Dissertations / Theses on the topic 'Buddhist poetry'

The thesis undertakes a Buddhist reading of Mary Oliver’s oeuvre. It seeks to fill a palpable lacuna in extant criticism of her work, which tends to adopt Romantic, Feminist, Ecocritical, and Christian viewpoints. Thus far, no criticism has offered a sustained reading of her work from a specifically Buddhist stance. The thesis is structured in five chapters. The introductory chapter is followed by a literature review. The next three chapters are devoted to the Buddhist themes of Mindfulness, Interconnection, and Impermanence respectively. Each chapter opens with detailed consideration of its respective theme before moving on to the analysis and amplification of poems pertinent to it. In addition, the main Buddhist theme of each chapter is subdivided into its component sub-themes or corollaries. The main methodological approach to Oliver’s poetry comprises explication de texte as this makes provision for detailed readings of the texts themselves. Furthermore, this approach has been adopted because it allows for in-depth exploration of Oliver’s literary devices, three notable examples of which are anaphora, adéquation, and correspondence. In the course of the discussion, reference is also made to the influence of Imagism and, more specifically, the Japanese haiku tradition insofar as they impact on her poetry. This discussion is intended to give some indication of Oliver’s place within the American poetic tradition. The predominant subject-matter of her corpus is an all-encompassing view of the natural world with its birth-life-decay-death cycle. She does not flinch from addressing the harsh and violent aspects of nature as well as its exuberance and beauty. Her unifying topos is being the bride of amazement as witness to the natural world. For her readers, this witnessing translates into an inner, potentially transformative process, ultimately integrating mind and heart. The thesis concludes with a list of references and a glossary of the Buddhist terms.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.

Thesis (Ph. D.)--University of Sydney, 2008.
Title from title screen (viewed March 11, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Indian Sub-Continental Studies. Includes bibliographical references.

The fact that American Buddhist poetry has a broad programme of matters and styles is more bewildering than clarifying. Although not apparently contradictory, this genre presents so wide a range of salient Buddhist teachings, such as karma, suffering, impermanence, emptiness and selflessness. In fact, a reader is not only engaged in these various abstruse teachings which intrinsically defy intellectual logic, but is also attuned into the different unconventional poetic prosodies. It is thus even more challenging to understand these poems. In order to equip the reader with pertinent knowledge and deepen their understanding, the fust and foremost issue lies in what the defining characteristics of this diverse genre are. This study made a thorough investigation of prominent works by three notable American Buddhist poets, namely Gary Snyder, Allen Ginsberg and Phi lip Whalen, all of whom make a significant contribution to this genre, both thematically and stylistically. The study has revealed that, with regard to poetic content, the mind among the various teachings constitutes the most central theme, and it also functions as the common underpinning among the three poets. Their constant observation of the mind is always present in their verse. While some of their poems mainly describe. the various natures of the mind ranging from its being loose and turbulent to its being still and calm, the other poems suggest their penetration into the higher truths based upon the tranquil and wise mind. Correspondingly, as far as poetic styles are concerned, the natures of the mind are instrumental in shaping and ornamenting the poems. When the mind wanders aimlessly, the poem looks less controlled witnessed by the irregularity of, or sometimes sheer absence of, line length, meter, rhythm and rhyme. That is to say, the poem isjust as fluid and free as the unstable mind. On the contrary, once the mind is focused and powerful enough to see the truths by itself, the poets' transcendental experience is deliberately conveyed in a poetics of deep consciousness of which meaning and form renders a mood of calmness, purity and epiphany. The three poets demonstrate such a change even within a single poem through a conspicuous alteration of versification: wisdom is expressed, and strictly traditional stanzaic patterns and aureate diction are then chosen. This dynamism is also characteristic of American Buddhist poems.

Justifications for defunding the Arts and Humanities are well rehearsed: public funds should be reallocated toward developing skills directly leading toward sustainable employment, that is, toward labour streams demanded by industry. President John F. Kennedy took a different view, envisioning the role of the artist (and poet in particular) as an essential moral function. For Kennedy, the poet is both philosopher and prophet, providing a moral compass that leads the nation back to its better self when excesses of power have corrupted it from within. The role Kennedy assigned to poets echoes the civic/cultural practice of theoria (contemplation), a pilgrimage for the pursuit of knowledge enacted by ancient Greek intellectuals. Notably, for Plato and earlier Greek intellectuals, the insight gained from this contemplative endeavour was expected to have practical value and advance the city state, which indicates that outcomes mattered. Like Plato, Hannah Arendt also links the progress of civilisation with the quality of our thinking. As is well known now, Arendt attributes banal acts of evil to thoughtlessness, thus heightening the imperative ‘to think what we are doing’. There is evidence to suggest that contemplative compassion training can work as a potential mode to bridge the motivational gap between empathetic awareness and moral action. Western pedagogic and psychotherapeutic strategies incorporate contemplative principles for their capacity to support transformation. These interventions draw on Buddhist conceptions of wisdom, distress tolerance, and non-judgmental awareness to develop a structure for training compassion, thereby enabling the agent to move from intention to productive action. This thesis therefore explores the potential for poetry to participate in this work. The first part of this thesis considers how poets have long modelled the capacity of poetry to do political work, as demonstrated by fifth century BCE poet-legislator Solon, who recorded justifications of his laws in poetry. The second part examines how the Romantic poets foreshadowed Kennedy’s idealised philosopher poet by 200 years, including the 18th century poet Anna Letitia Barbauld, who enacted the political work elevated by Arendt through poetry and prose that outlines the obligations of the citizen and critiques the actions of the state. The third part explores how poets in the early 20th century participated (or not) in this kind of work. The contribution of ‘High Modernist’ T. S. Eliot is assessed as well as the Modernist anarchist poet, Lola Ridge, who advocated for marginalised, incarcerated, and deceased identities in both the public and private realm. By reinserting poetry into the public sphere, Ridge models how poetry can be repurposed toward political/moral ends and provide a unique platform for social critique and the emergence of new identities. The thesis concludes by considering how, in addition to public advocacy, poetry may also participate in compassion training. Following psychotherapeutic interest in Buddhist principles to facilitate transformation, this thesis explores the capacity of poetry to participate in cultivating compassion by reading T. S. Eliot’s ‘The Waste Land’ and Four Quartets and Lola Ridge’s ‘The Ghetto’ (and other poems) through the Buddhist lens of the Four Noble Truths. These readings demonstrate that poetry can do more than provide aesthetic pleasure. As an effect of and a medium for contemplation, poetry can facilitate critical thinking; further, it can stimulate creative possibilities toward realising moral ends. Crucially, it can cultivate moral agency by enlarging our capacity for compassion. In short, the contemplation of poetry can enable us to follow Arendt’s council to ‘think what we are doing’.

