Jung attempted to make a dialogue between Analytical Psychology and Buddhism and the extent to which he was successful. Jung's approach to Buddhism is sometimes affected by Eurocentric prejudices, which led him to misunderstand some of the concepts of Buddhism. Moreover, from the standpoint of a psychologist, Jung had a tendency to reduce Buddhist thought to its psychological aspects, and not to pay sufficient attention to its traditional meanings. Jung was also highly selective in his use of Buddhist texts and focussed on those texts which appeared to confirm, or conform to, his psychological thinking, but dismissed other Buddhist materials which had no common base with his psychology. To contrast his approach, this thesis examines the theory of the phenomenology of religion, which emphasises the recognition of the irreducibility of religious phenomena and claims that we must understand religion within its own cultural context. From the perspective of the phenomenology of religion, Jung's methodology lacks objectivity and fails to exercise epoche, which means a suspension of one's own judgement or the exclusion of every possible presupposition. Rather, Jung seems to over-emphasise eidetic vision, which is a form of subjectivity that implies an intuitive grasp of the essentials of a situation in its wholeness. There are important achievements in Jung's engagement with Buddhism and indeed Jung should be regarded as a pioneer in this field of research. Jung's writings on Buddhism had a major influence on later studies of the various Buddhist traditions and meditation in relation to Western psychology and its therapeutic techniques. From this more positive perspective, this thesis explores in detail the strengths and shortcomings of Jung's engagement with the different Buddhist traditions, in order to assess its potential contribution to the contemporary dialogue between East and West.

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Vasi, Shiva. « Conversion to Zen Buddhism ». Monash University, School of Political and Social Inquiry, 2004. http://arrow.monash.edu.au/hdl/1959.1/9601.

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6

Rhyner, Bruno. « Morita-Psychotherapie und Zen-Buddhismus / ». Zürich : Völkermuseum der Universität Zürich, 1988. http://catalogue.bnf.fr/ark:/12148/cb35516087g.

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Kay, David N. « Tibetan and Zen Buddhism in Britain : transplantation, development and adaptation / ». London : RoutledgeCurzon, 2004. http://www.loc.gov/catdir/toc/ecip046/2003014995.html.

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Dessì, Ugo. « Ethics and society in contemporary Shin Buddhism ». Berlin ; Münster Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3012719&prov=M&dokv̲ar=1&doke̲xt=htm.

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Chan, Yiu-wing, et 陳耀榮. « An English translation of the Dharmatrāta-Dhyāna Sūtra ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50434135.

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One of the early texts translated from Sanskrit into ancient Chinese in around 411C.E. is called the Dharmatrāta-dhyāna-sūtra(T15, no.618) which was a detailed account of the meditational methods of Buddhasena and Dharmatrāta who were the two most renowned dhyāna teachers in Kaśmīra around 400C.E. They may be regarded as belonging to the tradition of the Sarvāstivāda Dārṣṭāntika masters who were characterized by their active interest in meditation and popular preaching in which theyexcelled in communicating through poems and allegories. The Dharmatrāta-dhyāna-sūtra exemplifies these features. It is preaching on meditation, written in verses and abounding in similes. Buddhabhadra (359-429), the translator, was also a prominent meditational instructor. This sūtra, despite its unprecedented impact on the development of dhyāna practice and the later proliferation of Ch’an Buddhism in China, has long been under-estimated. It has never been translated from ancient Chinese into modern English for the benefit of the English-speaking world. Hence, the purpose of my thesis is to address this issue, giving appropriate weight to this sūtra with annotation and a critical introduction to clarify the somewhat chaotic background surrounding the compilation of this sūtra. By doing so, I have made painstaking effort in establishing the unshakable claim that the sūtra is a Sarvāstivāda text (Part VII, Introduction). I also compare the methods of meditation expounded in this sūtra with those of the AKB, arriving at the conclusion that they are almost identical (Part XI, Introduction). In addition, the meditation system commonly shared by the Hīnayāna and the Mahāyāna is analysed with a view to demonstrating the fact that whilst the techniques are virtually the same, the interpretation, on the other hand, could be different. In the course of my research, I have also compiled a Chinese-Sanskrit-English glossary, juxtaposing the ancient Chinese terms with Sanskrit and modern English for the benefit of furture researchers. This sūtra essentially preserves the ancient Sarvāstivādin meditation teachniques. But it importantly incorporates Mahāyānistic-Tantric elements, such as the maṇḍala and visualization. This is another important aspect of my text discussed in the introduction of my thesis. As a result, it came to exert a great impact on the subsequent teaching and practice of Chinese Buddhism, particularly those of Buddhist meditation.
published_or_final_version
Buddhist Studies
Doctoral
Doctor of Philosophy

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Chung, Kwok-wai Michael. « Zen Buddhism in selected works of J.D. Salinger ». Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31577593.

