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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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерелаАнотація:
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.
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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, № 2 (липень 2018): 167–205. http://dx.doi.org/10.1017/trn.2018.8.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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Sullivan, Bruce Millen. "Fluid Selfhood, Human and Otherwise: Hindu and Buddhist Themes in Science Fiction." Implicit Religion 17, no. 4 (December 12, 2014): 489–508. http://dx.doi.org/10.1558/imre.v17i4.489.
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Veisland, Jørgen. "Eros and Ethics in Martin A. Hansen’s Novel The Liar." Interlitteraria 23, no. 1 (August 5, 2018): 100–109. http://dx.doi.org/10.12697/il.2018.23.1.11.
Повний текст джерелаАнотація:
Seduction plays a dual role in Martin A. Hansen’s novel The Liar. Johannes Vig, the narrator/protagonist is prone to repeat a pattern of triangular erotic relationships while at the same time engaging in literary seduction. He hides and reveals the truth through a rhetoric of fiction that carries Kierkegaardian overtones. Johannes who is both teacher and preacher on an island off the mainland at some points approximates the Kierkegaardian category of the demonic, being afraid of opening up. Johannes is suffering from a Freudian compulsion to repeat threatening to bar him from the ethical metamorphosis that would absolve him. The repetitiveness of his sexuality paradoxically spurs on a search for truth and ethics as Johannes distances himself from the past in an attempt to transcend the barriers of dualism implicit in the past-present dichotomy. Fictional seduction and rhetorical persuasion become ways of approximating the truth. Yet fiction is abandoned in the end in favour of a different form of writing as Johannes realizes that a new writing project is necessary whereby ethics becomes understood as selflessness. This insight paves the way for the recognition of nature as flux and the recognition of truth as something that cannot be pinned down since it is fundamentally unsubstantial, in the Buddhist sense of sunyata.
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Wang, Aiqing. "Cliché-ridden Online Danmei Fiction? A Case Study of Tianguan ci fu." Acta Asiatica Varsoviensia 35 (2022): 281–314. http://dx.doi.org/10.60018/acasva.iray5065.
Повний текст джерелаАнотація:
Popular literature online is often misconstrued as being cliché-ridden and formulaic, and has thus not attained as much critical attention as ‘serious’ literature. I propound that popular literature published in China’s cyberspace deserves more attention and hermeneutic scrutiny, and I place an emphasis on danmei (耽美) fiction that features male-male romantic and/or erotic relationships and is predominantly published on a female-oriented website called Jinjiang Literature City. In this research, I investigate an online danmei novel entitled Tianguan ci fu (天官赐福) that concerns a homosexual romance against a background of ‘immortality cultivation’ (xiuxian 修仙 or xiuzhen 修真), which had been maintaining the highest ranking on readers’ voting list since its release on Jinjiang Literature City in 2017. I postulate that Tianguan ci fu does not deploy clichéd plots pertaining to quasi-heterosexual relationships, which frequently occur in danmei fiction. Apart from conveying the theme of love, the narrative concerns the complexity of human nature via an array of characters possessing multifaceted personality traits. More significantly, with a setting of mortal and immortal realms, the narrative entails religious ideologies, especially the indigenous Daoist ascension, mortality-immorality polarity and yin-yang integration. Furthermore, ethic-religious Confucian precepts such as benevolence and filial piety are also demonstrated, along with the Sinicised Buddhist creeds of reincarnation and retribution, which embodies the amalgamation of (sub)religions as a preponderant ideal of ‘the unity of Confucianism, Buddhism and Daoism’ (san jiao he yi 三教合一). Therefore, analysing this exemplary online novel can shed light on (a)theistic attitudes adopted by creators and consumers of Internet danmei literature.
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Black, Scott. "Saikaku's Evanescence." Studies in Eighteenth-Century Culture 53, no. 1 (2024): 35–44. http://dx.doi.org/10.1353/sec.2024.a918558.
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Abstract: This essay explores how Ihara Saikaku's new form of fiction— ukiyo-zoshi —both adapts and adopts traditional Japanese aesthetics. Saikaku's Five Women Who Loved Love (1686) is a paradigmatic example of the modern conception of ukiyo , which inverts the traditional Buddhist sense of ukiyo , written with a different character, to express the ephemeral, often erotic pleasures of the floating world, rather than sadness in the face of its transience. I argue that, though the modern pleasures of ukiyo are the drivers of the plot, the imagery and the traditional aesthetic pleasures associated with the Buddhist sense of the transience of a floating world run throughout the stories. Saikaku's characters are often presented as avatars of classical characters and in turn they often end up generating additional stories. Characters and stories alike are nodes in a cycle of infectious stories, versions of earlier stories that seed further stories and so transmit the evanescent pleasures of love in a self-conscious circulation of stories. The older resonance of the floating world sounds through its modern meaning. Saikaku ironically invokes the Buddhist significance of the floating world, but he may also ironically suggest the limitations of its modern pleasures. Saikaku's modernity inheres in this double irony.
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Li, Wei. "From the Imagination to the Reality: Historical Aspects of Rewriting Six Dynasties Buddhist Avadāna Stories." Religions 14, no. 4 (April 18, 2023): 545. http://dx.doi.org/10.3390/rel14040545.
Повний текст джерелаАнотація:
In at least two aspects, Buddhist Avadāna literature shares a strong affinity with Chinese literature. One type of stories can be seen as parallel tales that bear striking resemblances to Chinese tales, while the other type has been assimilated by Chinese writers and transformed into Chinese tales. Regarding the first kind, there are many parallels between Buddhist and Chinese stories throughout the Six Dynasties (222–589), and it was only later that these stories were somehow compiled into collections that brought these parallels to light. As an example of the second type, in linggui zhi 靈鬼志 (The Record of Magical Ghosts) of the Jin Dynasty (265–402), the story of waiguo daoren 外國道人 (“the Foreign Master”) adapts the magical plot in which a man throws up a jug from the story of fanzhi tuhu 梵志吐壺 (“a Brahmin Spits a jug”) in the Buddhist text, yet it changes certain objects of the story to items with Chinese characteristics and develops new meaning. In Xu qixiezhi 續齊諧志 (Further Records of Qixie [Supernatural tales]), the famous e’long shusheng 鵝籠書生 (“the Goose Cage Scholar”, also known as the yangxian shushing 陽羨書生” (the Scholar from Yangxian)”), takes the same story to another level. The structure of the story is changed, and a number of literati aesthetic interests are added, improving the literary color, smoothing down the language, and making substitutions in the text’s specifics, thus, bolstering the sense of realism and history. Meanwhile, in Liu Yiqing’s 劉義慶 (403–444) Xuanjianj 宣驗記 (Records Manifest Records of Manifest Miracles), the Avadāna tale yingwu jiuhuo 鸚鵡救火 (“the Parrot Putting Out the Fire”) that he collected is not only associated with Buddhism but can also be seen as a commentary on the turbulent times and a hint of literati optimism if we view it in the context of Liu Yiqing’s Youminglu 幽明錄 (Record of the Hidden and Visible Worlds). The literary elites of the Six Dynasties drew inspiration from Buddhist Avadāna sources and imaginatively mixed them with historical circumstances to create Chinese fiction with new intentions. The rich resources of Avadāna literature from India and the fable tradition in Chinese literature create cultural conditions for these two sources to combine and mutually develop, forming a world of literature with colorful and meaningful stories.
