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The Contradiction and inexpressibility in Ch'an Kung-an (Koan)
No full textThere are three types of Ch’an kung-an that often bewilder Buddhologists; namely, (1)the contradictory, (2)the inexpressible, and (3)mixture of the two. D. T. Suzuki and the scholars influenced by him, for example, E. Fromm, think that these three types of kung-an imply the truth realized by Ch’an masters, the truth which goes beyond daily language and logic. However, as the author points out, there are two traditions in Ch’an School: (1)the “Buddha-nature” tradition based on the La?k?vat?ra S?tra, and (2)the prajna tradition based on the Diamond S?tra. Suzuki and Formm’s interpretation only emphasizes the first tradition and ignores the second one. According to the second tradition, the contradiction and inexpressibility of kung-an may seem to indicate the truth of non-existence-??nyat?, not necessarily indicating the truly existing “Buddha-nature”
On Sublimation of Critical Spirit-- The Ideal of Education of S?kyamuni
No full textThe main religious doctrines of ??kyamuni are the Four Noble Truths and the theory of Arising-from-Conditional-Causation derived from the sublimation of critical spirit of ??kyamuni. He criticizes the theism, the life sacrifice, and the social institution of four classes of Br?hmanism; and the extreme views on hedonism of C?rv?ka and ascetic of Jaina. Those criticisms are derived from the theory of Arising-from-Conditional-Causation.
The Four Noble Truths is established on the foundation of anti-metaphysics. ??kyamuni is "A Silent Saint". He never replies any metaphysical questions, including Ten Indeterminable Questions. The Four Noble Truths is very pragmatistic. It is based on a criticism of metaphysics
Shen Hsui's and Tao Hsin's Way of Zen: A Comparison
No full textAccording to the tradition of the Zen Buddhistic school, the sudden method of Hui Neng follows the orthodox teachings of Hung Jen and Tao Hsin, while the gradual method of Shen Hsin is a heresy. The present paper, based on a comparative study of Shen Hsiu’s and Tao Hsin’s way of Zen, shows that the method of “looking at mind, looking at purity” critized by Hui Neng, is espoused not only by Shen Hsiu but also by Tao Hsin.
Both Tao Hsin and Shen Hsin adhere to the Zen of the La?k?vat?ra S?tra advocated by the earlier Zen masters from Bodhidharma on, but in Hui Neng and the later masters, we find that many ideas derived from the Diamond S?tra are introduced into the way of Zen. This is the reason why Hui Neng takes exception to Tao Hsin’s and Shen Hsin’s “Lank?vat?ra Zen”. Therefore, the distinction between “orthodoxy” and “heresy” in Zen school is not merely a matter of who holds fast to the original teachings of Bodhidharma, there are other factors to be considered
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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
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