The popularization of academic spaces that combine Buddhist philosophy with the literature of the Romantic period – a discipline I refer to as Buddhist Romantic Studies – have exposed the lack of scholarly attention Samuel Taylor Coleridge and The Rime of the Ancient Mariner have received within such studies. Validating Coleridge’s right to exist within Buddhist Romantic spheres, my thesis argues that Coleridge was cognizant of Buddhism through historical and textual encounters. To create a space for The Rime within Buddhist Romantic Studies, my thesis provides an interpretation of the poem that centers on the concept of prajna, or wisdom, as a vital tool for cultivating the mind. Focusing on prajna, I argue that the Mariner’s didactic story traces his cognitive voyage from ignorance to enlightenment. By examining The Rime within the framework of Buddhism, readers will also be able to grasp the importance of cultivating the mind and transcending ignorance.

A dissertaÃÃo analisa a obra CÃnticos, de Cecilia Meireles, destacando o contexto histÃrico-cultural, ideolÃgico e artÃstico do sÃculo XX, a partir do estreito relacionamento da literatura produzida pelo poeta com o misticismo das filosofias do Oriente, em especÃfico, o Budismo, com a poesia mÃstica do poeta indiano Rabindranath Tagore e os discursos pacifistas de Mahatma Gandhi e Vinoba Bhave. O trabalho parte do corpus poÃtico, utiliza ainda como apoio a Poesia Completa da escritora, o estudo crÃtico realizado por Eliane Zagury, em "CecÃlia Meireles: notÃcia biogrÃfica, estudo crÃtico, antologia, bibliografia, discografia, partitura", e os depoimentos constantes de cartas, entrevistas, livros prefaciados e crÃnicas como amparo princiapal. Utilizando os mÃtodos descritivo, analÃtico, interpretativo-comparativo, a pesquisa divide-se em cinco momentos, sendo: "ConsideraÃÃes iniciais", "O sÃculo XX", "CÃnticos - A Liberdade nomeada", " A Bilbioteca via" e, finalmente, como conclusÃo, "A singularidade do canto mÃstico".
The dissertation examines the work Songs, Cecilia Meireles, highlighting the historical context-cultural, ideological and artistic of the twentieth century, from the close relationship of literature produced by the poet with the mysticism of the philosophies of the East, in particular, Buddhism, with the mystical poetry of the Indian poet Rabindranath Tagore and the speeches of peace Mahatma Gandhi and Vinoba Bhave. The work of the poetic corpus, still uses to support the writer Complete Poetry, the critical study conducted by Amy Zagury, "CecÃlia Meireles: news biographical, critical study, anthology, literature, discography, the score," and in the testimony of letters, interviews, books and chronic prefaciados as princiapal refuge. Using the methods descriptive, analytical, interpretive-comparison, the search is divided into five stages, where: "Initial considerations", "The twentieth century", "Songs - named Freedom," "The Bilbioteca way" and, finally, as a conclusion, "The uniqueness of mystical corner."

The Zen (Ch'an) poets Han-shan (circa 6th-9 thC.) and Ryokan (1758-1831) participate in literary activity, reclusion, and ordinary emotions in a manner that questions their typical image as models of transcendence. They participate in literary activity without attachment to either linguistic adequacy or a dualistic notion of "beyond words," and poetry serves as their mode of communication from reclusion. Reclusion is a context to realize the nature of the conventional world rather than a means of transcendence to an ultimate realm and is significant as a social and political act. Interpreted through the functional model of language, the poets' expressions of sorrow experienced in their reclusive lives embody the Zen ideal of selflessness. Ultimately, the poetry of both Hanshan and Ryokan supports a non-transcendent, or trans-descendent, ideal consistent with the nondual logic of Zen Buddhism and contrary to scholarship that assumes a dualistic view of Zen enlightenment.