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Ruscica, Giovanni. "From China to the World: The main media pilgrimages of Sun Wukong and Son Gokū." Mutual Images Journal, no. 10 (December 20, 2021): 21–50. http://dx.doi.org/10.32926/2021.10.rus.china.
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The ‘Journey to the West’, also translated as the’ Pilgrimage to the West’, is one of the masterpieces of ancient Chinese literature. Published anonymously by the putative author Wu Cheng'en in the late 16th century, the story traces in broad outline the journey taken by the monk Tripitaka in the year 629 a.D. to India to acquire Buddhist scriptures, and it is the result of reworking antecedent works, such as ‘Poetic notes on the pilgrimage of Tripitaka of the Great Tang to acquire the Sutras’ and ‘‹Journey to the West› Opera’. In this fiction, the writer moves away from the authenticity of the traditional pilgrimage: here the monk is escorted by sinful-followers (i.e., a dragon-horse, a pig, a demon, and a monkey) capable of removing malevolent beings throughout the journey. Sun Wukong is the wild and skillful monkey that ascends to Buddhity, becoming a ‘Victorious Fighting Buddha’ at the end of the literary work. Later on, the Chinese work of fiction was used as a source of inspiration for the creation of Dragon Ball, a Japanese fantasy & martial arts manga. Published in 1984 as a manga and then adapted into an anime, Dragon Ball sketchily follows the Chinese work of fiction. After coming across Bulma, young Son Gokū decides to escort the girl in her quest to collect seven magic dragon spheres. The series’ success allowed the manga’s author, Akira Toriyama, to continue the story arc and launch a new series in 2015. Since 1986, several videogames with a monkey character have entered the market. The purpose of this article is to highlight the main affinities between Sun Wukong and his Japanese counterpart Son Gokū first, and then attempt to explain how the monkey character has become a world-famous symbol, and contextualise it into the phenomenon of ‘worldwide pilgrimage’.
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Yang, Zhaohua. "Snake, Spell, Spirit, and Soteriology: The Birth of an Indian God Jiedi 揭諦 in Middle-Period China (618–1279)". Religions 14, № 10 (17 жовтня 2023): 1303. http://dx.doi.org/10.3390/rel14101303.
Повний текст джерелаАнотація:
I introduce a Buddhist god named Jiedi, believed to be a personification of the renowned gate mantra in the Heart Sūtra. I argue for a complex genesis story where the transference of the nāga-taming function and aquatic setting from the rainmaking spell in the Great Cloud Sūtra to the Heart Sūtra Mantra, coupled with its exegetical tradition emphasizing the soteriological metaphor of crossing, created an independent cult of the Jiedi Mantra. In battling chthonic snake spirits demanding virgin sacrifice in Sichuan, a regional variation of a cosmopolitan alchemical theme, the mantra was personified into a god associated with water and warfare. The exorcistic function of the mantra was the motor behind its apotheosis in Middle-period China. While he was elevated from a mere spirit to a vidyārāja (“wisdom king”) in tantric Buddhism, his cult was also disseminated in the Song, witnessing him provide broad deliverance in diverse areas such as industry, agriculture, infrastructure, military, and civil service. In late imperial China, he further imprinted himself on sacred geography, became a special class of warrior god, made inroads into Daoism and local religion, and proliferated in vernacular fiction and drama. An exotic Indian god was born on Chinese soil.
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Agoramoorthy, Govindasamy, and J. Hsu Minna. "India's homosexual discrimination and health consequences." Revista de Saúde Pública 41, no. 4 (August 2007): 657–60. http://dx.doi.org/10.1590/s0034-89102006005000036.
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A large number of countries worldwide have legalized homosexual rights. But for 147 years, since when India was a British colony, Section 377 of the Indian Penal Code defines homosexuality as a crime, punishable by imprisonment. This outdated law violates the fundamental rights of homosexuals in India. Despite the fact that literature drawn from Hindu, Buddhist, Muslim, and modern fiction testify to the presence of same-sex love in various forms, homosexuality is still considered a taboo subject in India, by both the society and the government. In the present article, the continuation of the outdated colonial-era homosexuality law and its impact on the underprivileged homosexual society in India is discussed, as well as consequences to this group's health in relation to HIV infection.
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Choe, Jaeyeon, and Michael O’ Regan. "Faith Manifest: Spiritual and Mindfulness Tourism in Chiang Mai, Thailand." Religions 11, no. 4 (April 9, 2020): 177. http://dx.doi.org/10.3390/rel11040177.
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From books to movies, the media is now flush with spiritual and wellness tourist-related images, films, and fiction (which are primarily produced in the West) about Southeast Asia. Combined with the positive effects of spiritual practices, greater numbers of tourists are travelling to Southeast Asia for mindfulness, yoga, and other spiritual pursuits. Influenced by popular mass media coverage, such as Hollywood movies and literary bestsellers like Eat Pray Love (2006) and tourism imaginaries about particular peoples and places, spiritual tourists are visiting Southeast Asia in increasing numbers. They travel to learn about and practice mindfulness, so as to recharge their batteries, achieve spiritual fulfillment, enhance their spiritual well-being, and find a true self. However, there is a notable lack of scholarly work around the nature and outcomes of spiritual tourism in the region. Owing to its Buddhist temples, cultural heritage, religious history, infrastructure, and perceived safety, Chiang Mai in Thailand, in particular, has become a major spiritual tourism destination. Based on participant observation including informal conversations, and 10 semi-structured interviews in Chiang Mai during two summers in 2016 and 2018, our research explored why Western tourists travel to Chiang Mai to engage in mindfulness practices regardless of their religious affiliation. We explored their faith in their spiritual practice in Chiang Mai. Rather than the faith implied in religion, this faith refers to trust or confidence in something. Interestingly, none of the informants identified themselves as Buddhist even though many had practiced Buddhist mindfulness for years. They had faith that mindfulness would resolve problems, such as depression and anxiety, following life events such as divorces, deaths in family, drug abuse, or at least help free them from worries. They noted that mindfulness practices were a constructive means of dealing with negative life events. This study found that the informants sought to embed mindfulness and other spiritual practices into the fabric of their everyday life. Their faith in mindfulness led them to a destination where Buddhist heritage, history, and culture are concentrated but also consumed. Whilst discussing the preliminary findings through a critical lens, the research recommends future research pathways.
