2,900 research outputs found
Introduction
Full text linkIn the last few decades, several academic fields have begun to devote attention to an analysis of their respective critical terms and concepts. Publishers including the University of Chicago Press and Routledge have initiated entire book series on ‘critical terms’ within various fields, and a number of volumes along these lines have been produced. This genre of critical-reflective scholarship on key terms first emerged within the academic domains of arts and literature, but was soon followed by volumes devoted to the study of religion, particular religious traditions, and other fields. The present volume seeks to add to this existing scholarship on analytical concepts; it presents studies on a selection of categories that have been recurrent in the religious discourses of China. It is thus part of an attempt to start a new detailed and critical vocabulary, one that is grounded in religious and intellectual history, and that helps facilitate the analysis of contemporary religious phenomena in China. This volume further builds on – and seeks to integrate – recent scholarship that has also assessed values and ideas, both those central to Chinese religious culture and those imported from other cultural contexts. The ever-increasing number of published studies on Chinese religions (and religion in China) has created an urgent need for us to deepen our discussion about the field. This applies not only to the topics of study methodologies and research foci, which we mainly discuss in Volume I of this series, but also of the key categories and values that constitute the conceptual framework of the religious landscape in China. This volume takes as its focus one set of important concepts in Chinese religions, examining their intellectual histories within religious communities and among scholars in related academic fields. Methodologically, this volume also connects to the ideaof ‘conceptual history’ (better known as Begriffsgeschichte) and the pioneering theoretical studies by Reinhart Koselleck, which are also addressed critically; some authors in this volume refer directly to this trend of scholarship
Adam und Eva in der byzantinischen und abendländischen Kunst des Mittelalters
No full textThe pictorial art of the Church, as a spiritual product of the Christian civilisation, has continually received great influences from its ecclesiastical tradition and it was defined by its formal aesthetical standards and its iconographic preferences. A more nuanced reading of the parallels can be attained by placing the images in their visual context, which would allow a better appreciation of the meanings within. The biblical story of Adam and Eve, which is the theme of the following thesis, reflects the differentiation between the Eastern and the Western understanding of the events of the history of the holy Oikonomia, a point, which is the major ground for the development of the relative pictorial motifs. The protoplasts are the protagonists from their creation and life in paradise, the fall and expulsion until their resurrection through Christ. Their story is visualised in a number of scenes and episodes, having thus their original sin and resurrection for specific reasons centralised. This doctoral thesis attempts to collect as many parallels of the scenes is possible, trying to collate the Eastern with the Western visual approach in a deductive way, in order to reach our constructive conclusions and make available the combination of the art, theology and liturgy in the scenes of Adam and Eve in Genesis and in Resurrection (Anastasis). The reading we tried to perform was based upon the specific iconographical elements, which were worth to be commented. Our aim was to detect the direct bond between the production of art and the relevant patristic and apocryphal writings or even the theological theories, by quoting texts from the ecclesiastical literature, as well as the liturgical praxis.Die kirchliche Kunst hat als geistiges Produkt der christlichen Kultur stets unter dem Einfluss der kirchlichen Tradition gestanden und wurde durch ihre formalen ästhetischen Standards und ihre ikonographische Auswahl bestimmt. Eine genauere Bestimmung der Parallelen kann erreicht werden, indem man die Bilder in ihren visuellen Kontext stellt, was zu einem besserem Verständnis ihrer Inhalte führt. Die biblische Geschichte von Adam und Eva, welche das Thema unserer Arbeit ist, reflektiert das differenzierte Verständnis der Heilsgeschichte (Oikonomia) in Ost und West, welche die Hauptursache für die Entwicklung der entsprechenden Bildmotive ist. Die Stammeltern sind die Protagonisten dieser Geschichte seit der Schöpfung und dem Leben im Paradies, sowie Sündenfall und Vertreibung, bis zu ihrer Auferweckung durch Christus. Ihre Geschichte wird in einer Reihe von Szenen und Episoden visualisiert, wobei die Ursünde und die Auferstehung aus besonderen Gründen im Mittelpunkt stehen. Diese Dissertation versucht, so viele wie mögliche Gemeinsamkeiten der Darstellung herauszuarbeiten, um so in deduktiver Weise den visuellen Zugang des Ostens und des Westens in Beziehung zu setzen, um zu konstruktiven Ergebnissen zu kommen und eine Verbindung von Kunst, Theologie und Liturgie in den Darstellungen von Adam und Eva in der Genesis und der Anastasis, am Anfang und am Ende also, herzustellen. Unsere Untersuchung basiert auf den spezifischen ikonographischen Elementen, die wir kommentieren. Unser Ziel war es, die unmittelbare Verbindung zwischen der künstlerischen Darstellung und den entsprechenden patristischen oder apokryphen Schriften oder sogar den theologischen Theorien zu ermitteln, indem wir Texte aus der kirchlichen Literatur, aber auch aus der liturgischen Praxis heranzogen. Wir versuchten die Beteiligung der Stammeltern Adam und Eva im Genesis-Zyklus und der Anastasis-Szene in Beziehung zu setzen, deren Darstellungsnormen zur Gänze auf der Heilsverheissung Gottes basieren. So besteht unsere Dissertation aus zwei Teilen: Genesis und Anastasis (Abstieg in den Hades), sowie einem Anhang, welcher die Überschrift „Die Bildsprache der Geschichte der Stammeltern“ trägt, der Bibliographie und einer Liste der verwendeten Abbildungen