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Chung, Kwok-wai Michael, et 鍾國偉. « Zen Buddhism in selected works of J.D. Salinger ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31577593.

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Karna, Bishal Karna. « Skillful Ways : Sōtō Zen Buddhism in the American Midwest ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531270511483504.

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Lindsley, Benjamin. « COMPARING CONCEPTIONS OF DOUBT IN ZEN BUDDHISM AND KIERKEGAARD ». OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1998.

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AN ABSTRACT OF THE THESIS OF Benjamin S. Lindsley, for the Masters Degree in Philosophy, presented on APRIL 14, 2016, at Southern Illinois University Carbondale. TITLE: COMPARING CONCEPTIONS OF DOUBT IN ZEN BUDDHISM AND KIERKEGAARD MAJOR PROFESSOR: Dr. Douglas Berger This thesis compares the concept of existential doubt as depicted by Søren Kierkegaard with the concept of existential doubt espoused by Keiji Nishitani in his interpretation of Zen Buddhism in order to ultimately show the conceptual similarities between both traditions’ concepts of negation, reflection, and methods for eliminating doubt. These points of philosophical concurrence will advance the assertion that Divine unity in the Christian tradition and enlightened becoming in the Zen Buddhist tradition both require an existential-doubt-induced annihilation of self-conception, facilitated through a supra-subjective re-orientation, which starts from the standpoint of subjective immediacy and resettles at the ground of absolute nothingness. This explication will serve as a means to guide the existential inquirer through the experience of doubt and offer tangible methods to assuage the maladies which accompany the experience.

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Thomas, Mary M. « Experiential learning : an exploration of the effect of Zen experience on personal transformation ». Thesis, Brunel University, 1999. http://bura.brunel.ac.uk/handle/2438/5771.

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This inquiry started by examining my own and others experience of Zen, and comparing it with Self Organised Learning. The aim was to see what effect each system had on the lives of the participants. The thesis plots how I had a tacit reliance on myself as a measuring instrument, and how this became an integrating theme running through my 'finally chosen' methods. The methodological difficulties caused by the paradox of trying to understand Zen and also be scientific converged when I realised that I had treated myself as the central measuring instrument throughout the inquiry. It was this discovery which allowed the thesis to be treated as a koan from a Zen perspective and yet to be a contribution to academic knowledge. The thesis traces how personal authenticity became the defining characteristic informing all my methodology. This inquiry asks and answers the question can research be transpersonal? Initially the research started out looking at a transpersonal issue in the form of asking those who had regular interactions with a Zen master about their experience. This learning curve was contrasted with Learning Conversations with postgraduates at the centre for the Study of Human Learning, using inner directed learning in their research projects. During the research process, several major re-orientations took place which, necessitated changing my method and my interpretation of the data. These shifts of direction were largely driven by a need to find a method of inquiry which was appropriate to uncovering the transpersonal qualities I was investigating. As the inquiry developed I widened my sources of data to include art, fiction, accounts of death and grieving, and satsang (questions and answers with a master) in order to give an in depth picture of the impact of the transpersonal on participants' lives. In treating the thesis as a koan there can be no emphasis placed on which purposes related to which outcomes. It was in the gradual abandonment of such a stance that the deeper insights and resolutions occurred. During the inquiry I eventually identified the qualities of wholeness, authenticity and openness as the defining characteristics which appeared to trigger changes in direction. Such an approach made it necessary to examine the implications for validity that approaching transpersonal issues in this way had uncovered.

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Graf, Tim [Verfasser], et Inken [Akademischer Betreuer] Prohl. « Brands of Zen : Kitō jiin in Contemporary Japanese Sōtō Zen Buddhism / Tim Graf ; Betreuer : Inken Prohl ». Heidelberg : Universitätsbibliothek Heidelberg, 2017. http://d-nb.info/1177688948/34.

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Licha, Kigensan Stephan. « The imperfectible body : esoteric transmissions in medieval Sōtō Zen Buddhism ». Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594108.

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Jenkins, Barry S. « Jack Kerouac and the "Beat" sect of American Zen Buddhism / ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ34189.pdf.

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Wu, Jiang. « Orthodoxy, controversy and the transformation of Chan Buddhism in seventeenth-century China ». online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3051348.

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Carroll, Michael Scott. « Action, authority and approach : treatiseson "Zen"/"Chan", radical interpretation, and the Linji Lu ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38955106.

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Cuellar, Eduardo, et Eduardo Cuellar. « Tokugawa Zen Master Shidō Munan ». Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621441.