Using a hybrid of poetry, creative prose, and critical prose, this thesis demonstrates a way in which we can rethink the natural world. Through a series of analyses and original verse and prose, using a reading premise derived from Zen Buddhist philosophy, it presents a vision of animal life and the natural world as philosophically nuanced and psychologically complex. It attempts to reposition the philosophical dominance over the natural world that humans have often considered their monopoly. All the poetry of the thesis engages and illustrates the main critical points outlined here. After an introduction setting out the basic aims and concepts of the thesis, the opening essay quotes David Attenborough. The philosophy espoused in his text, evolutionary theory, cannot be sustained if an animal s psychology is given greater importance. Secondly, from The Life of Birds, I present a critique that suggests that a bird s psychology is complicated to the point of mysticism. The third essay looks at Nietzsche. This piece suggests that what blinds us to the complexity of an animal s world is human ego. Next I look at Marc Bekoff, suggesting that the ego s dominant response is to anthropomorphise animals. The next essay gives a brief reading of Hamlet as a character liberated by a philosophy derived from the sparrow s world. Then follows a series of analyses of poems about non-human animals. A reading of an Emily Dickinson poem shows a narrator trapped in the world of a threatened and unstable ego. Next the poet Ted Hughes and his encounter with a hawk are shown as distanced by the human ego s inability to step outside binary oppositions. Then follows a poem by Gerard Manley Hopkins, where I argue that he draws on the notion of externality, an ego construct. The next poet, Takahashi, writes ego into his poem. His poem fails to speak without it. Finally, I look at D.H. Lawrence. Here the inability of ego to relinquish itself from dominating its encounter with the natural world is critiqued. The discursive parts of the thesis are interwoven with examples of my own creative practice that attempt to put into effect the ideas I am elaborating. In the conclusion, I offer proposals for further thought. Keywords creative writing, poetry, creative-critical, hybrid, psychology, animals, nature, natural world, Zen Buddhism, philosophy.

Esta dissertação investiga a produção de haikais do poeta curitibano Paulo Leminski, tomando como corpus de análise sua produção das décadas de 1970 e 1980, período de maior intensidade artística, a partir das obras Caprichos e Relaxos (1983) e La vie en close (1994). A investigação será possível mediante a constituição - pelo caminho das críticas literárias brasileira e francesa, de Benedito Nunes a Maurice Blanchot - de um espaço interseccional em que (i) a obra literária possa se abrir para o mundo, reatando os liames com o real; (ii) a literatura e a filosofia possam dialogar, sem nenhuma relação antipodal; (iii) a poesia se encontre com o pensamento oriental e com o Zen-budismo. Deste modo, defendemos a tese de que o haikai, pela sua estética do ver, do sentir e do experienciar o mundo, é a fina flor da poesia, e que os haikais de Leminski, em diálogo com a tradição nipônica e com a filosofia Zen, são carregados de experiência mística e contemplativa, um caminho em direção ao Nada.

Twentieth-century environmentalist discourse often laid the blame for environmental degradation on Western civilization, and presented the religious traditions of the East as offering an ecocentric antidote to Western dualism and anthropocentrism. Gary Snyder has looked to Chinese and Japanese Buddhism to inform his environmentalist poetry and prose. While Snyder often writes in terms of a dualism of East and West, he synthesizes traditional forms of Buddhism with various Western traditions, and his green Buddhism ultimately undermines more simplistic oppositions of East and West. The first chapter reads Snyder's writing of the mid-1950s alongside several of his West Coast contemporaries - Kenneth Rexroth, Allen Ginsberg, Michael McClure, Philip Whalen and Jack Kerouac - showing that these writers evoked the natural world together with Buddhist themes before the advent of the modern environmental movement in order to mount a critique of Cold War American culture. Snyder's early interest in Buddhism was motivated largely by translations of Chinese poetry and Chapter Two examines his own translations of the Tang Dynasty poet Hanshan. In Snyder's translations and contemporaneous original poetry, Buddhist poetics mingle with American conceptions of wilderness. Chapter Three shows how Snyder's Buddhism was influenced by Anglophone writers such as D.T. Suzuki and Alan Watts, and argues that from the late 1960s Snyder aimed to Americanize Buddhism as ideas of localism became more central to his environmentalism. Chapter Four examines Snyder's synthesis of Hua-yen Buddhism and Western scientific ecology in the 1970s and 1980s. Chapter Five examines 'The Hokkaido Book,' an unfinished prose work on environmental attitudes in the Far East in which Snyder considers the relationship between the civilized and the primitive. Chapter Six examines the influence of Chinese landscape painting and Japanese No drama, two forms steeped in Buddhist ideas, on the poems of 'Mountains' and 'Rivers Without End'.