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Yu, Anthony C., and Victor Mair. "T'ang Transformation Texts: A Study of The Buddhist Contribution to The Rise of Vernacular Fiction and Drama in China." Harvard Journal of Asiatic Studies 52, no. 2 (December 1992): 776. http://dx.doi.org/10.2307/2719184.
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TERBISH, BAASANJAV. "Russian Cosmism: Alien visitations and cosmic energies in contemporary Russia." Modern Asian Studies 54, no. 3 (August 19, 2019): 759–94. http://dx.doi.org/10.1017/s0026749x17001123.
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AbstractThis article is about a cultural-philosophical movement called Russian cosmism (Russky kosmizm) and its current status in the Republic of Kalmykia, southwest Russia, home to Buddhist Kalmyks, a people of Oirat-Mongol origin. Emerging in Russia in the early twentieth century and suppressed during the Soviet period, this movement proliferated openly across Russia with the beginning of perestroika. Promulgated as an original product of the Russian mind, cosmism positions itself as a ‘science of the truth and soul searching’ and purports to address various issues, including—but not limited to—the spiritual, psychic, and paranormal anxieties that are on the rise in Russia. Although Russian cosmism is an all-encompassing movement combining various elements of theosophy, philosophy, poetry, theories of evolution and energy, astrology, cosmology, ecology, and even science fiction, this article focuses upon its more cosmic topics—that is, those that are related to outer space, cosmic energies, and alien visitations, as well as responses to these ideas in Kalmykia. The story of Russian cosmism is not just a story of this particular movement, but also that of science in Russia.
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Kragh, Ulrich Timme. "Chronotopic Narratives of Seven Gurus and Eleven Texts: A Medieval Buddhist Community of Female Tāntrikas in the Swat Valley of Pakistan." Cracow Indological Studies 20, no. 2 (December 31, 2018): 1–26. http://dx.doi.org/10.12797/cis.20.2018.02.02.
Повний текст джерелаАнотація:
Modern South Asian women’s writing wells up to the stirring surface of contemporary literature in now globally recognizable forms of fiction and memoir, inter alia, the novel, the poem, the biography, the autobiography. Yet, beneath these topmost layers of colonial and post-colonial literary tides flow undercurrents of precolonial women’s writing, often in radically other figurations of lettered expression. Even further down than the familiar temporal strata of the Vaiṣṇavite and Śaivite religious poetry written by the dozen authoresses ranging from Muktābāi to Rūpa Bhavānī between the thirteenth and eighteenth centuries, there exists another place in the deep, like an underwater lake, of a much older women’s writing penned by Tantric women gurus. The majority of this archaic Buddhist literature streamed out of the Swat valley in Pakistan, a locality for no less than seven known female gurus, who lived, taught, or wrote there between the eighth and eleventh centuries. After a short prologue on Swat and its recent history, the essay surveys eleven female-authored medieval Tantric works, which range in genre from ritual treatises, meditation practice-texts, and mystic poems, to literary forms that even seem evocative of contemporary women’s gendered voices: spiritual biography and autobiography empowered by a place.
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Eoyang, Eugene. "T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Victor H. Mair." Journal of Religion 72, no. 2 (April 1992): 302–4. http://dx.doi.org/10.1086/488894.
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Kondratyeva, Elena Anastasia Artemova, and Anastasia Artemova. "From Jātaka to Vernacular Fiction: Adaptation of the Buddhist Plot of the Two Brothers (Journey beyond the Sea) in Classical Korean Literature." Svět literatury XXXIV, no. 69 (July 9, 2024): 67–86. http://dx.doi.org/10.14712/23366729.2024.1.5.
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Li, Guoping. "Confucian Order and Religious Doctrines: Rhetorical Characterizations of Illustrations in the Fiction “Quanxiang Pinghua” in the Yuan Dynasty." Religions 14, no. 7 (June 27, 2023): 847. http://dx.doi.org/10.3390/rel14070847.
Повний текст джерелаАнотація:
The fiction “Quanxiang Pinghua”, published by Jianyang 建陽 Yushi 虞氏 in the Yuan Dynasty, depicts public religious concepts using a set of organized illustrations of etiquette. As a popular cultural reading material of the Yuan Dynasty, the fiction’s illustrations are a mixture of mainstream religious ideas, such as Confucianism, Taoism, and Buddhism, reflecting the Jianyang people’s compromised identification of the three religions and their value of faith. The illustrations shape the religious view of “the impermanence of destiny”. With the help of the spatial narrative of the political and religious order of Confucianism and the public construction of the ritualistic landscapes of Confucianism, Taoism, and Buddhism, these images reflect the ethical enlightenment and religious beliefs of the three religions in social life. From the perspective of Confucianism, Taoism, and Buddhism, this article adopted interdisciplinary methods to analyze inherent religious ethics in the illustrations of the fiction and explore religious beliefs among the people in the Yuan Dynasty. This article suggested that, by depicting religious rituals, the illustrations in the fiction reflect the comprehensive acceptance of the benevolence and righteousness, filial piety, loyalty, and kindness of Confucianism, Taoism, and Buddhism by the public of the Yuan Dynasty. The illustrations in the fiction manifest Confucian order and moral ethics, of which the extension is interconnected with the concepts of Confucianism, Taoism, Buddhism, and living ethics, manifesting the inner interpretation of Confucian ethics in Jianyang popular literature and art and the collective regulation of folk religious beliefs.
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Matiu, Ovidiu. "The Dharma Bums: A (Fictional) Pseudo-Buddhist Hagiography, or a Pseudo-ojoden." Religions 15, no. 2 (January 24, 2024): 148. http://dx.doi.org/10.3390/rel15020148.