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Shidō Munan (至道無難, 1602-1676) was an early Tokugawa Zen master mostly active in Edo. He was the teacher of Shōju Rōjin, who is in turn considered the main teacher of Hakuin Ekaku. He is best known for the phrase that one must“die while alive,”made famous by D.T. Suzuki. Other than this, his work has not been much analyzed, nor his thought placed into the context of the early Tokugawa period he inhabited. It is the aim of this work to analyze some of the major themes in his writings, the Jishōki (自性記), Sokushinki (即心記), Ryūtakuji ShozōHōgo (龍沢寺所蔵法語), and the Dōka (道歌). Special attention is paid to his views on Neo-Confucianism, Pure Land thought, and Shinto- traditions which can be shown through their prevalence in his writings to have placed Zen on the defensive during this time period. His teachings on death are also expanded on and analyzed, as well as some of the other common themes in his writing, such as his teachings on kōan practice and advice for monastics. In looking at these themes, it is possible to both compare and contrast him from some of his better-known contemporaries, such as Bankei and Suzuki Shōsan. Additionally, selected passages from his writings are offered in translation.

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Yang, Serena. « John Cage and Van Meter Ames : Zen Buddhism, Friendship, and Cincinnati ». University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195094.

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Helmick, Amy Christine. « Wabi Sabi : an exploration of Wabi-Sabi & ; Japanese aethetics / ». Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.

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Kay, David Neil. « The transplantation, development and adaptation of Zen and Tibetan Buddhism in Britain ». Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365845.

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Sota, Yuji. « Independence and interdependence in John Cage's adoption of Zen Buddhism and anarchism ». Thesis, State University of New York at Buffalo, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3726001.

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The composer John Cage adopted Indian aesthetics, Zen philosophy, and anarchism to underpin his music and aesthetic. Although his interest in each ideology has been studied, the reason why he incorporated ones from disparate values remains unclear. Considering the trajectory of his intense quest for the theories that reinforced his music and aesthetic, elucidating the commonalities and differences among Indian aesthetics, Zen philosophy, and anarchism should reveal what he ultimately pursued. This dissertation explores comparative analyses of his interests in order to detect the notion of the coexistence of independence and interdependence.

Cage drew on Indian aesthetics first to dispel his doubt about his attitude relying on self-expression. The aesthetics denied expression of individual emotion, centering on the interdependence between a divine realm as an artistic source and art as its manifestation. Because Indian aesthetics contains no independent aspects, he turned to other philosophies. He next turned his attention to Zen. This philosophy is interested in discovering the independent, innate self not disturbed by delusion caused by self-centered thinking. That is, Zen believes that the purified self is directly connected with the world. The Zen tenet associates the interdependent nature with its teachings of salvation of others.

Under the tumultuous social circumstances in the 1960s, Cage was fascinated by anarchism. Buckminster Fuller advocated the world in which people could achieve comfortable life, not by national politics, but by the redistribution of wealth allowed by the improvement of technology. Such a society, he believed, could realize global welfare with its improved technology. Henry Thoreau’s social theory has been regarded as an alternative to Fuller’s. However, Thoreau’s orientation toward connections with others and the notion of welfare was very limited in comparison with his special emphasis on the independent self. It was with Emma Goldman’s anarchism that Cage eventually found the coexistence of individual freedom and supportive environment that allowed welfare for all human beings.

Cage engaged with these theories in order to discover independence and interdependence within his aesthetic. The pursuit centered on the concept of the self; more specifically a pure self that accepted the universe as it was and is. His exploration of the literature can be referred to, then, as the journey to self-identity. My dissertation is based on a close reading of primary sources, including the treatises by Indian aesthetician Ananda Coomaraswamy, Zen master Huang-Po, Zen scholar Daisetz Teitaro Suzuki, Fuller, Thoreau, and Goldman as well as Cage’s writings and interviews. Scholarship of religious studies and political theory, in addition to musicology, supports the interpretation of their various sources.

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Kim, Kyong-Kon. « Der Mensch und seine Erlösung nach Son-Buddhismus und Christentum : Bojo Chinul und Karl Rahner im Vergleich / ». Bonn : Borengässer, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015735966&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Lochmann, Erin Megan. « THE ART OF NOTHINGNESS : DADA, TAOISM, AND ZEN ». UKnowledge, 2011. http://uknowledge.uky.edu/art_etds/1.

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When examining the art, actions, and writings of Zurich Dadaists it becomes apparent that there is an affinity with Eastern thought, namely Taoism and Zen Buddhism. It cannot be said that Eastern thought directly influenced the artistic production of these Dadaists. However, the philosophy of Dada artists in Zurich mirrors that of Taoism and Zen so strongly that this connection cannot be ignored, although the Western art historical cannon has done just that. Exploring this connection offers a new perspective of Zurich Dada and encourages a reconsideration of the commonly applied label of nihilism to this group of Dadaists.