Made available in DSpace on 2015-04-11T13:48:59Z (GMT). No. of bitstreams: 1 Jose Maria.pdf: 1102172 bytes, checksum: 2dbe6a844ea017be6ab9135c4eba48f0 (MD5) Previous issue date: 2012-04-11
Abstract: Strongly influenced by Schopenhauer s philosophy and by the Buddhist thinking; tapping the innovative vibrations from Baudelaire s poetry; taken by thirst for knowledge with no answer from the science; driven by the microscopic world that only then started to be explored; and the reflex of a changing country in a changing world, Augusto dos Anjos poetry finds it Zeitgeist, the Dionysian spirit of its time, in an expression never before seen in Brazilian poetry, which confused, for a long time, its critical reception. His older poems had already brought the mark of a melancholic lyric I, stricken by loneliness and reflection. In the middle of 1906 this melancholy overflows and the expression, which had become rougher, finally meets its tone. It was no longer the lyric I that expressed itself, but a ramification of it: a suffering, misanthropic, misogynistic character, who seemed to have only one purpose in life to suffer. With the melancholy in exponential growth, that character ripens not only the language, but also the reflections. We intent to show that, running from the confessional lyricism and based upon Schopenhauer s concept of aesthetic pain , the author forged a character, his lyric mask. Its purpose was to denounce the degradation humanity was going through, by the means of poems which subverted the accepted notions of beauty. Augusto dos Anjos invented an expressionist variation, seeking a non- Aristotelic representation of reality, using a fragmented and contrasting form, thus approaching the German expressionists, which makes it completely plausible to classify him as an expressionist poet. And it is not only an expressionist sensibility , but corpus and an idea integrally expressionist. Without fearing the grotesque and the kitsch, extracting beauty from bad taste and decaying matter, Augusto dos Anjos registered Brazilian life on the verge of the twentieth century
Fortemente influenciada pela filosofia de Schopenhauer e pelo pensamento budista; percutindo as vibrações inovadoras da poesia de Baudelaire; tomada por uma sede de conhecimento que não obtinha respostas das ciências; obstinada pelo mundo microscópico que só então começava a ser explorado; e reflexo de um país em transformação, em um mundo em transformação, a poesia de Augusto dos Anjos encontra o seu Zeitgeist, o espírito dionisíaco de seu tempo, em uma expressão inédita na poesia brasileira, que desnorteou, por muito tempo, sua recepção crítica. Os poemas mais antigos já trazem a marca de um eu lírico melancólico, marcado pela solidão e pela reflexão. Em meados de 1906, essa melancolia se exacerba e a expressão, que vinha se tornando cada vez mais áspera, encontra finalmente seu tom. Não era mais o eu lírico que se expressava, mas um desdobramento deste: uma personagem sofrida, misantropa, misógina, que parecia ter uma só finalidade na vida sofrer. Com a melancolia em crescimento exponencial, aquela personagem amadurece não apenas a linguagem, mas também as reflexões. Pretendemos demonstrar, pois, que, fugindo do lirismo confessional, e baseado em um conceito de Schopenhauer, dor estética , o autor forjou uma personagem, sua máscara lírica. A finalidade desta: denunciar a degradação pela qual passava a humanidade, por meio de poemas que subvertiam as noções então aceitas de beleza. Augusto dos Anjos inventou uma variante expressionista, buscando uma representação não-aristotélica da realidade, usando uma forma fragmentada e contrastante, aproximandose de tal forma dos expressionistas alemães que é absolutamente plausível classificá-lo como um poeta expressionista. E não se trata apenas de uma sensibilidade expressionista , mas de um corpus e uma Ideia integralmente expressionistas. Sem temer o grotesco ou o kitsch, extraindo beleza do mau gosto e da matéria em decomposição, Augusto dos Anjos registrou a vida brasileira do limiar do século XX

The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.

Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-11T10:24:21Z (GMT). No. of bitstreams: 1 Aleixo_ElvisBrassaroto_M.pdf: 1043033 bytes, checksum: 6043d1ba084071a636876098c682d93a (MD5) Previous issue date: 2008
Resumo: Este trabalho visa à análise da espiritualidade na poesia de Augusto dos Anjos sob a perspectiva do sagrado budista absorvido pelo poeta principalmente por intermédio do pensamento de Arthur Schopenhauer. O trabalho está dividido em três partes: a primeira versa sobre a classificação literária da obra de Augusto dos Anjos e também aborda a relação entre literatura e religião; a segunda apresenta uma refutação ao suposto ateísmo presente em seus poemas e afirma sua espiritualidade eclética; a terceira identifica e faz uma leitura crítica das peças poéticas em que o budismo está presente, privilegiando o conceito religioso de nirvana
Abstract: This thesis makes an analysis of the spirituality in the poetry of Augusto dos Anjos under the perspective of the sacred buddhist that was apprehended by the Brazilian poet mainly through Arthur Schopenhauer thought. The thesis is divided in three parts: the first section turns about the literary classification of Augusto dos Anjos¿ poetic anthology, and it also discusses the relationship between literature and religion; the second presents a refutation against the supposed atheism in his poems and it affirms his eclectic spirituality; the third part identifies and makes a critical reading of specific poems where Buddhist ideas is present, with special attention for the religious concept of nirvana
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária

BEZERRA, Emília Passos de Oliveira. A liberdade nomeada: leituras de Cecília Meireles para Cânticos. 2007. 136 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007.
Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T11:59:05Z No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5)
Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-27T15:06:16Z (GMT) No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5)
Made available in DSpace on 2012-06-27T15:06:16Z (GMT). No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5) Previous issue date: 2007
The dissertation examines the work Songs, Cecilia Meireles, highlighting the historical context-cultural, ideological and artistic of the twentieth century, from the close relationship of literature produced by the poet with the mysticism of the philosophies of the East, in particular, Buddhism, with the mystical poetry of the Indian poet Rabindranath Tagore and the speeches of peace Mahatma Gandhi and Vinoba Bhave. The work of the poetic corpus, still uses to support the writer Complete Poetry, the critical study conducted by Amy Zagury, "Cecília Meireles: news biographical, critical study, anthology, literature, discography, the score," and in the testimony of letters, interviews, books and chronic prefaciados as princiapal refuge. Using the methods descriptive, analytical, interpretive-comparison, the search is divided into five stages, where: "Initial considerations", "The twentieth century", "Songs - named Freedom," "The Bilbioteca way" and, finally, as a conclusion, "The uniqueness of mystical corner."
A dissertação analisa a obra Cânticos, de Cecilia Meireles, destacando o contexto histórico-cultural, ideológico e artístico do século XX, a partir do estreito relacionamento da literatura produzida pelo poeta com o misticismo das filosofias do Oriente, em específico, o Budismo, com a poesia mística do poeta indiano Rabindranath Tagore e os discursos pacifistas de Mahatma Gandhi e Vinoba Bhave. O trabalho parte do corpus poético, utiliza ainda como apoio a Poesia Completa da escritora, o estudo crítico realizado por Eliane Zagury, em "Cecília Meireles: notícia biográfica, estudo crítico, antologia, bibliografia, discografia, partitura", e os depoimentos constantes de cartas, entrevistas, livros prefaciados e crônicas como amparo princiapal. Utilizando os métodos descritivo, analítico, interpretativo-comparativo, a pesquisa divide-se em cinco momentos, sendo: "Considerações iniciais", "O século XX", "Cânticos - A Liberdade nomeada", " A Bilbioteca via" e, finalmente, como conclusão, "A singularidade do canto místico".