Повний текст джерелаАнотація:
This paper analyses Jack Kerouac’s brief but intense conversion to American pseudo-Buddhism and the artistic effect of this biographical development, arguing that his conversion was total from a spiritual point of view and that its almost immediate effect was the production of a literary piece which should be read as a (fictional) pseudo-Buddhist hagiography, or a pseudo-ojoden. The article investigates Jack Kerouac’s life as the life of a modern American Buddha, as a person engaged in a constant quest for spiritual enlightenment, who imbued his work with a spiritual feeling derived from his personal, direct, albeit limited experience with spirituality. His novel, The Dharma Bums, is a (fictional) pseudo-Buddhist hagiography because it is (auto)biographical, and the central characters are portrayed as enlightened, “holy” beings.
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Deepti Agarwal. "Literature as the Route of Transmission of Buddhism into Britain." Creative Launcher 5, no. 2 (June 30, 2020): 30–42. http://dx.doi.org/10.53032/tcl.2020.5.2.03.
Повний текст джерелаАнотація:
Literary transmission of a subject has been a perennial phenomenon through the mode of literature because literary works are not produced in vacuum. Authors transpire the spirit of an age by creative amalgamation of their external influences, which they absorb from their social consciousness, and their internal influences to create fictional literary images, style, themes and motifs for a work. In this manner, an author’s influence from a preceding text or social consciousness exports to the successive literary works incessantly across the temporal and spatial dimensions. To determine literature as an intermediary or channel of transmission of Buddhism into Britain, the methodology of Influence Study is applied to delineate the spread of Buddhism through literary works. The investigation aims to identify the junctures of contact between an influence or an author and an influencer or the Buddhist source of information. Since multitude of impressions are involved in the ongoing process of literary production, the Influence Study utilizes Auguste Comte’s philosophy of positivism and factual account of biographical details to verify the junctures of direct or indirect contact of the author with the Buddhist source of information via literary or extra-literary medium to map the route of interrelationships. For conclusive results, the tools of close reading and interpretive analysis are implemented by juxtaposing the texts imbibing the stylized Buddhist ideology with the teachings of Buddhism. In this connection, a few British texts such as Edwin Arnold’s the Light of Asia, Rudyard Kipling’s Kim, James Hilton’s Lost Horizon, and Aldous Huxley’s Island are scrutinized to investigate the literary transmission of Buddhism into Britain.
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Dubakov, L. V. "CONCEPTS OF BUDDHIST EMPTINESS AND ILLUSORY IN L.A. YUZEFOVICH's NOVEL “THE PRINCE OF THE WIND”." Bulletin of Udmurt University. Series History and Philology 32, no. 5 (October 14, 2022): 1085–92. http://dx.doi.org/10.35634/2412-9534-2022-32-5-1085-1092.
Повний текст джерелаАнотація:
The article analyzes L.Yuzefovich's artistic interpretation of the key ideas of Buddhism in the novel “Prince of the Wind” - the ideas of emptiness and illusory reality. According to Buddhist ideas, reality is illusory, because in fact it is empty of the mind that perceives it. On the contrary, immanently anxious human mind constantly generates an illusory reality. The plot of the “Prince of the Wind” is built on numerous fictions produced by narrators, each of whom can be called a “prince of the wind”, that is, the one who creates ghosts. In the illusory reality designated by the author, many things and phenomena turn out to be conditional, including the boundaries between cultures - the eastern and the western, the Russian and the Mongolian Buddhist cultures. This cultures mirror each other in the mystical and in the real history. Fates of the Russian characters and the space in which they exist are filled with Buddhist signs. Buddhist emptiness and illusory nature in the novel also turn out to be metaphors of the eschatological state of the Mongolian and the Russian statehood at the beginning of the last century, metaphors of the disintegrating time and space.
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Shaereh Shaerpooraslilankrodi, Shaereh, and Ruzy Suliza Hashim. "Buddhist Precepts and the Diagnosis of Women’s suffering in Doris Lessing’s The Golden Notebook." Asian Social Science 12, no. 3 (February 23, 2016): 42. http://dx.doi.org/10.5539/ass.v12n3p42.
Повний текст джерелаАнотація:
<p>In Doris Lessing’s fictions, the effects of the world outside on the female self-transcendence are invariably lost, and instead the journey in the world within is notably emphasized. Similarly in <em>The Golden Notebook</em> the didactic bend of the female enlightenment is firmly entrenched to the world within where personal harmonies parallel the mystical patterns of self-development. Moreover, the detailed exploration of the novel foregrounds the female characters’ hard effort to end their suffering which is the core of Buddhist teachings. Hence, while Lessing is not specifically attempting to portray Buddhist principles in her novel, her vision captures the universal nature of humankind’s attempts to overcome suffering which is the most emphasized concept in Buddhism. Accordingly, the purpose of this paper is to use Buddhist philosophical thoughts, particularly the founding of the pioneer of Mahayana Buddhism, Nagarjuna, in his book <em>Mulamadhyamakakarika </em>to look more closely at the root of women’s suffering and their prescription to overcome it. The methodology appropriated entails depiction of clinging as the root of female suffering which is overtly discussed in Nagarjuna’s philosophy. After diagnosis of clinging disease as the root of suffering, this paper presents Nagarjuna’s prescription to end suffering through viewing the “empty” nature of beings and “dependent arising”. By examining the root of female suffering and offering the method for its eradication, we depart from other critics who examine Lessing’s works under Sufi mystic thoughts. This departure is significant since we reveal, unlike Sufi patterns within which the suffering is only diagnosed, Lessing’s mystic aim in shaping her female characters is not only to detect their suffering, but like Buddhism, to suggest a prescription for it. </p>
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Menyaev, B. V. "Collection of Manuscripts in Oirat in Ulan-Khol khurul of Kalmykia." Orientalistica 5, no. 5 (December 25, 2022): 1113–32. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1113-1132.
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This article presents a brief overview of the collection of manuscripts in the Oirat language stored in the fund of the Ulan-Khol Temple of the Republic of Kalmykia. The collection under consideration is relatively small (50 manuscripts), but it contains very interesting materials. The manuscripts of the Ulan-Khol Temple were a part of a significant collection of Buddhist writings in Tibetan, Old Mongolian and Oirat in the library of the Shars-Bagut (Northern) Temple, which was located from 1889 to 1939 in the area of Bora, Shars-Bagut aimak located in Erketenevsky ulus. The manuscripts were transferred to the Ulan-Khol Temple by relatives of the clergymen Bodgur Ochirov (1892-1955) and Tsagan Atkhaev (1900-1981). The collection seems to be extremely heterogeneous: it includes fiction literature works, orders, prophecies, ritual texts, prayers, astrological works, texts of divination, weather signs and traditional folk medicine texts. Some collections contain texts in Oirat with Tibetan inclusions as well as ones in Tibetan with Oirat interlinear. The fact proves Kalmyk monks were equally fluent in Tibetan and Oirat. The heterogeneity of the composition of the manuscript collection of the Ulan-Khol khurul indicates that the monks of the Shars-Bagut Temple in their main practice were not only clergymen, but also astrologers, soothsayers, healers. The presented texts are a valuable source for studying traditional religious beliefs, philosophy, ethics, old written Kalmyk literature, astrology and Kalmyk cult rituals.
