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The Dunhuang Manuscript Version of a Synopsis of the Yu zhu jinggang bore jing xuan yan and Its Author
Get PDF110009359848The present paper investigates a synoptic text, surviving only in Dunhuang manuscript fragments (Stein Nos 8044, 8166, and 9723 衾all part of the same scroll), dealing with the Yu zhu jingang bore jing xuan yan御註金剛般若經宣演, the work of Daoyin 道氤(668-740), a scholar-monk active during the Kaiyuan開元era.My examination of the content and form of the extant fragments leads me to conclude that this must be a synopsis compiled on the basis of the Jingang ying, a commentary to the Yu zhu jingang bore jing xuan yan. We know from Yitianʼs 義天Xin bian zhu zong jiao zang zong lu 新編諸宗教藏總録that a synoptic text called Yu zhu jingang bore jing xuan yan ke 御註金剛般若經宣演科, in two scrolls, was composed by Quanming 詮明, a scholar-monk who lived under the Liao 遼Dynasty. The text, however, has not been indentified so far. My investigation raises the possibility that the author of the above Dunhuang manuscript fragments might be no other than Quanming. These materials thus become very important sources not only for our understanding of the influence exerted by the Yu zhu jingang bore jing xuan yan ke and the Jingang ying on later Chinese Buddhism but also for the study of Quanmingʼs work and thought.departmental bulletin pape
Xun yu zhu ren: du mu ju ji.
No full text訓育主任 -- 離心力 -- 夫妻之間 -- 秋扇 -- 別墅 -- 胡不歸 -- 未完成的發明 -- 煙 -- 孩子回來了 -- 陰沉的下午 -- 轉變 -- 誰的錢 -- 附錄: 演劇漫談.予且編."這一個小冊子包含十二篇獨劇, 大半是我在校中順著同學的要求而編或是改譯的"--Preface.Yuqie bian."Zhe yi ge xiao ce zi bao han shi er pian du ju, da ban shi wo zai xiao zhong shun zhu tong xue de yao qiu er bian huo shi gai yi de"--Preface.Xun yu zhu ren -- Li xin li -- Fu qi zhi jian -- Qiu shan -- Bie shu -- Hu bu gui -- Wei wan cheng de fa ming -- Yan -- Hai zi hui lai liao -- Yin chen de xia wu -- Zhuan bian -- Shui de qian -- Fu lu: Yan ju man tan
[Yu zhu jin gang bo re bo luo mi jing xuan yan 御 注 金 剛 般 若 波羅 蜜 經 宣 演.]. Texte bouddhique relatif à lasaṁjñā (xiang想).
No full textJin gang bo re jing shu 金 剛 般 若 經 疏, cf. Yu zhu jin gang bo re bo luo mijing xuan yan.Jin gang bo re jing xuan yan 金 剛 般 若 經 宣 演, cf.Yu zhu jin gang bo re bo luo mi jing xuan yan.Jin gang bo re boluo mi jing 金 剛 般 若 波 羅 蜜 經, trad. KumārajīvaJin gang bo rexuan yan 金 剛 般 若 宣 演, cf. Yu zhu jin gang bo re bo luo mi jing xuanyan.Vajracchedikā-prajńāpāramitā-sūtra, trad. Kumārajīva, cf.Jin gang bo re bo luo mi jing.Yu zhu jin gang bo re bo luo mijing xuan yan 御 注 金 剛 般 若 波 羅 蜜 經 宣 演Numérisation effectuée à partir d'un document original
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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