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Bubna-Litic, David C. « Opening a dialogical space between Buddhism and economics : the relationship between insight and action ». Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/39749.

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This interdisciplinary study explores the dialogical space between Buddhism and economics grounded upon an empirical examination of the lived experience of western Buddhist teachers. The goal of Buddhist practice is enlightenment, a powerfully liberating and transformative understanding in which the ordinary sense of self is extinguished. There is a variety of claims made by Buddhist traditions regarding enlightenment, and little agreement as to its exact nature; most Buddhist traditions, however, regard the self as having no essential basis. This view contrasts sharply with those of contemporary economic thought. Modern economic thinking has generally seen Buddhism as one of many religions, and has resisted taking its claims seriously. At the heart of this divide lies a hermeneutic barrier that is not simply between East and West, but has its roots in modernity, which maintains a separation of humans from nature, a distinction between knowledge and power, and a distrust of human subjective experience. By engaging in a dialogical approach, this study attempts to bridge this divide. It builds on experiential corroboration of Buddhist conceptions of self, based on semi-structured interviews of 34 western Buddhist teachers, to critically examine their experiences of insight into the nature of self, its impact on their relationships with others and nature, and its impact on their decisions about everyday economic activities. The purpose is twofold: to examine the nature of realisation experientially and to explore its transformative potential with a view to unfolding implications for economic action. The findings clarify many traditional Buddhist understandings, challenge and validate previous interpretations, and suggest an embodied rather than transcendent view of consciousness and spirituality. The implications for economic thought include a new conception of the economic individual (homooeconomicus), recognising the old conception as based on a misplaced idea of concreteness of self; a new epistemology which incorporates a phenomenological appreciation of life; and a new perspective of agency as the mindful embodiment of a seamless interconnection between consciousness and the social and natural world.

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Roadcup, Alisa Miriam. « Thomas Merton's theology of the self as influenced by Christian mysticism and Zen Buddhism ». Theological Research Exchange Network (TREN), 2003. http://www.tren.com.

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Bubna-Litic, David C. « Opening a dialogical space between Buddhism and economics the relationship between insight and action / ». View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/39749.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Education, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

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Nakao, Kyohei. « Hoichi for Orchestra ». Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/347089.

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Hoichi is an original musical composition for orchestra. It is approximately 42 minutes in length. The piece is inspired by a Japanese folk tale entitled Hoichi, the Earless. This story about a blind lute player takes place in Shimonoseki, the city in which I was born. The contrast between chamber sonority and orchestral forces symbolizes Hoichi's battle against evil spirits. Although he eventually loses his ears and dies the music turns into a strong life assertion toward the end. I relate this to a Zen Buddhist notion: when you lose (transcend) everything, you gain everything. The piece ends with a placid ascending line, which represents spiritual purification of the evil spirits. On a more personal level, this work will be my attempt to console and encourage the victims and their families of the earthquake which struck Japan three years ago.

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Taylor, Kevin Curtis. « ECOLOGY OF A KŌAN : HAKUIN’S ZEN AS A MORAL MODEL FOR ENVIRONMENTAL ENGAGEMENT ». OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1489.

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My thesis is that within Buddhist philosophy the concept of mindfulness is a valuable contribution to environmentalism that similarly extols the virtue of generating a kind of environmental mindfulness. Buddhist traditions have long developed the concept of mindfulness as well as compassion, the transformation of suffering, and the notion of interconnectedness. There is a confluence of ideas between Buddhist philosophy and environmental philosophy and this project explores the mindfulness mechanism that leads to real, meaningful action. In focusing on Japanese Buddhism and Hakuin Ekaku, I demonstrate the skillful means employed by Hakuin in teaching people from all parts of society during the early modern era which was a time of rapid modernization and natural disasters. Focusing on Japanese Buddhism, this project draws parallels between Hakuin’s monastic endeavors and the attempts of contemporary Buddhist monks to help in combating climate change, pollution, and disaster relief in our own times. Hakuin’s writings and artwork reveal a figure able to navigate social, political, religious, and everyday members of society while teaching selfless interconnectedness brought about by mindfulness training intent on being brought into one’s everyday activity.

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Han, Chil. « The use of the principles and practice of Zen Buddhism and Korean dance to create a new choreographic style for contemporary classical ballet works ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/317.