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St.John, Graham. "DMT Gland." International Journal for the Study of New Religions 7, no. 2 (February 20, 2017): 153–74. http://dx.doi.org/10.1558/ijsnr.v7i2.31949.
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With clinical psychiatrist Rick Strassman's DMT: The Spirit Molecule as a vehicle, the pineal gland has become a popularly enigmatic organ that quite literally excretes mystery. Strassman’s top selling book documented ground-breaking clinical trials with the powerful mind altering compound DMT (N,N-dimethyltryptamine) conducted at the University of New Mexico in the early 1990s. Inflected with Buddhist metaphysics, the book proposed that DMT secreted from the pineal gland enables transit of the life-force into this life, and from this life to the next. Since that study, the hunt has been on to verify the organ’s status as the “lightening rod of the soul” and that DMT is the “brain's own psychedelic.” While the burden of proof hangs over speculations that the humans produce endogenous DMT in psychedelic quantities, knowledge claims have left the clinic to forge a career of their own. Exploring this development, the article addresses how speculation on the DMT-producing “spirit gland”—the “intermediary between the physical and the spiritual”—are animate in film, literature, music and other popular cultural artefacts. Navigating the legacy of the DMT gland (and DMT) in diverse esoteric currents, it illustrates how Strassman’s “spirit molecule” propositions have been adopted by populists of polar positions on the human condition: i.e. the cosmic re-evolutionism consistent with Modern Theosophy and the gothic hopelessness of H. P. Lovecraft. This exploration of the extraordinary career of the “spirit molecule” enhances awareness of the influence of drugs, and specifically “entheogens,” in diverse “popular occultural” narratives, a development that remains under-researched in a field that otherwise recognises that oc/cult fandom—science fiction, fantasy and horror—is a vehicle for religious ideas and mystical practices.
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Р.В., Любарский,. "Carlos Castanedaʼs Concepts in Viktor Pelevinʼs Novel “Secret Views of Mount Fuji”". Вестник Рязанского государственного университета имени С.А. Есенина, № 3(76) (6 січня 2023): 92–103. http://dx.doi.org/10.37724/rsu.2022.76.3.010.
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Актуальность изучения влияния идей Карлоса Кастанеды на творчество Виктора Пелевина определяется тем, что проблема художественной условности становится одной из привлекающих внимание исследователей. Вторичная условность в творчестве Пелевина рассматривается в рамках обновления нереалистических художественных приемов. Проблема вторичной условности характеризуется новым подходом использования эзотерического в современных постмодернистских романах, в том числе и через концепции Кастанеды, чем продиктована своевременность обращения к данной теме. В частности, обновление художественной условности с помощью концепций Кастанеды находит отражение в романе Пелевина «Тайные виды на гору Фудзи». Цель данной статьи — изучение романа «Тайные виды на гору Фудзи» в контексте воздействия идей Кастанеды. Предмет исследования — специфика реализации в данном произведении воззрений Кастанеды в контексте вторичной реальности. В статье анализируется художественное воплощение таких концепций Кастанеды, как «сталкинг», «эманация Орла» (как часть буддийского учения о дхьянах). Исследуется отражение концепций «сталкинга», «бога Орла», «дарования и пожирания осознания» в качестве художественно преображенной основы мистического феминизма. Рассмотрена кастанедовская «сновидческая действительность» как художественная модель отдельной реальности, в которой обитает божество Пелевина. Сделан вывод о том, что концепция «дарования и отбора осознания» в произведении Пелевина подверглась преобразованию определенного характера. Также нами установлено, что с помощью эзотерических идей Кастанеды Пелевин высмеивает принцип гендерного превосходства как ведущую черту феминистического движения. The exploration of the influence of Carlos Castanedaʼs works on Viktor Pelevinʼs works is relevant, for the issue of conventionality is of great research interest. The implausibility of Pelevinʼs works is viewed through the prism of artistic methods that are used by modern writers to create an unlikely universe. The issue of secondary artistic convention is characterized by a new approach to the use of esoteric elements in postmodern novels, including novels by Carlos Castaneda, which accounts for the relevance of the research. Castanedaʼs influence on artistic conventionality can be seen in Pelevinʼs novel “Secret Views of Mount Fuji”. The aim of the article is to investigate the novel “Secret Views of Mount Fuji” through the prism of Castanedaʼs artistic influence. The object of the research is the implementation of Castanedaʼs views in the context of a secondary reality. The article analyzes the artistic embodiment of such concepts of Castanedaʼs fictional universe as “stalkers”, ”Eagle emanation” (as an element of Buddhist philosophy of dhyanas), “bestowing awareness”, and “devouring” in magical feminism fiction. Pelevinʼs deity lives in Castanedaʼs art-of-dreaming universe. The author concludes that Castanedaʼs ideas of en-dowing one with awareness and depriving one of awareness undergo some transformation in Pelevinʼs works. The author underlines that Pelevin uses Castanedaʼs esoteric ideas to ridicule gender superiority as a leading feature of feminism.
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Gedeeva, Daria B. "О жанровом многообразии калмыцкой деловой письменности XVII-XIX вв." Oriental Studies 13, № 5 (28 грудня 2020): 1446–55. http://dx.doi.org/10.22162/2619-0990-2020-51-5-1446-1455.