The present academic studies on Wang Wei usually focus on his landscape poems and claim that these landscape poems imply Buddhism. Their methods usually analyze Wang Wei’s Buddhist tendencies from his life experience. But it needs more textual analysis to prove that the relationship between his poem and Buddhism. The Introduction section provides the relationship between the Buddhist principles and Wang Wei’s Buddhist poems. The Buddhist principles were figuratively represented in Wang Wei’s poems by describing certain images from Buddhist Sutras. Chapter 1 presents the analysis of the couplets of each Buddhist poem through their connection to Buddhist doctrines. Chapter 2 summarizes the characteristics of Wang Wei’s Buddhist poems and emphasizes the use of Buddhist philosophy as a poetic image.

博士
國立政治大學
中國文學系
87
This dissertation is an exposition of the creation theory of the Buddhist monks who were themselves also poets in the Tang Dynasty (618-907). It also helps to throw light upon the relationship between Chinese poetics and Buddhism as reflected in the Tang period.

碩士
高雄師範大學
國文學系
98
Venerable Ching-An（A.D.1851-A.D.1912）, whose name was Tu-Shan Huang, and was nicknamed Chii-chian, was the grandson of Old Man Shan-Ku. He burned two of his fingers while worshipping the Buddha in the front of the Tower of Buddha’s Relics at the Temple of King Ar-ü. As he only had eight fingers, he called himself the “Buddhist monk of eight fingers”. The research of the poetry of the Buddhist monk of PaChi includes seven chapters. As there are only a few papers about the Buddhist monk of PaChi and his poetry, I read and collected extracts from his poems. His poems describe the traditions of Ju Shi and Tao; as done so by the other Chinese poets, like Chü-üan, Tao-üanming, Tu-fu and Huang Ting-chian. While seeing the peach blossoms on the fence destroyed by the storm, Tu-Shan was dejected by unfulfilled life and decided to become a monk. The next year, he had became a monk at the temple of Jên Jui. While back home to visit his uncle, he passed the Tung Ting Lake, and while gazing into the water, he thought “Buddhist monk leading back by the wave of Tung Ting Lake”. He practiced writing poetry. Five years later Ching-An had a tour on the Wu-üeh. At 27, after a period of isolation in Lin lung, he began to wander and become a housemaster at several temples. At 52, he had been a housemaster at the Tien Tung Temple and taught Buddhism. The association of Buddhist education was established at Lin Po and Ching-An was chosen to be the leader. It was the first time a Buddhist elementary school was established for the public. In A.D.1912, Buddhist representatives gathered at the Liu- ün temple at Shanghai to hold a meeting and form the General Association of Buddhism of China. Ching-An was chosen as the leader. Leaving for Pei-Chin to petition for the government to permit protection of the Buddhist and their temples; Ching-An was insulted by the governor. When he returned to Fa-üan temple that night, Ching-An died of a heart attack at age 62. He was a monk for 45 years of his life. Ching-An was fond of writing poems. There are many poems of Zen in his earlier writing and more poems about concern for other people written in later years. He was concerned for his country and people; especially about the union of the Buddhist monks and as a result, he was called a patriotic poet. The process of from writing to forbid writing and then writing again crazily always confused all his life. Ching-An had a strong desire to writing poetry, but was conflicted between poetry and Zen, until he found harmony between them in his old age. Finally, there is a balance between the poetry and Zen. In his poetry, there is a cold style as with other poets like the poets, the Mêng-Chiao and the Chia-Tao. When he is middle aged, his poetic style had become full of aesthetic strength. Ching-An was a hobby-writer of poetry and mostly love to write the poetry about white –plumed blossoms. He was called “the white-plumed monk”. In particular, His poetry frequently used the word “shadow”, so he was called the “monk three shadows」. Ching-An made a social through writing poems with his friends, which was helpful for him to work for Buddhists. When petition for the protection of the estates of the temple, he left for Pei-Chin; and this action gave his life perfect ending.

