1,721,033 research outputs found
Recreating the image of Chan master Huineng
No full textThe article is on the recreation of the image of Chan master Huineng in four English translations of thePlatform Sutrathrough the choice of personal pronouns. Adopting SysConc as analytical tool, the study looks at the use of personal pronouns and the image of Huineng recreated in each translation. InWong (1930a), the use ofwein combination withyoupresents Huineng as both friendly and authoritative; inHeng (1977b), Huineng tends to avoid personal pronouns and seems to be detached; inCleary (1998b), Huineng is more involved in the interaction and uses manyI’s as well asyou; inCheng (2011), Huineng speaks in an elegant way and uses genericoneas personal reference. It is argued that both the choices of personal pronouns and the images of Huineng recreated can be better understood in terms of the context of translation.</jats:p
Recreating the image of Chan master Huineng : the role of personal pronouns
No full textThe article is on the recreation of the image of Chan master Huineng in four English translations of the Platform Sutra through the choice of personal pronouns. Adopting SysConc as analytical tool, the study looks at the use of personal pronouns and the image of Huineng recreated in each translation. In Wong (1930a), the use of we in combination with you presents Huineng as both friendly and authoritative; in Heng (1977b), Huineng tends to avoid personal pronouns and seems to be detached; in Cleary (1998b), Huineng is more involved in the interaction and uses many I’s as well as you; in Cheng (2011), Huineng speaks in an elegant way and uses generic one as personal reference. It is argued that both the choices of personal pronouns and the images of Huineng recreated can be better understood in terms of the context of translation.23 page(s
The Figure of Huineng
No full textThe biography of Huineng offered in the Platform Sūtra is a compelling story of a hero who perseveres against great odds. Focusing closely on that narrative, this chapter presents the plot, traces the historical process through which it was created, discusses variations in the story, and considers related genres of writing in order to understand the Platform Sūtra�s long-lasting appeal
Recreating the images of Chan Master Huineng: a systemic-functional approach to translations of the Platform sutra
No full textTheoretical thesis.Includes bibliographical references.1. Introduction -- 2. Translation of Chinese Buddhist texts, Huineng, and the Platform sutra -- 3. Same Chan master, different images : the story of Huineng and its translations -- 4. Verbs of saying and images of Huineng -- 5. Personal pronouns and images of Huineng -- 6. MOOD & MODALITY and images of Huineng -- 7. Images of Huineng on book covers and in verbal texts -- 8. Paratextual attitude and the image of Huineng -- 9. Text complexity and images of Huineng -- 10. Conclusion.This research applies systemic functional linguistics (SFL) to the comparison of four English translations of the Platform Sutra (Wong 1930; Heng 1977; Cleary 1998 and Cheng 2011), in the field of descriptive translation studies. The Platform Sutra is an ancient Chan Buddhist text that records the public sermons and personal conversations of the Chan master Huineng (638-713).The focus of the research is on the image of Huineng recreated in each translation, with the concept of 'image' defined as the semantic consequence of patterned lexicogrammatical choices in translating the Platform Sutra. The study specifically answers the following two research questions: 1. To what extent is the image of Huineng represented differently in the translations of the Platform Sutra? What particular image is recreated in each translation and how did the translator achieve this? and, 2. Why is a certain image of Huineng recreated in one translation but not the others?The first question is to be answered by conducting a bottom-up analysis from the level of lexicogrammar to that of semantics; and the second question can only be satisfactorily answered by taking the context into consideration.The methodology of the study integrates quantitative and qualitative analyses, with the analytical tools adopted being SysFan (Wu 2000), SysConc (Wu 2003) and Wmatrix (Rayson 2003).The analyses of the four translations are conducted in the form of journal articles from the perspectives of verbs of saying, personal pronouns, MOOD and MODALITY, multimodality and evaluation, and textual complexity, which are within the ideational, interpersonal and textual metafunctions respectively. Results show that different images of the same Chan master Huineng have been recreated in each translation, which are reflected through the recurrent lexicogrammatical choices in the ideational, interpersonal and textual systems, though the influence of each system varies. Both the recreating of images and the lexicogrammatical choices can be further interpreted by taking the context of translation (Field, Tenor, Mode) into consideration.The significance of the present study lies in both its comprehensive analysis of different translations of the same source text from a systemic functional perspective, and its emphasis on religious texts as an invaluable resource for both SFL and translation studies.Mode of access: World wide web1 online resource (xvi, 242 pages diagrams, graphs, table
The Form of No-Form: Reconstructing Huineng in Two Paintings by Liang Kai