Повний текст джерелаАнотація:
Introduction. The Kalmyks are one of the few peoples in Russia to have developed a script system of their own centuries ago. Spiritual culture of the ethnos can be traced in numerous original and translated texts of philosophical treatises, medical writings, historical chronicles, grammar essays, diaries of Buddhist pilgrims, fiction, recorded folklore materials, etc. The Kalmyk vertical script was also used for official writing. From the 17th century onwards, in the Lower Volga Kalmyks would expand their knowledge of Russian record keeping procedures (in diplomatic, military and economic contacts), however, adhering to their own writing traditions. Archival materials available attest to that the then genres of Kalmyk official writing were diverse enough, which makes it essential to reveal and investigate some authentic genre samples, classify the latter, identifying certain structural, stylistic, and language features. Goals. So, the paper seeks to essentially and structurally describe the revealed genres. Materials. The work analyzes documents stored by the National Archive of Kalmykia. Conclusions. Current research results indicate in the 17th-19th centuries the Kalmyks did possess a comprehensive official writing system characterized by genre diversity, which makes the introduction of the terms ‘Kalmyk official writing’ and ‘genre of Kalmyk official writing’ reasonable and necessary. The study delineates a number of functional genres, such as cāǰiyin bičiq, zarčim (Cyrillic цааҗин бичг) ‘codes, regulations’, amur yabuxu bičiq (Cyr. амр йовх бичг) ‘letter of discharge’, ayiladxal bičiq (Cyr. әәлдхл бичг) ‘report, dispatch’, erelge (Cyr. эрлһ) ‘petition’, andaγār (Cyr. андһар) ‘vow’, tō (Cyr. то) ‘register’, and the vastest one — bičiq (Cyr. бичг) ‘epistolary message’. However, there are still titles of documents to explore, e.g., bičiq tamaγa (Cyr. бичг тамһ) ‘letter-seal’, elči bičiq (Cyr. элч бичг) ‘letter (to be delivered by) a special messenger’, zarliq (Cyr. зәрлг) ‘order; decree’, etc. In this context, further research of Kalmyk official writing documents can be a priority focus of Mongolian studies. Archival sources are only being discovered, and have not been studied due to large numbers. Thus, the genre structure presented is incomplete and shall definitely be revised or extended.
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Ying, Lei. "Between Passion and Compassion: The Story of the Stone and Its Modern Reincarnations." Religions 12, no. 1 (January 17, 2021): 62. http://dx.doi.org/10.3390/rel12010062.
Повний текст джерелаАнотація:
This study reconsiders The Story of the Stone as a literary exemplum of the “Buddhist conquest of China.” The kind of Buddhism that Stone embodies in its fictional form and makes indelible on the Chinese cultural imagination simultaneously indulges in and wavers from the Mahāyāna teachings of the nonduality of saṃsāra and nirvāṇa. The dialectics of truth and falsehood, love and emptiness, passion and compassion, which Stone dramatizes and problematizes, continues to stir the creative impulses of artists in revolutionary and post-revolutionary China. This study features three of Stone’s modern reincarnations. Tale of the Crimson Silk, a story by the amorous poet-monk Su Manshu (1884–1918), recasts at once the idea of Buddhist monkhood and that of “free love” in early Republican China. In Lust, Caution, a spy story by the celebrated writer Eileen Chang (1920–1995), a revolutionary heroine is compelled to weigh the emptiness/truth of carnal desire against the truth/emptiness of patriotic commitment. Decades later, love and illusion dwell again at the epicenter of a fallen empire in the director Chen Kaige’s (b. 1952) 2017 film, The Legend of the Demon Cat, in which an illustrious poet sings testimony to the (un)witting (com)passion of a femme fatale.
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McLaren, Anne E. "T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. By Victor H. Mair. Cambridge, Mass.: Council on East Asian Studies, 1989. 286 pp. $27." Journal of Asian Studies 49, no. 2 (May 1990): 382–83. http://dx.doi.org/10.2307/2057327.
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Trinley, Ngawang, Tenzin, Dirk Schmidt, Helios Hildt, and Tenzin Kaldan. "Taming the Wild Etext: Managing, Annotating, and Sharing Tibetan Corpora in Open Spaces." ACM Transactions on Asian and Low-Resource Language Information Processing 20, no. 2 (April 23, 2021): 1–23. http://dx.doi.org/10.1145/3418060.
Повний текст джерелаАнотація:
Digital text is quickly becoming essential to modern daily life. The article you are reading right now is born digital; unlike texts of the not-so-distant past, it may never be printed at all. Worldwide, the trend is clear: Digital text is on the way in, and print is on its way out. Year-by-year, more and more readers are turning to ebooks, internet news, and other forms of ereading, while generation by generation, print is becoming less and less relevant. 1 1 Pew research shows 50% of Americans have a dedicated ereading device, with yearly gains in ereadership [1]; industry research, too, shows a definite trend toward ereading and non-traditional publishing, with ebooks making up 50% of fiction reading in 2016 [2], while journalism is also trending online [3]. These trends are not unique to English—to meet the demands and expectations of today's readers, Tibetan texts, too, are being digitized by many organizations and institutions with a shared appreciation for the Tibetan literary heritage. They include a variety of secular publishers, monastic institutions, and Buddhist foundations, among others. But while these organizations share common goals for common texts, their work is all too frequently completely disconnected from the community at large. This situation negatively impacts what is already a minoritized and under-resourced language. While competition—from other languages, as well as other publishers in the Tibetan etext world—has been a driver of innovation in the adoption of ereading technology, we believe that a rich, shared data source is not only in everyone's best interest but also the only practical way forward when we consider the time, effort, expertise, and money that quality digitization takes. That is why we have designed OpenPecha to be a public, open platform for collaborative etext curation and annotation sharing. Its aim is providing a wide range of users with the latest version of the exact “view” of any text needed, while maintaining the integrity of the text and its annotations and simultaneously allowing for community improvements and additions. In this article, we explore the details of how the project came to be, what it is, and how it works, while also presenting a few common use cases.
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Mozur, Joseph. "Viktor Pelevin: Post-Sovism, Buddhism, & Pulp Fiction." World Literature Today 76, no. 2 (2002): 58. http://dx.doi.org/10.2307/40157260.
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Ahn, Sung Doo. "Constructing the World through Language in the Yogācāra Buddhism: Linguistic Turn in the Theory of the Three Natures." Korean Institute for Buddhist Studies 59 (August 31, 2023): 41–75. http://dx.doi.org/10.34275/kibs.2023.59.041.
Повний текст джерелаАнотація:
It is widely known that Indian thought has a fundamental interest in language. Recently, J. Bronkhorst published a series of studies that drew our attention to the relationship between language and objects in Indian thought. In Language and Reality (2011), in particular, he designates this principle as “Correspondence Principle”, and argues that it lay at the root of the thoughts of various schools of the Indian schools for over half a millennium after Nāgārjuna (ca 150-250).
This paper aims to understand whether it is possible to apply his correspondence principle to Buddhist ideas, especially to the Three-Nature (svabhāvatraya) theories of Indian Yogācāra-Vijñānavāda school, and to understand it from the perspective of the so-called “Linguistic turn” in Indian Buddhism. To this purpose, I try to distinguish the Three-Nature theory into two flows. One is an explanation from the perspective of the Noesis-Noema (grāhaka-grāhya) corelation, to use the terminology of Phenomenology, and the other is to apply the perspective of the expression-the expressed (abhilāpa- abhilāpya) relation to the fictive nature (parikalpitasvabhāva). For me, the latter flow could be rightly understood as a linguistic turn in Indian thought.
