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Journal articles on the topic 'Buddhist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (2020): 471. http://dx.doi.org/10.3390/rel11090471.

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Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of B

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2

Ochilov, O. "CHINESE NEW POETRY AND BUDDHISM." Builders Of The Future 02, no. 02 (2022): 277–81. http://dx.doi.org/10.37547/builders-v2-i2-42.

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The article is about the influence of Buddhism on Chinese literature, especially poetry, the uniqueness of the verses in Buddhist scriptures, their emergence as a new genre, the peculiarities of Zen poetry, which began to spread in the late and early Sung dynasties as well as about the state of poetry in the late 19th century, which promoted Buddhist ideas and culture.

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3

Chongstitvatana, Suchitra. "Modern Thai Buddhist Poetry by Women Poets: A Transformation of Wisdom." MANUSYA 8, no. 1 (2005): 38–50. http://dx.doi.org/10.1163/26659077-00801003.

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The study is an attempt to explore and explain the transformation of Thai didactic poetry, especially Buddhist poetry by women poets. The texts selected are Dawn in the Night by Chomchand, Under the Rain and Thunder by Khunying Chamnongsri Rutnin. In Thai Theravadin tradition women poets rarely hold a high position nor have authority in teaching Dharma. In the realm of didactic poetry, monk-poets or male poets are the norm. These two women poets convey the teaching of Dharma through expressing artistically their personal experience of practicing Dharma. This aspect transforms the tradition of

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4

Machado, Roberto Pinheiro. "Hagiwara Sakutarô, Buddhist realism, and the establishment of japanese modern poetry." Estudos Japoneses, no. 35 (March 7, 2015): 71–103. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p71-103.

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This article approaches the works of poet Hagiwara Sakutarô (1886-1942) from a comparative perspective that engages philosophy and literature. The philosophical dimension of Sakutarô’s poetry is analyzed by means of inter-textual readings that draw on the tradition of Buddhist epistemology and on the texts of logicians Dignāga and Dharmakīrti (5th century). The comparative analysis is considered under the perspective of the influence of Naturalism and the use of description in the emergence of Japanese modern poetry. Pointing to the possibility of a Buddhist realism that shares some common cha

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Fedyanina, Vladlena A., and Kseniya V. Bolotskaya. "Buddhist tradition and Japanese poetry from the perspective of “Songs of Joy” (based on “One Hundred Verses about the Seasons” by Jien)." Philosophy Journal 16, no. 4 (2023): 55–69. http://dx.doi.org/10.21146/2072-0726-2023-16-4-55-69.

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The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the examples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of the genres of court literature, waka poetry. The paper briefly describes the process of incorporating the forms

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Chatraporn, Surapeepan. "Landscape and Rhetoric: The Marriage of Native American Traditions and Zen Buddhism in Selected Poems by Gary Snyder." MANUSYA 14, no. 1 (2011): 63–78. http://dx.doi.org/10.1163/26659077-01401004.

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This paper examines certain similarities between Native American beliefs and Zen Buddhist teachings and demonstrates how Gary Snyder fuses these two traditions in his poetry. Through the analysis it has been found that the Native American wisdom of the interrelatedness of humans and nature has an affinity with the fundamental Buddhist principle of the interpenetration and interdependence of all existence or as Thich Nhat Han calls it “the inter being nature of things.” Gary Snyder has developed his love of nature concurrently with his respect for Native American traditions and his interest in

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Ryzhkova, Anna V. "TRANSFORMATION OF CHAN-BUDDHIST MOTIFS IN MONASTERY POETRY OF THE SONG DYNASTY (GENDER ASPECT)." Alfred Nobel University Journal of Philology 1, no. 23 (2022): 107–17. http://dx.doi.org/10.32342/2523-4463-2022-1-23-10.

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There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, i

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8

Fedianina, Vladlena A. "The Presentation of Tendai Teachingin Jien’s Poetry." Voprosy Filosofii, no. 2 (2021): 165–74. http://dx.doi.org/10.21146/0042-8744-2021-2-165-174.

