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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
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
From xue 學 to jiaoyu 教育:Conceptual understanding of ‘study’ and ‘education’ in modern Chinese Buddhism
Full text linkRegarding saṃgha education in specific, in modern China and Taiwan, Asian and Western scholarship have created official narratives and paradigms. These official narratives are certainly an important element in the overall picture of modern Chinese Buddhism, however they are not exhaustive of that picture; an excessive, or even exclusive emphasis on them may imply that many other models of training and ‘education networks,’ which were developing at the same time, become overlooked and not included into the map. History is then not represented fully. For instance, in the same years Taixu established well-known saṃgha seminaries like the Wuchang and the Minnan Institutes of Buddhist studies, other Buddhist educators, like the less known monks Shengqin 聖欽 (1869–1964),40 Changyuan 昌圓 (1879–1945),41 Bianneng 遍能 (1906–1997),42 were planning and opening their own foxueyuan or other forms of instructions in Sichuan, and proposing curricula that were less innovative and did not coincide with those proposed by Taixu.43 Here is a first counterparadigm. Elements like schools run by laity, (Japanese-modeled) monastic study halls, episodes of monks lecturing the military, and the complexity of taxonomy and conceptual categories that emerged in those decades, and this chapter has only partly addressed, enlarge the spectrum of new education possibilities beyond Taixu’s model of foxueyuan. And here is a second counterparadigm. More on this front needs to be done in the future
Concepts and Methods for the Study of Chinese Religions II: Intellectual History of Key Concepts
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