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Lee, Derek. "Postquantum: A Tale for the Time Being, Atomik Aztex, and Hacking Modern Space-Time." MELUS 45, no. 1 (December 18, 2019): 1–26. http://dx.doi.org/10.1093/melus/mlz057.
Повний текст джерелаАнотація:
Abstract This study identifies the postquantum novel as an emerging subgenre of speculative ethnic fiction that challenges the prevailing logic of Western space-time in contemporary literature. In contrast with archetypal twentieth-century literary modes such as modernism, postmodernism, and science fiction, postquantum fiction strays from classical and quantum mechanics—and Western science more broadly—as default knowledge systems and instead turns to premodern, indigenous, and non-Western epistemes as equally valid intellectual frameworks for representing reality. Drawing from philosophy of science and postcolonial theory, this study reads Zen Buddhism in Ruth Ozeki’s A Tale for the Time Being (2013) and the Meso-American calendrical sciences in Sesshu Foster’s Atomik Aztex (2005) as alternative logics of space-time and argues that the postquantum novel destabilizes many of the physicalist assumptions undergirding temporality and spatiality in twenty-first-century narrative. Postquantum fiction thus constitutes an original form of epistemological critique that decolonizes Western scientific hegemony in literature via ethnoscientific theory and praxis while also expanding the social justice concerns of ethnofuturism to include traditional and marginalized knowledge.
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Adams, Don. "The Enlightenment of Fu Manchu: Buddhism and Western Detective Fiction." Contemporary Buddhism 16, no. 2 (March 30, 2015): 245–66. http://dx.doi.org/10.1080/14639947.2015.1020734.
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Habibullah, Md. "Kipling's Manipulation of Religions in Kim: A Document of his Imperialist Position." Victoriographies 13, no. 2 (July 2023): 192–209. http://dx.doi.org/10.3366/vic.2023.0492.
Повний текст джерелаАнотація:
Since the publication of Rudyard Kipling's (1865–1936) Kim (1901), most critics have agreed that the novel falls into the genre of colonial fiction. But they are divided into two groups – defenders and detractors – regarding Kipling's treatment of religions in the novel. The defenders celebrate his accomplishment and sympathy in depicting the devotion and attraction of the Victorian Era towards Buddhism. On the other hand, the detractors blame Kipling for fictionalising the confrontation between pragmatic Western rationality and Eastern mystical irrationality. Against this backdrop, this article revisits the novel with a postcolonial lens to study Kipling's dealings with religions in South-Asia in the latter half of the nineteenth century. It discovers that Kipling employs strategies of surveillance and knowledge of history and ethnography while handling religions in the novel. Such fictional employment of strategy and knowledge in characterising the South-Asian religions seems to have been colonially favourable in the contemporary socio-political context. Accordingly, this article argues that Kipling manipulates religions in his narrative for the sake of imperialism through surveillance of religions, consciousness of history, and ethnographic discourse that reflect his imperialist position.
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Ayusheeva, Marina V. "Anti-Religious Printed Propaganda in the Buryat-Mongol Autonomous Soviet Socialist Republic: A Case Study of the Erdem ba Shazhan Magazine." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 130–35. http://dx.doi.org/10.17223/15617793/458/16.
Повний текст джерелаАнотація:
The article analyzes anti-religious propaganda in the early 1920s in the Buryat-Mongol Autonomous Soviet Socialist Republic on the example of the magazine Erdem ba Shazhan [Science and Religion]. An important component of the state policy in the antireligious struggle in the republic was the Regional Union of Atheists, created in Verkhneudinsk on December 2, 1926. The publication of Erdem ba Shazhan in the Mongolian script was aimed at covering the gap of specialized literature on anti-religious propaganda. While analyzing issues of the magazine stored in the Center of Oriental Manuscripts and Xylographs of the Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences, research methods of historical science were used. The source study method has revealed the significance of the magazine as a source for studying atheistic propaganda and introducing a new socialist ideology in Buryat society. Erdem ba Shazhan was a methodological guide for a wide network of circles of the League of Militant Atheists. The magazine described the anti-religious events held in the republic, discredited false religious postulates, and propagandized the new Soviet style of life. For instance, the magazine published scientific disputes with lamas about the essence of religion. The analysis of the contents of Erdem ba Shazhan shows that educational issues were aimed at the broad promotion of the new life and eradication of religious remnants occupied more than a half of its volume. The magazine had no thematic sections, but it is possible to identify several main headings: propaganda and educational materials, popular scientific articles, short news, literary life. The “short news” part presented items on the activities of not only the Union of Atheists, but also of the first scientific organization—Buruchkom. The history of overcoming religiousness and inculcating the new ideology found reflection in the works of fiction the magazine published. Young writers, scientists, and educators (Kh. Namsaraev, Ts. Don, D. Madason) collaborated with Erdem ba Shazhan. The magazine also contained visual materials: photos, drawings, caricatures. It is worth noting the original design of the magazine cover made by Ts. Sampilov. Along with other publications in the Mongolian script, Erdem ba Shazhan promoted the development of atheistic education. The magazine illustrated the most diverse aspects of the life of the Buryat population with an emphasis on the scientific nature of events. Thus, the publication of the magazine Erdem ba Shazhan had a significant impact on the development of the atheistic movement in the republic, along with more accessible forms of printed propaganda in the form of posters and other visual means, such as cinema and theater. In general, this magazine compensated for the lack of specialized literature in the Buryat language, being the only methodological guide for a network of atheist cells in rural areas.
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Sharma, Niyati. "Finding the “Ideal”: F. Marion Crawford’s Mystical Theology and Literary Form in Mr. Isaacs." Victorian Popular Fictions Journal 5, no. 2 (December 20, 2023): 24–40. http://dx.doi.org/10.46911/plhn4580.
Повний текст джерелаАнотація:
While popular nineteenth-century writer F. Marion Crawford’s interest in religion is well-documented, his fiction has been categorised as not carrying overt theological overtones. In contrast to this critical view, this article argues that Crawford’s fiction can be linked to his religious thinking; however, the manner in which his works articulate this interest is non-prescriptive. The article contends that Crawford’s handling of religious dilemmas shapes the unusual generic form of his literary works, in particular Mr. Isaacs (1882). To this end, the article examines Crawford’s mystical position on the Idealism-materialism question that was much debated within theological circles in the nineteenth century. Through an analysis of his non-fiction writings and Mr. Isaacs, I demonstrate how Crawford places ideas from Buddhism and Christianity in conversation to arrive at a “mystical” position on a spiritual “Ideal,” which he defines as an aspiration towards the transcendental that can be partly grasped in reality. As I demonstrate, Crawford draws on this unusual mystical notion of the “Ideal” to develop a new literary form that merges romance with elements from realism in Mr. Isaacs.