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The aim of this research is to create a ballet choreography (Kang Kang Sulrea) informed by practices of Zen Buddhism and Korean dance. This choreography demonstrates my personal interpretation of various aspects of style and practice that have arisen through this research. Meditation was studied as a means to inspire creativity and was then shared with dancers participating in a performance piece called Kang Kang SulRea. This process led to the incorporation of meditation as a pivotal component of the performance itself. The dancers also learned Korean dance, focusing on the concept at “dancing with breathing” which is the principle underlying all Korean movement practices. My choreography is also inspired in various ways by the works of modern ballet choreographic greats, Bejart, Kylian, Duato, and Lin Hwai Min as well as by my own background in classical ballet techniques. Meditation provides rest, relaxation and calmness but meditation’s most profound contribution is its capacity to generate insight and a connection to divinity. My choreography through its preparation, sound theoretical base, philosophy, themes, narratives and later, costume, lighting and music will aim to provide rest and stimulation; balanced in equal measure for my audiences.

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Lüdde, Johanna. « Die Akkulturation chinesisch-buddhistischer Kultur im Shaolin Tempel Deutschland / ». Berlin : Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2943399&prov=M&dok_var=1&dok_ext=htm.

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Anderson, Michael. « Recent criticisms of D. T. Suzuki ». Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p006-1575.

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Sun, Chien-Yu. « The silence of the void exploring the visual language of the void from the East to the West / ». Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050111.115826/index.html.

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Chen, Ching-yu. « La figure de l’espace dans le bouddhisme zen d’Henri Michaux ». Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100165.

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Si l’ineffable est tenu pour le paradoxe emblématique dans la secte zen de la religion bouddhique, il semble que le rétrécissement du langage se manifeste dans la mesure de l’interprétation de buddhadhātu (la bouddheité ; nature de bouddha). Il est donc évident que le zen admet à la fois une lacune de langage et une sorte de mouvement permanent de phénomène entraînant ainsi, selon le terme sanskrit du bouddhisme, un sentiment de śūnyatā (la vacuité). Cette absence de la substance permanente ou ce désir d’échapper à la réalité physique nous permettrait de l’associer naturellement non seulement à l’ineffable vide chez Henri Michaux (1899-1984), mais également à ses créations issues de l’inconscient pour reconstituer un espace sacré dans son dedans. À partir de ce constat, notre recherche tente, en se focalisant sur cette dialectique entre macrocosme et microcosme, d’aborder un esprit oriental qui pourrait remonter à sa source religieuse, et s’approcher plus tard de tous les domaines esthétiques. En effet, les empreintes de la mystique orientale (hindouisme, taoïsme, bouddhisme, etc.) dans l’univers spirituel de Michaux apportent déjà un autre regard vis-à-vis de ses procédés ésotériques et nous dévoileraient même quelque chose à la fois de l’ordre de l’ineffable et de l’invisible
When the ineffable is widely considered the symbolic paradox in the Zen school of Buddhism, it seems that the narrowness of language has been thus demonstrated in the realm of interpretation of buddhadhātu (buddha-nature). Therefore, the Zen has been characterized by its emphasis on both the rupture of language and a permanent movement of phenomena, which leads probably to a kind of sense of śūnyatā (emptiness). This impermanence of substance or this strong feeling to escape from the physical reality allows us, in this way, to associate it, not only with l’ineffable vide (the ineffable void) of Henri Michaux (1899-1984), but also with his creation driven by the unconsciousness in order to rebuild a sacred space in his dedans (inside).From this perspective, this study aims, by focusing on the dialectic between macrocosm and microcosm, to approach an Oriental spirit which could be traced back to its religious source and gradually permeate through all kinds of aesthetic fields. The stamps of some Oriental mystic thoughts (Hinduism, Taoism, Buddhism, etc.) in the spiritual world of Michaux have, moreover, brought another point of view towards his esoteric technique and revealed to us something ineffable as well as invisible

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Salomão, Norma Ribeiro Nasser. « Thomas Merton e o Zen Budismo ». Universidade Federal de Juiz de Fora (UFJF), 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/4498.

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Este trabalho propõe-se a lançar um olhar sobre o ver em Thomas Merton ao deixar-se tocar pela espiritualidade Zen budista na sua trajetória cristã. O eixo central desta tese será, portanto, o foco na sua via mística em comunhão com a natureza. A rigorosa tradição monástica Zen e o monasticismo trapista da Ordem Cisterciense assemelham-se na rígida disciplina de sua vida cotidiana. A criação para Merton está associada à visão de sacralidade, sendo que este amor é compartilhado pela perspectiva do Zen Budismo, no qual Natureza/Despertar são inseparáveis. A sede de Deus e de aprendizado levou o monge a uma peregrinação pelo continente asiático. Na sua busca da grande compaixão, ele encontrou o outro lado da montanha e viveu experiências místicas definitivas em sítios sagrados da Ásia.
This study proposes one sharp “looking” at Thomas Merton’s “seeing” considering how he let himself to be touched by the Zen Buddhist spirituality on his Christian journey. The axis of this thesis will be, therefore, to promote a focus on his mystic life lived in a great communion with the nature. The strict Zen monastic tradition and the trapist monasticism of the Cisters are really alike on their rigid disciplines taken seriously for the everyday living by the monks. The Creation in accordance with Merton’s thoughts is extremely associated with the vision of sacrality, furthermore the divine love is shared through a Zen perspective where nature/ to awake are inseparable. Thirsty of God and learning he has done a pilgrimage around the eastern continent and on his search for the great compassion he finally found the “other side of the mountain”, or in another words: he has lived many remarkable mystic experiences indeed while visiting some Asian sacred places.