Foxue shumu biao 佛學書目表 1924
No full textThis data has been manually created from the publication Foxue shumu biao 佛學書目表 (Catalogue of Buddhist Studies), published in 1924 by the Beijing Buddhist Scripture Distributor. It includes listings for publications that were distributed by the institution. An entry for the original 1924 publication can be found on the Chinese Religious Text Authority</a
Assessing the impact of chloride deicer application in the Siskiyou Pass, southern Oregon
Full text linkby Adam J. Stonewall, Matthew C. Yates, and Gregory E. Granato ; prepared in cooperation with Oregon Department of Transportation.This archived document is maintained by the State Library of Oregon. It is for informational purposes and may not be suitable for legal purposes.Includes bibliographical references (pages 90-93).Mode of access: Internet from the State Library of Oregon U.S. Government Publications Collection.Text in English
Building the Buddhist Revival:Reconstructing Monasteries in Modern China
No full textBetween 1850 and 1966, tens of thousands of Buddhist sacred sites in China were destroyed, victims of targeted destruction, accidental damage, or simply neglect. During the same period, however, many of these sites were reconstructed, a process that involved both rebuilding material structures and reviving religious communities. The conventionally accepted narrative of Chinese Buddhism during the modern era is that it underwent a revival initiated by innovative monastics and laypersons, leaders who reinvented Buddhist traditions to meet the challenges of modernity. Gregory Adam Scott shows, however, that over time it became increasingly difficult for reconstruction leaders to resist the interests of state actors, who sought to refashion monastery sites as cultural monuments rather than as living religious communities. These sites were then intended to serve as symbols of Chinese history and cultural heritage, while their function as a frame for religious life was increasingly pushed aside. As a result, the power to determine whether and how a monastery would be reconstructed, and the types of activities that would be reinstated or newly introduced, began to shift from religious leaders and communities to state agencies that had a radically different set of motivations and values.Building the Buddhist Revival explores the history of Chinese Buddhist monastery reconstruction from the end of the Imperial period through the first seventeen years of the People's Republic. Over this century of history, the nature and significance of reconstructing Buddhist monasteries changes drastically, mirroring broader changes in Chinese society. Yet this book argues that change has always been in the nature of religious communities such as Buddhist monasteries, and that reconstruction, rather than a return to the past, represents innovative and adaptive change. In this way, it helps us understand the broader significance of the Buddhist "revival" in China during this era, as a creative reconstruction of religion upon longstanding foundations
Building the Buddhist Revival:Reconstructing Monasteries in Modern China
No full textBetween 1850 and 1966, tens of thousands of Buddhist sacred sites in China were destroyed, victims of targeted destruction, accidental damage, or simply neglect. During the same period, however, many of these sites were reconstructed, a process that involved both rebuilding material structures and reviving religious communities. The conventionally accepted narrative of Chinese Buddhism during the modern era is that it underwent a revival initiated by innovative monastics and laypersons, leaders who reinvented Buddhist traditions to meet the challenges of modernity. Gregory Adam Scott shows, however, that over time it became increasingly difficult for reconstruction leaders to resist the interests of state actors, who sought to refashion monastery sites as cultural monuments rather than as living religious communities. These sites were then intended to serve as symbols of Chinese history and cultural heritage, while their function as a frame for religious life was increasingly pushed aside. As a result, the power to determine whether and how a monastery would be reconstructed, and the types of activities that would be reinstated or newly introduced, began to shift from religious leaders and communities to state agencies that had a radically different set of motivations and values.Building the Buddhist Revival explores the history of Chinese Buddhist monastery reconstruction from the end of the Imperial period through the first seventeen years of the People's Republic. Over this century of history, the nature and significance of reconstructing Buddhist monasteries changes drastically, mirroring broader changes in Chinese society. Yet this book argues that change has always been in the nature of religious communities such as Buddhist monasteries, and that reconstruction, rather than a return to the past, represents innovative and adaptive change. In this way, it helps us understand the broader significance of the Buddhist "revival" in China during this era, as a creative reconstruction of religion upon longstanding foundations
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