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Dirhoussi, Loubna, Hassan Id Brahim, and Mohamed El Bouazzaoui. "Analyse de quelques aspects de la tradition orientale dans Fictions et L’aleph de Jorge Luis Borges." Voix Plurielles 21, no. 1 (May 1, 2024): 120–31. http://dx.doi.org/10.26522/vp.v21i1.4692.
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SEO JUNGMIN. "A fictional transfiguration of The Buddhist Goddess of Mercy in Sasinamjeonggi." Korean Classical Woman Literature Studies ll, no. 38 (June 2019): 33–58. http://dx.doi.org/10.17090/kcwls.2019..38.33.
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SATTOUF, Nada. "D comme demain, ou le croisement des figures dans Le Cahier de Hana Makhmalbaf." Revue plurilingue : Études des Langues, Littératures et Cultures 1, no. 1 (November 15, 2017): 188–202. http://dx.doi.org/10.46325/ellic.v1i1.17.
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Abstract
Under the orders of Mollah Omar, the Talibans imposed an iconoclasm prohibiting any living representation. Buddhas were demolished, while the children of Bamiyan, born of explosive powder, came to live in Hana Makhmalbaf's first feature film Le Cahier (2007). This film seeks to make poetry and thick. Two shots are blurred: the fiction of childish games and the reality of seriousness.
Résumé
Sous les ordres de Mollah Omar, les Talibans imposèrent une iconoclastie interdisant toute représentation vivante. Bouddhas furent démolis, alors que les enfants de Bâmiyân, nés de poudre des explosifs, vinrent habiter le premier long métrage de Hana Makhmalbaf, Le Cahier (2007). Ce film cherche à faire poésie et épaisseur. Deux plans s’y brouillent : la fiction des jeux enfantins et la réalité du sérieux.
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Lazzerini, Simona. "Threatening Beauty and Demonic Seduction: Unveiling Hārītī’s Sexuality." NAN NÜ 23, no. 1 (August 16, 2021): 1–34. http://dx.doi.org/10.1163/15685268-02310011.
Повний текст джерелаАнотація:
Abstract The former child-eating demoness Hārītī is well-known throughout the Buddhist world as a fertility goddess, healer, and protector. However, two eighth-century Chinese esoteric texts, the Da yaochanü Huanximu bing Aizi chengjiufa (Sādhana of the great yakṣiṇī Mother Joy and Priyaṇkara) and the Helidimu zhenyan jing (Sūtra of the mantra of Mother Hārītī), shed light on a more obscure Hārītī, marked by her sexuality and romantic past. This article argues that Hārītī may be understood as a seductress, a potentially sensual deity who remains loyal to her husband but, at the same time, demonstrates the ability to displace her sexuality. More specifically, the article proposes that Hārītī should be recognized as a chaste seductress on two levels: through her relationship with her husband, and through her interaction with those who practice esoteric rituals. Furthermore, Hārītī’s threatening sexuality went beyond Buddhist texts and entered the world of Chinese literature: Song dynasty supernatural tales and Ming era fictional works reveal a less orthodox and more daring way in which the goddess is able to employ her sexuality.
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Hu, Zhiyue. "Journey to the West: Cross-media adaptations of a Chinese classic tale." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 95–111. http://dx.doi.org/10.1386/jafp_00071_1.
Повний текст джерелаАнотація:
Journey to the West as one of the ‘four great Chinese classic novels’ has had an extraordinary influence across history and around the world. Journey to the West depicts how a Tang Dynasty Buddhist monk Xuanzang and his three disciples went through 81 trials to obtain the Buddhist texts (Sutras) from the Western Heaven (ancient India). Despite the novel itself being a product of a long history of adaptation, this article aims to offer an overview of the modern and contemporary cross-media adaptations of both the novel and the tale Journey to the West, with examples of literature (including web fictions), stage performances, films, TV series, manga and animation, video games and music. These adaptations not only happen in the Chinese-speaking world but also on an Asian and global level. Through introducing the extensive and diverse cases that inform an idea of ‘IP (intellectual property)’ as favoured in the Chinese cultural market, this article aims to point out the cultural and capital flow within this one single series of adaptations. In place of a relationship between source and adaptation, the contemporary context supports the idea of a wider context in which a source may be seen to validate a range of new and highly commercialized genres. It is developed from a presentation in the 2019 JAFP symposium Looking Back, Stepping Forward.
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McKEEVER, MATTHEW. "Predicates, parts, and impermanence: a contemporary version of some central Buddhist tenets." Religious Studies 54, no. 4 (April 28, 2017): 475–88. http://dx.doi.org/10.1017/s0034412517000130.
Повний текст джерелаАнотація:
AbstractIn this article, I argue that recent work in analytic philosophy on the semantics of names and the metaphysics of persistence supports two theses in Buddhist philosophy, namely the impermanence of objects and a corollary about how referential language works. According to this latter package of views, the various parts of what we call one object (say, King Milinda) possess no unity in and of themselves. Unity comes rather from language, in that we have terms (say, ‘King Milinda’) which stand for all the parts taken together. Objects are mind- (or rather language-)generated fictions. I think this package can be cashed out in terms of two central contemporary views. The first is that there are temporal parts: just as an object is spatially extended by having spatial parts at different spatial locations, so it is temporally extended by having temporal parts at different temporal locations. The second is that names are predicates: rather than standing for any one thing, a name stands for a range of things. The natural language term ‘Milinda’ is not akin to a logical constant, but akin to a predicate.Putting this together, I'll argue that names are predicates with temporal parts in their extension, which parts have no unity apart from falling under the same predicate. ‘Milinda’ is a predicate which has in its extension all Milinda's parts. The result is an interesting and original synthesis of plausible positions in semantics and metaphysics, which makes good sense of a central Buddhist doctrine.
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Wetmore, Kevin J. "R. Keller Kimbrough (trans.),Wondrous Brutal Fictions: Eight Buddhist Tales from the Early Japanese Puppet Theatre." Japanese Studies 36, no. 1 (January 2, 2016): 142–43. http://dx.doi.org/10.1080/10371397.2016.1145037.
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