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Williams, Janet Patricia. « Denying divinity : apophasis in the patristic Christian and Soto Zen Buddhist traditions ». Thesis, University of Winchester, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245372.

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Carroll, Michael Scott. « Action, authority and approach : treatises on "Zen"/"Chan", radical interpretation, and the Linji Lu / ». View the Table of Contents & ; Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38294242.

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Wong, Chi Ho. « Lu Xiangshan yu chan / ». View abstract or full-text, 2003. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202003%20WONGC.

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Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2003.
Includes bibliographical references (leaves 124-131). Also available in electronic version. Access restricted to campus users.

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Sato, Ayako. « Integrating Morita Therapy and Art Therapy : An Analysis ». Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1300467795.

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Storseth, Terri Lee. « On the road with monkey : the transmission of Zen Buddhism in two contemporary American novels / ». Thesis, Connect to this title online ; UW restricted, 1997. http://hdl.handle.net/1773/9381.

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Pok, Chong Boon. « The mind of the everyday in contemporary fine art and Zen Buddhist practice ». Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540605.

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Since the beginning of the 20th century, contemporary art has been saturated with references to the everyday and there are a mass of available views addressing the subject by profound social thinkers such as Henri Lefebvre, Michel de Certeau and Agnes Heller. Towards the end of the 20th century and at the beginning of the newmillennium, scholars and writers such as Helen Westgeest, Alexandra Munroe, Arthur C. Danto, Jacquelynn Baas and Mary Jane Jacob began researching the relationship between Western art and Zen. Among these views, an Eastern perspective is lacking, particularly in relation to Zen Buddhist practice of the everyday. The aim of this research is to make a comparative study of the mind of the everyday in contemporary fine art and Zen Buddhist practice, including in art-making from the beginning of the 20th century to recent contemporary fine art practice and understanding, from the West and the East, as represented within, and integral to, my art practice. This research emerged from my personal experience and discoveries as an artist working from a Buddhist background. It adopts reflective qualitative research methods and theory grounded in practice and observed experiences. The core of the research is my studio practice with the theoretical framework operating in the intersection of personal and social perspectives. I situated this enquiry within my own cultural background, the context of Zen Buddhism and its teachings. It developed an enhanced understanding of the everyday in contemporary fine art and Zen Buddhist practice in new and original ways, through bringing forward and integrating the physical and theoretical components of my studio practice.The everyday in my studio practice refers to things we encounter day-in and day-out that we are unlikely to give a second thought, like background noise, we hear it but hardly pay any attention to it. The thesis explored the understanding of Beginner's Mind, the spirit of attentiveness, the idea of the circle, art and meditation, it-is-ness, the relativity of things, "nothingness" and the entanglement of art and life as they revolve around my studio practice, all of which have a connection with Zen Buddhist practice of the everyday. This research serves as both territory expansion and to provide new sources for the `art world' and Zen Buddhists, offering a more balanced understanding of the concepts of the everyday in contemporary fine art and Zen Buddhist practice. Extended study may also be made in connection with psychoanalysis, and the cultural significance of food, cooking and eating in the Far East.

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Arslanian, Varant Nerces. « Leaving home, staying home : a case study of an American Zen monastery ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98535.

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The subject of this thesis is an American Zen monastery in New York, Zen Mountain Monastery (ZMM). The study is approached through a survey of methodologies: (1) through the scholarship on American culture and religion, (2) through the sociology of the study of religious institutions and communities and (3) through a comparison with East Asian Zen monasticism. The study reveals that ZMM's monasticism: (1) is part of a systematization of Zen in America that has made Zen into a mainstream option in American society, (2) has created group practices and commitment mechanisms that put ZMM in a better position than American lay Zen centers to challenge the individualist trends of American society and spirituality and (3) is based on a conception of the self more in line with the individualism of American society than the asceticism of East Asian Zen monasticism.

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Kinsey, Patricia. « Meditation experiences and coping behaviour ». Thesis, University of London, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365529.

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Zhang, Fan. « Building and Negotiating Religious Identities in A Zen BuddhistTemple : A Perspective of Buddhist Rhetoric ». Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491497112059128.

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Choi, Chong Hun. « A comparative study of the spirituality of St. John of the Cross and Dogen's Zen Buddhism ». Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/19625.