博士
淡江大學
英文學系博士班
99
Like its Christian counterparts, Buddhist social theory has developed from a desire to interpret literature and culture through a context of belief. Western Buddhists are engaged in a project which critiques the cultural and philosophical assumptions of the West and seeks alternative interpretations. Such is the project of David Loy. It is the purpose of this dissertation to apply Buddhist concepts as they are used by Loy to a selection of texts, both popular cultural productions and more reified literary productions, in order to make a social and an environmental argument. The Introduction will give a brief introduction to Loy and then delineate his Buddhist social theory, including its key terms and concepts. Chapter One uses the perspective of the Buddhist social theory discussed in the introduction to analyze selected poetry of Elizabeth Bishop, Mary Oliver, and Denise Levertov. Chapter Two demonstrates how Buddhist social theory can be applied to the work of a single album, Shine, by Joni Mitchell. Chapter Three discusses Octavia Bulter’s Xenogenesis Trilogy as a bodhisattva narrative. The Conclusion compares the writers and the works discussed in this dissertation in reference to Shakyamuni, Amitabha, Manjushri, Samantabhadra, Avalokiteshvara, and Vimalakirti. Each bodhisattva represents a quality and practice essential for enlightenment and the bodhisattva way. For example, Avalokiteshvara is the embodiment of compassion. In the conclusion, the writers and works of literature discussed in this dissertation will be evaluated as exemplars of one or many of these practices. Key Words: Elizabeth Bishop, Mary Oliver, and Denise Levertov David, Loy, Joni Mitchetll, Octavia Butler, Buddhism, social theory, environmental literature

The present works of reading Chinese poetry offers a biographic reading method, but it cannot fit for reading Han Shan’s poetry, as he had unclear recording in history. Focused on exploring the persona and religion in Han Shan’s poetry world, I examine reading Han Shan’s poems in Buddhist way. Chapter 1 provides the biography of Han Shan, and presents his vernacular expression as different from other poets in history. Chapter 2 introduces some new methods on reading poetry brought up by some literature critics. Chapter 3 presents the Buddhist reading method that I have adopted to read and understand Han Shan’s poems. This reading method is inspired by the similarity between Han Shan’s writings and Buddhist texts. Chapter 4 explains how to read Han Shan’s poems in the Buddhist way. In this chapter, I analyze the persona and Buddhist thinking in the world of Han Shan’s poetry with the explanation of Buddhist sutras and literatures.

碩士
南華大學
文學研究所
90
Zen Buddhism spread widely and had a tremendous impact on poetry in the Sung Dynasty. Intellectuals who enthusiastically practiced Zen Buddhism acted as a bridge between poetry and Zen Buddhism and an active medium to bring the two disciplines together. The interaction between poetry and Zen Buddhism, two very disparate disciplines, had the historical and social backgrounds as its extrinsic catalysts and compatible characteristics as its intrinsic catalysts. On the basis of the compatibility between poetry and Zen Buddhism, poetry in the Sung Dynasty extensively borrowed and adopted theories and methods of Zen Buddhism. Penetrated by Zen Buddhism and consequently assisted by the wide spread of the fashion of assimilating Zen concepts into poetry, theories of poetry in the Sung Dynasty generated new concepts such as unconventional meditation, thorough meditation, ineffable enlightenment, free application of rules, etc. Because poets in the Sung Dynasty extensively applied the Zen theories and methods to the creation of their poetry, there emerged new elements and conceptions in the theories of poetry and new subject matters and artistic achievements in the writing of poetry in the Sung Dynasty. The unrestricted and lively ways of meditation in Zen Buddhism infused new concepts into poetry of the Sung Dynasty which originally only emphasized the idea that poetry should serve as a medium for conveying the philosophy of life. These new concepts help poetry of the Sung Dynasty to achieve aesthetic integrity by such qualities as wittiness, liveliness and others and make it very unique through the history of Chinese poetry. This thesis is divided into seven chapters. The first one is introduction and the last one conclusion. The main body includes three parts: The first part deals with the extrinsic elements which bring poetry and Zen Buddhism together, that is, the cultural and social backgrounds of the Sung Dynasty. This part is further divided into two chapters: Chapter II The Development of Zen Buddhism in the Sung Dynasty and Chapter III The Fashion of Practicing Zen Buddhism among the Intellectuals of the Sung Dynasty. The second part deals with the intrinsic elements which generate the interaction between poetry and Zen Buddhism. Chapter IV The Interaction between Poetry and Zen Buddhism corresponds to this part. It analytically compares the characteristics, theories and methods between poetry and Zen Buddhism. The third part deals with actual examples of the impact of Zen Buddhism on the theories and writing of poetry in the Sung Dynasty. It is discussed in two chapters: Chapter V The Impact of Zen Buddhism on the Theories of Poetry in the Sung Dynasty and Chapter VI The Impact of Zen Buddhism on the Writing of Poetry in the Sung Dynasty.

碩士
華梵大學
東方人文思想研究所
98
Since ancient times, the relationship between human and nature is inseparable. Nature sustains our physical existence and we seek spiritual sustenance in nature. The purpose of this study is to understand and discuss how Confucianism, Buddism, and Taoism are presented in Xie Lingyun’s landscape poems. The Liu Song Dynasty of China is one of the most important stages of landscape poetry development, and during that time, Xie Lingyun not only modified the popular metaphysical poetry style at the time but also became the first person to found the landscape poetry school. Using exquisite words to describe the beauty of nature and implying metaphysic allusions to describe feelings, his poems showed a unique style and furthermore had a significant impact on the development of Chinese literature. This paper first describes the political, economic, cultural and traditional backgrounds in which Xie Lingyun was facing to provide readers with a general understanding of the context. Next it focuses on how Confucianism, Taoism, Buddhism affected his poetry and his point of view, and the implicit meaning in his poems. This study reveals that although Xie’s landscape poems include the three different ideologies, the ideologies shared a common thread. In other words, they are interwoven into Xie’s literary works. Accordingly, we propose that Confucianism, Taoisism, and Buddhism are fully blended in Xie Lingyun’s ideology.