No full textThe authenticity and interpretation of two Sixth Patriarch paintings, traditionally attributed to Liang Kai, have long been debated by critical scholars. Because of the lack of inscriptions on the paintings to indicate the identity of the depicted figure, the association of him with the Sixth Patriarch of Zen Buddhism, Huineng, has shed much enigmatic light onto the decipherment of these two paintings’ motifs. While historical and literal traditions of Huineng in Zen Buddhism provide no conspicuous references, Zen’s art tradition, on the other hand, provides a more fascinating reading of the Sixth Patriarch paintings by formulating and reconstructing a paradigmatic figure of Huineng and Zen romanticism without restricting itself to historical and literal accuracy
Stupa and stele for Patriarch Huineng (Huineng zushi ta bei 慧能祖師塔碑), Mount Shangfang (上方山)
No full textStupa and stele inscription for the sixth patriarch of Chan Buddhism, Huineng 惠能 (638-713). The photos are of the stele, and there is an accompanying stupa (ta 塔) not pictured. Body measurements: width 64cm, height 154cm, depth 14.5cm. Base measurements: width 71cm, depth 39cm, height 35cm.Non UBCUnreviewedAuthor Affiliations: Northwestern University, Tsinghua University, Wuhan University, University of Arizona, Shanxi Normal UniversityFacultyGraduat
Truth and Subjectivity: Thinking Kierkegaard through the Lens of Huineng
No full textThis dissertation is a philosophical investigation of Kierkegaard’s approach to truth and subjectivity in relation to Chinese Chan Buddhist thought represented by Huineng (638–713). A problem that seems to surface for the close reader with some familiarity with both thinkers is whether Kierkegaard’s “Truth Is Subjectivity” is indeed the same as Huineng’s “Dharma (truth or Buddha-law) Is Nonduality 佛法不二,” as lacking a subject and object distinction between the knower and what is to know (the referent). Adopting a comparative method based on the Conceptual Metaphor Theory in cognitive linguistics, this study embraces an investigation that is in effect an argument favouring a similarity between truth as subjectivity and Dharma as nonduality. Through the lens of Huineng, Kierkegaard’s truth as subjectivity is of how I (i.e., the knowing subject) live truthfully without attachment. Its core concern is to emphasize how a person relates oneself to the truth by inwardly achieving self-understanding through actively being involved in one’s daily life rather than being attached to objective things or abstract ideas. By borrowing terms or categories such as “nonduality” from Chan’s philosophical discourses, this research implies that Chinese Chan offers the resources for our contemporary inquiry into the relevant issue in Kierkegaard’s thought. It contributes to work in inter-religious dialogue and comparative philosophy or theology, deepening the dialogue between the two faith traditions or cultures.Doctor of Philosophy (PhD
Recreating the images of Chan Master Huineng: a systemic-functional approach to translations of the Platform sutra
No full textThis research applies systemic functional linguistics (SFL) to the comparison of four English translations of the Platform Sutra (Wong 1930; Heng 1977; Cleary 1998 and Cheng 2011), in the field of descriptive translation studies. The Platform Sutra is an ancient Chan Buddhist text that records the public sermons and personal conversations of the Chan master Huineng (638-713).
The focus of the research is on the image of Huineng recreated in each translation, with the concept of 'image' defined as the semantic consequence of patterned lexicogrammatical choices in translating the Platform Sutra. The study specifically answers the following two research questions: 1. To what extent is the image of Huineng represented differently in the translations of the Platform Sutra? What particular image is recreated in each translation and how did the translator achieve this? and, 2. Why is a certain image of Huineng recreated in one translation but not the others?
The first question is to be answered by conducting a bottom-up analysis from the level of lexicogrammar to that of semantics; and the second question can only be satisfactorily answered by taking the context into consideration.
The methodology of the study integrates quantitative and qualitative analyses, with the analytical tools adopted being SysFan (Wu 2000), SysConc (Wu 2003) and Wmatrix (Rayson 2003).
The analyses of the four translations are conducted in the form of journal articles from the perspectives of verbs of saying, personal pronouns, MOOD and MODALITY, multimodality and evaluation, and textual complexity, which are within the ideational, interpersonal and textual metafunctions respectively. Results show that different images of the same Chan master Huineng have been recreated in each translation, which are reflected through the recurrent lexicogrammatical choices in the ideational, interpersonal and textual systems, though the influence of each system varies. Both the recreating of images and the lexicogrammatical choices can be further interpreted by taking the context of translation (Field, Tenor, Mode) into consideration.
The significance of the present study lies in both its comprehensive analysis of different translations of the same source text from a systemic functional perspective, and its emphasis on religious texts as an invaluable resource for both SFL and translation studies
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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