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This study analyzes how Buddhist philosophical ideas in Chinese and Indian scriptures were interpreted to make them more understandable in mediaeval Japan. It is based on the textual analysis of a cycle of poems entitled Kasuga hyakushu sō, composed by the Tendai monk Jien (1155‒1255). Jien consciously uses the poetic language of waka to express complex philosophical concepts. A textual analysis of Kasuga hyakushu sōōōо (circa 1218) sheds light on some seminal features of Japanese Buddhism including the place of Japanese deities (kami) in the system of Buddhist teaching, the time-spatial conc

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9

He, Yuemin. "“Personal Items”." Religion and the Arts 26, no. 1-2 (2022): 184–203. http://dx.doi.org/10.1163/15685292-02601008.

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Abstract Whereas Buddhism’s profile is rising in the US, there are surprising ways that Buddhism recirculates in more secular guises in traditionally Buddhist cultures of East Asia. This essay explores an intriguing case. Chi Li’s razor-sharp, passionate poems are quirkily “personal,” but relate very well to a wide spectrum of Chinese readers who made the popular novelist’s surprise poetry debut a bestseller in China. By studying Chi’s extensive use of Buddhist references to tap into issues dear to her, this essay shows that the Chinese readers are receptive to Buddhist ideas more as philosoph

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Xu, Xiaoxiao. "“Lamp and Candle”: Classical Chinese Imagery in Taixu’s Poetry." Religions 14, no. 8 (2023): 1077. http://dx.doi.org/10.3390/rel14081077.

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Taixu 太虛 (1890–1947), a prominent figure in modern Chinese Buddhism, produced a voluminous collection of poetry abounding with diverse classical Chinese images. Notably, the “lamp and candle” (dengzhu 燈燭) holds great significance, reflecting Taixu’s personal affinity with this imagery and an intimate connection to classical Chinese poetry. Acting as a potent Buddhist metaphor, it encapsulates multifaceted sentiments while also intertwining with other evocative images, such as the boat, the moon, and falling leaves. Symbolizing Taixu’s unwavering spirit, it represents his profound dedication to

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Cai, Zong-Qi, and Stephen Roddy. "The Philosophical Proposition “A Piercing Glance Elevates the Mind” and the Buddhist Thought in Zong Bing's “Preface to the Painting of Landscape”." Journal of Chinese Literature and Culture 10, no. 2 (2023): 297–335. http://dx.doi.org/10.1215/23290048-10767961.

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Abstract “A Piercing Glance Elevates the Mind” is a philosophical proposition offered by Zhou Yong (?–493) in his debate with Zhang Rong (444–497) over the similarities and differences between Daoism and Buddhism. The appearance of this previously unknown proposition shows that as early as the Liu-Song dynasty (420–479) writers already went beyond the limitations of the native Chinese conception of “image” (xiang) and consciously applied Buddhist concepts to come to new understandings of the objects, methods, and effects of the visual sense and to probe their transcendental religious significa

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Grant, Beata. "Thirty Years of Dream-Wandering: Zhang Ruzhao (1900-1969) and the Making of a Buddhist Laywoman." Nan Nü 19, no. 1 (2017): 28–63. http://dx.doi.org/10.1163/15685268-00191p02.

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Zhang Ruzhao (1900-69), also known as Zhang Shenghui, was ordained as a Buddhist nun, with the title Tiantai Master Benkong. In early life, Zhang established a reputation as a poet, and was actively engaged in many of the political and feminist movements of the 1920s. Disillusioned both politically and personally, she turned to Buddhism and reinvented herself as China’s premier female lay Buddhist scholar, writer and educator during the 1930s and 40s. From 1949, she took ordination as a Buddhist nun and was officially designated a lineage holder in the Tiantai lineage. She was persecuted sever

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13

Kim, Younggun. "Reincarnationism and the Aesthetics of Liberation: Focusing on the Buddhist Spirituality of the Four Noble Truths and the Poetry of Hwang Dongkyu." Korean Society of Culture and Convergence 45, no. 7 (2023): 839–50. http://dx.doi.org/10.33645/cnc.2023.07.45.07.839.

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The purpose of this paper is to discuss Hwang Dong-kyu's poetry and Buddhist spirituality by focusing on the value of spiritualism. The theory of the Four Noble Truths, the core of Buddhist doctrine, is used as a framework for analysing Hwang's poetry. In Hwang's poetry, the analyses encompass the entire text, while at the same time paying attention to the images that persist in each poem. To this end, the variations and regressions of the water and fire images set up a model of methodology for textual analysis. By naming his poetic images as departure and harvest, repeated sorrow, sublimation

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14

Kim, Min-Seo. "Buddhist Poetry with Jo Ohhyun." Citizen and Humanities 34 (February 28, 2018): 35–78. http://dx.doi.org/10.22842/kgucfh.2018.34.35.