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During the past fifty years, a significant encounter has taken place between representatives of Zen Buddhism and Christianity, particularly Roman Catholicism. A number of Catholics and others in Asia, Europe, and the United States have attempted to bridge the gap between the traditions of the Buddhism and of Christianity. These attempts have touched upon substantive issues in the lives of Christians, who have reached out to Zen Buddhism and found that Zen spoke to them. The major purpose of this dissertation is to compare and find the similarities and differences between the spiritually of St. John of the Cross and Dogen’s Zen Buddhism as representative elements in the Christian contemplative and Zen meditative traditions. Because it is an exploration of similarities and differences between religious worlds that allows one to criticise and renew one’s awareness of one’s own tradition. I adopt the approach of attempting to understand these writings from within their own philosophical structures in elucidating the nature of mystical experience. In the course of the comparison, a number of parallels as well as differences are discussed at the phenomenological level. It will be seen that these two traditions share virtually similar diagnoses of the nature of the unreformed aspirant, and that they teach similar strategies for purification. It also will be seen that they have different meditative techniques, ultimate aims, and views of ultimate reality. However, I will conclude that the spiritualities of St. John of the Cross and Dogen’s Zen are ‘different,’ due to the fact that, they have a different ontological reality, namely ‘God’ and the ‘Buddha-nature’. In fact, both the similarities and differences will help to determine both the possibilities and limitations of the cross-cultural study of spirituality. The thesis will also provide insight into how such a comparison may contribute both to a cross-cultural study of spirituality and Christian faith. I will compare these two spiritualities in terms of the following categories: (1) anthropology; (2) spiritual path; (3) characteristics of spiritual or meditative experience on the path; (4) ultimate goal/horizon.

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Tan, Qionglin. « Han Shan, Chan Buddhism and Gary Snyder : perspectives on Gary Snyder's ecopoetic way ». Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683225.

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Zeng, Xi. « Zen aesthetic : development and influence in culture and contemporary painting of China, Japan and USA = La estética Zen : desarrollo e influencia en la cultura y la pintura contemporánea de China, Japón y EE. UU ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463011.