碩士
國立臺南大學
語文教育學系教學碩士班
94
This study was aimed at examining the relationship between Taiwan modern poetry and Buddhism. By reviewing the poems written by Chou Meng-tieh, Shiong-hong and Hsiao-hsiao, and related documents, the background of their Buddhist thought was explored. Their poems that embody the spirit of Buddhism were investigated systematically. This study consists of five chapters. The first chapter, introduction, explores the combination of Buddhism and meditation; and further analyzes the poems by Chou Meng-tieh, Shiong-hong and Hsiao-hsiao, and the related research documents. The second chapter, Chou Meng-tieh’s poems and Buddhism, investigates the steps of the poet’s learning Buddhism; and it also discusses the four forms used to embody the spirit of Buddhism in his poems: Buddhist language, Buddhist text, Buddhist doctrine, and Buddhist Domain. The third chapter, Shiong-hong’s poems and Buddhism, states the process of the poet’s worshipping Buddha. Her works were divided into two models: poems of praise and poems that embody the spirit of Buddhism. The former includes both poems of praise and song of praise; and the later includes poems with Buddhist language, poems with Buddhist text, poems with Buddhist doctrine, and poems with Buddhist Domain. The fourth chapter, Hsiao-hsiao’s poems and Buddhism, discusses the predestined relationship between the poet and Buddhism. In addition to incorporating Buddhist language and Buddhist text in the poems, the meditation state shown in the poems also represents his skill of embodying the spirit of Buddhism into poems. The fifth chapter, conclusion, concludes five distinguishing features of embodying the spirit of Buddhism into modern poems. They are: Buddhist language is used properly, Buddhist text is used artistically, Buddhist doctrine is used plentifully, the spirit of Buddhism is blended into the artistic conception of the poems, and new translation is used for the ancient Buddhist Scripture. Evaluation towards the use of embodying the spirit of Buddhism into modern poetry is given in this chapter. In Chou Meng-tieh’s poems, Buddhist language was used metaphorically and the spirit of Buddhism was blended artistically. Such skill is unprecedented in Taiwan Modern Poetry. Shiong-hong learned Buddhism. Not only did she embody the spirit of Buddhism into poems, but also created Buddhist modern poetry. She has made great contribution to Taiwan modern poetry and Buddhism by reconstructing Buddhist text and emphasizing on the translation of Buddhist doctrine. Understanding, sensibility, and perception were emphasized in Hsiao-hisao’s work to widen the image created by poems through the clear light of meditation. His unique style of using meditation metaphorically and blending meditation with poetry plays an important role in the field of Taiwan modern Poetry.