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No other form of Oriental philosophy has had such a widespread, positive effect on culture and international contemporary painting as Zen Aesthetic. Owing to the birth of Zen Buddhism in China, its extraordinary boom and influence is evident in all aspects of society and Chinese culture. Especially painting with brush-tipped ink, it led to the development of a particular spirit or aesthetic, known worldwide as Zen, which has not stopped propagating since Zen Buddhism in the 16th century crossed the sea to reach Japan. Once there, it fecundated the native culture and motivated the development of an aesthetic with distinct Zen peculiarities, to such an extent that it took root in everyday life and was projected in different spheres of cultural life and creativity. This trend of Zen Aesthetic has long been recognized as the essence of Oriental aesthetics due to the fusion of Buddhism, Taoism and Confucianism, overcoming geographical limitations and cultural differences, becoming one of the most active and distinctive leading thought in the twentieth century. Once it was introduced to the United States by Soyen Shaku in Chicago in 1893, it soon became an admired and applied trend in the different cultural spheres of the country, and in particular it was followed closely by several painters, to such an extent that it was felt in contemporary painting both in the United States and in the same places of its origin. That is to say, China and Japan. Despite its impact, the Zen Aesthetic phenomenon and in particular its influence in culture and contemporary painting has not been thoroughly investigated. Also, there are many gaps, which is why we have explored its thematic research. The theme of typology required a panoramic approach or focus, for the simple reason that Zen Aesthetic can hardly be understood in contemporary painting without knowing its origins, cultural development and influence, as well as the geographic trajectory or international centers of propagation of Zen Aesthetic. In spite of its apparent amplitude, the author tried in the first place to compile as much documentation as possible or more understanding that explains the expansion of the Zen phenomenon at the intercontinental level, without forgetting their critical interrelations, to understand the extraordinary influence of this aesthetic movement and spirituality in Occidental contemporary painting. Also, within Oriental contemporary painting, such as any rebound effect or return to their places of origin. While the author has investigated as far as possible, the causes and their development from China to the United States, through Japan, the investigation has not forgotten the European continent. Indeed, in the thesis there are different European references, although their arrival in Europe came after the United States, through D. T. Suzuki around 1936, so it seemed convenient to leave this part of the research on the European continent for a new occasion due to its breadth, complexity, and stylistic derivations. The real Zen can hardly be understood without entering into the direct experience or life of the world that revolves around the principles of Zazen. In this regard, the two research centers that have contributed significantly to the development of this study are the Dongshan Monastery and the Shatou Cultural Center. Firstly, the author has been allowed to perform a three-month immersion period in Zen Buddhism meditation. And then, it has been fundamental to consult the documentary sources of Zen Buddhism and its different practices, such as Taiji, calligraphy, and painting as a method of meditation that is engaged in research, with the aim of seeking inner peace without any other secular purpose. The thesis is structured in twelve large sections with a series of chapters and sub-chapters within each. In the introduction, the research approach is presented, which is the specific typology of the panoramic thesis of critical compilation and the thematic justification, as well as the motivation of the thesis title. Although there are many publications on Zen Aesthetic, the author considers that the particular theme of seeking the motives of its cultural and pictorial influence in the contemporary world of the three countries China, Japan, and the United States is unprecedented. In addition to fundamentally exposing the different objectives and their diachronic, comparative, analytical, and critical methodology, the introduction ends with a large interrelated organization chart of the various parts of the configurator system of the influence of Zen aesthetics in contemporary painting from China, Japan and the United States.
Ninguna otra forma de filosofía oriental ha tenido un efecto positivo tan extendido en la cultura y en la pintura contemporanea internacional como la estética Zen. Gracias al nacimiento del budismo Zen en China y su extraordinaria auge e influencia en todos los aspectos de la sociedad y la cultura china, en especial la pintura con tinta a punta de pincel, hizo que se desarrollara en paralelo un espíritu o estética particular, conocida mundialmente por Zen, que no ha parado de propagarse desde que, en el siglo XVI, el budismo Zen cruzara el mar para llegar a Japón. Una vez allí, fecundó la cultura autóctona y motivó el desarrollo de una estética con particularidades propiamente Zen, hasta tal punto que arraigó en la vida cotidiana y se proyectó en distintos ambitos de la vida cultural y de la creatividad. Esta corriente de estética Zen ha sido reconocida desde hace mucho tiempo como la esencia de la estética oriental debido a la fusión del budismo, el taoísmo y el confucianismo, llegando a superar las limitaciones regionales y las diferencias culturales, convirtiéndose en una de las más activas y distintivas, líder en el siglo XX, una vez ya introducida en EE.UU. de América por Soyen Shaku en 1893 en la ciudad de Chicago. Pronto se convertiría en una tendencia admirada y aplicada en los distintos ambitos culturales del país, y en particular seguida de cerca por varios pintores, hasta tal punto que se hizo sentir en la pintura contemporánea tanto de EE.UU, como en los mismos lugares de su origen, es decir de China y Japón. A pesar de su impacto, el fenómeno estético Zen y en particular su influencia cultural y en la pintura contemporánea, no ha sido investigada en profundidad, y existen bastantes lagunas, razón por la cual nos hemos planteado su investigación temática. Una temática de esta tipología requería un planteamiento o enfoque panorámico, por la sencilla razón de que difícilmente se puede entender la estética Zen en la pintura contemporánea, sin conocer sus orígenes, su desarrollo e influencia cultural, así como la trayectoria geográfica o centros internacionales de propagación de la estética Zen. A pesar de su aparente amplitud, intentamos en primer lugar compilar la mayor documentación posible o más destacada que explica la expansión del fenómeno Zen a nivel intercontinental, sin olvidarnos de sus interrelaciones de modo crítico, para entender la extraordinaria influencia de dicho movimiento estético y espiritual en la pintura contemporánea occidental y asimismo oriental, como efecto rebote o retorno a sus lugares de origen. Si bien hemos investigado en la medida de lo posible las causas y su desarrollo desde China hasta EE.UU, pasando por Japón, no nos hemos olvidado del continente europeo. Efectivamente, en el transcurso de la tesis aparecen distintas referencias y referentes europeos, aunque su llegada a Europa se produjo después de EE.UU, a través deD.T. Suzuki en torno de 1936, por lo que nos ha parecido conveniente dejar esta parte de la investigación del continente europeo para una nueva ocasión, dadas su amplitud, complejidad y derivaciones estilfsticas. Difícilmente se puede entender el verdadero Zen sin en- trar en la vivencia o experiencia directa del mundo que gira entorno de los principios del Zazen. En este sentido, caben destacar los dos centros de investigación que han contribuido sobremanera al desarrollo de esta investigación: el Monasterio de Dongshan y el Centro Cultural de Shatou. El primero, nos ha permitido efectuar un período de inmersión de tres meses en la meditación del budismo Zen. En cuanto al segundo, ha sido fundamental para consultar las fuentes documentales del budismo Zen y sus diferentes practicas, como el Taiji, la caligrafía y la pintura como un metodo de meditación que se ocupa en la investigación, con el objetivo de buscar la paz interior sin ningún otro propósito secular.

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Falk, Jane E. « The Beat Avant-Garde, The 1950's, and the Popularizing of Zen Buddhism in the United States ». The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1363621100.

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Thèses sur le sujet « Buddhismo zen »

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