碩士
國立臺灣大學
中國文學研究所
107
This article takes Liu Zongyuan''s poem as the main axis of research and pays attention to the two main lines of Liu Shizhong. One is to express the feeling of "lonely solitude" through the landscape, and the other is to "dark and deep taste"; and try to combine the poet''s Confucianism, Buddhism and Taoism to discuss these two The main line of poetry is to explore the relationship between the internal trauma of Liu Zongyuan and the transformation of Buddhism and Taoism, and to discuss the connection between thought and psychology, and how to influence the relationship between poetry expression techniques and emotions. The first chapter is the research motivation of this paper. It mainly shows that the motivation for the study of the text lies in the following three points. The first is to think about the trauma caused by the loss of the economy and the people, and the influence on the sad style of poetry. It is one of the research motives of this paper. It is hoped that in the perspective of psychoanalysis, how the trauma and idealization affect its poetic style is also the second part of the research motivation. The third is based on the perspective of religious thought, traumatic psychology and religious aesthetics. It discusses the poetry style of Buddhism with the beauty of Buddhism and the characteristics of Liu Shi''s "light and deep". In addition to explaining the research motives, it also lists the literature review related to Liu Zongyuan''s life history, ideological research, and poetry research. The discussion that he wants to carry out is in the style of his poetry, the Confucian feelings and the old Buddha. The poetry aesthetics is discussed in the realm of history and poetry. From the perspective of psychology and ideological aesthetics, it analyzes the two kinds of pulls of Liu''s poem emotional mourning and the lightness of the realm, and discusses the poetic beauty of the psychological transformation and the painful. The second chapter discusses Liu Zongyuan''s Confucianism, Buddhism and Taoism, and Liu Zongyuan''s Confucianism and Taoism, with moderation as its core. The "Greater Way" is to seek " Suitability ", that is, reasonable and appropriate. As for Liu Zongyuan’s Buddhist thoughts, he is also based on the middle, and it is connected to the Tiantai, Zen, and Pure Land sects, and although it absorbs Zen thoughts, it criticizes the bad atmosphere of madness; and the thick Taoist thoughts are manifested in the natural view of heaven and man. There are also travel notes and poems in the leisure. On the whole, Liu Zongyuan’s Confucianism, Buddhism and Taoism thoughts are based on Confucianism. The Buddhist and Taoist thoughts he absorbed are all under the premise of being able to help the world, and he has achieved a common integration with Confucianism. It not only has cultural inclusiveness, but also has the meaning of actively saving the world and loving the people. Under the influence of Confucian culture, Liu Zongyuan used Confucianism to "cultivate himself and protect himself" and "inner and outside king" as his life. Therefore, he is based on self-cultivation and constantly pursues good and good morality. This article attempts to combine card. Holly''s theory of self-idealization discusses Liu''s poem, Liu Shizhong has the characteristics of self-idealization. The subject matter includes the beautiful animal self-conditions, the pursuit of sages, the beautification of plants, etc., which project the beauty of their moral talents, but such good internals are not available to the world. It is understood that Liu Shi''s works depicting beautiful things often reveal pity that is not appreciated, just like the poet''s talents and virtues can''t play. However, even if the Confucianism has a good internal essence, it is based on self-cultivation, but it cannot be used to excel people and achieve the cause of the outside king. The goal of respecting the self-cultivation will be defeated, and the root value of the original moral cultivation will be suspected. In short, if Wang can''t accomplish anything, he will doubt the meaning of self-cultivation. The loneliness and anxiety in Liu Zongyuan''s poetry lies in the relationship between him and the human relationship and the external social environment. The loss of the relationship between human beings and the distant movement of the space makes it impossible for the children to contribute to the society and not to achieve great self. The ideal was disappointing. Even as the idea of Confucianism is rooted in the heart, he has not been reused, forming the emotion of the loneliness. However, in addition to Confucianism, Liu Zongyuan''s thoughts are also integrated with Buddhism and Taoism. Both Buddhism and Taoism have the ontological roots of all things, and the common grounds of both work are introspection and attention to return to the heart. Intrinsic transformation, this kind of self-examination is presented in poetry and will show a simple and simple beauty. Liu Zongyuan absorbed the thoughts of Buddhism and Taoism, and his works in Liu Shizhong''s light and leisurely works are mainly around the Buddhist scriptures, tea Zen, and natural landscapes. These poems show the pure and elegant beauty of Buddhism and Taoism. The author discusses these works of Buddhism and Taoism through two aspects: the relationship between the material and my relationship and the layout of the landscape. The poet is free to coexist harmoniously with the foreign objects, and there is no longer a gap between the landscape and others, so that the true self can be presented. Beyond freedom. As for the spatial layout of the landscape, the composition of Liu''s poem space is quiet, the scene is full of fun, and the movement is quiet and integrated. The picture is dominated by quiet and simple color images, and the layout is more adept at creating images and characters in the air. The unity of the present, in the layout of the air and the integration, highlights the poet''s indifferent state of mind. Therefore, Liu Zongyuan’s poetry is not entirely lamenting the sorrowful style. The works involving Buddhism and Taoism have more sincere inner beauty. After the poet’s sorrow, he intends to sorrow through the Buddha and the old thoughts. The performance is quiet and beautiful. This article concludes that Liu''s poem has two lines. One is that the light and leisure is a realm of transcendence, which is based on Liu Zongyuan''s thoughts of Buddhism; the second is the deep feelings and sorrows of Liu''s poem attachment, and the deep feelings of sorrow are based on intellectuals. Confucianism is deeply loved. The seemingly contradictory styles of the two, but they can be integrated into the combination of Liu Shizhong and Confucianism, Buddhism and Taoism, so that Liu Zongyuan’s poetry blends the deep feelings of the quiet silence of the birth, even with a hint of melancholy. However, it is not so strong and direct. Instead, it is the struggle and transformation between the transcendence and the dilemma, which makes Liu Shi a faint mourning. Therefore, the emptying of deep feelings under the fusion of Confucianism, Buddhism and Taoism is the most touching feature of Liu''s poem. Liu''s poem in the context of Confucianism, the deep feelings of joining the world can be inherited from Qu Yuan, presented in the persistence of virtue, but also in the grief for the home country and the pity of their own encounters, Liu Shizhong has a strong sense of home and sentiment, stimulating own last resort. In the context of Buddhism and Taoism, it shows the aesthetic taste of deep and clear. The two kinds of emotions are blended in Liu Shizhong. Although Liu Zongyuan tried to transform the old with Buddhism, Confucianism attaches importance to the establishment of the symbolic system and finds self-consciousness in the normative form. Liu Zongyuan’s life performance is also to build a society of order ethics, so he participates in innovation, and then he Also actively invest in local policies. However, the spiritual thinking of Taoism and Buddhism lies in deconstructing the order world of the people. Liu Zongyuan actively constructs an ethical society by political means, and cannot truly deconstruct the order world he wants to pursue, but under such trauma and transformation, Lay your own style of poetry and irreplaceable features, and write a beautiful and unique page of Tang Dynasty poetry.

My dissertation thesis seeks to explore some specific social aspects of the dialogue between traditional Chinese art and thinking and Czech art scene after the February1948, when the Communist party took power in former Czechoslovakia. I am mainly interested in the problematic of inspiration from traditional Chinese calligraphy and Daoist philosophy on Czech painting, visual poetry and literature in the 1950s and 1960s. I will argue that the appropriation of selected Chinese philosophical and artistic themes helped Czech artists, working under the communist repression, to express their innermost human emotions in relation to home, culture, freedom, and one's artistic and human destiny. The communist regime meant to many artists the end of their official artistic career. Life in seclusion outside the main political and social streams became for some of them an opportunity to display pent-up feelings of affinity with the life stories of the ancient Daoist thinkers. In this context, focus is primarily placed on an analysis of several distinctive visual and literary works by Czech leading artists of the period, especially on the selected works by the visual artists Emil Filla, Jiří Kolář, Vladimír Boudník, Jan Kotík or Zdeněk Sklenář and the novelist Bohumil Hrabal (1914 - 1997) and his world famous...