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15

Kempton, Heather Mary. "Holy be the Lay: A Way to Mindfulness Through Christian Poetry." OBM Integrative and Complementary Medicine 7, no. 1 (2021): 1. http://dx.doi.org/10.21926/obm.icm.2201011.

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Mindfulness practices have exploded in popularity in public awareness and in therapeutic applications. While mindfulness in a therapeutic context is presented as a secular practice, its primarily Buddhist heritage may make some Christian clients wary of engaging. Research indicates that both reflection (co-creation) on poetry and creation of poetry can be therapeutic, and that both Buddhist and secular/therapeutic mindfulness texts use poetry to convey meaning through key themes of nature, change/impermanence, stages of practice, and acceptance. Taken together poetry offers a pathway to mindfu

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16

Chương, Nguyễn Cảnh. "TÂM CỦA NGUYỄN DU TỪ THƠ CHỮ HÁN ĐẾN VĂN CHIÊU HỒN". Dalat University Journal of Science 11, № 2 (2021): 27. http://dx.doi.org/10.37569/dalatuniversity.11.2.809(2021).

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From Chinese poetry, “The Tale of Kieu” to “Van chieu hon” shows a movement in Nguyen Du’s thought. The mind of Nguyen Du moved from the heart of a Confucian, in which Chinese poetry expressed life’s pains and sorrows, to the immense compassionate heart of Buddhism for sentient beings in “Van chieu hon” This article highlights that movement. At the same time, it is clear that, whether from the mind of the scholar Nguyen Du, or the mind of the Buddhist disciple Nguyen Du, the movement in Nguyen Du’s thought is also derived from a kind heart: a "thinking heart for a thousand years" of the great

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Jang, Young Hee. "Aesthetic Consciousness of Muuhijas Buddhist Poetry." Korean Society of Culture and Convergence 41, no. 6 (2019): 1099–116. http://dx.doi.org/10.33645/cnc.2019.12.41.6.1099.

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18

Ferreira, J. "Ekstratekstuele relasies van 'spieël' in die poësie van Breyten Breytenbach." Literator 9, no. 3 (1988): 1–10. http://dx.doi.org/10.4102/lit.v9i3.850.

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Extra-textual relations in the poetry of Breyten Breytenbach are regarded as having the same importance as intra-textual relations. Focusing on extra-textual relations, references to “mirror” show non-literary extra-textual relations to the “mirror mind” of Buddhism. This relation is constituted by literary extra-textual relations between four analysed poems. All other references to “mirror” in the oeuvre are listed for comparison in this framework. The Buddhist principle of unity underlying this poetry becomes a textual strategy. The reader is guided towards a reading process in which no sing

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19

Yadav, Rajesh Prasad. "Interconnectedness between Vedanta & Poetry of T.S. Eliot and W.B. Yeats’ Poetry." Cognition 6, no. 1 (2024): 84–89. http://dx.doi.org/10.3126/cognition.v6i1.64443.

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This paper studies the impact of Eastern philosophy on the writings of both T.S. Eliot and W.B. Yeats. The research demonstrates interconnectedness between the Vedic philosophy and the western writers particularly the thoughts pervasive in the writings of Eliot and Yeats. Eliot engaged deeply with Eastern philosophy in ways which significantly influenced his worldview and his poetry. Eliot’s PhD thesis was on the idealist metaphysics of F.H. Bradley, which he found appealing due to its affinities with Indian philosophical sensibilities. Eliot was influenced by both Hinduism and Buddhism, and e

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20

Owen, Stephen. "How Did Buddhism Matter in Tang Poetry?" T’oung Pao 103, no. 4-5 (2017): 388–406. http://dx.doi.org/10.1163/15685322-10345p03.

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Buddhism was often a theme in poetry, especially when writing to monks and on Buddhist sites; it was sometimes a deep conviction on the part of individual poets that contributed to the way they represented the world. There was a period, however, from the ninth through early eleventh century, when Chan meditation shaped how poets thought about the very way of writing poetry. The common use of the [Buddhist] “Way” or Chan in parallel with “poetry” in couplets from this period worked through the possible relations: identity, similarity, complementarity, and mutual exclusion. But the presumption w

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21

Li, Rui, and Jiang Feng. "Chan, Garden, and Poetry: The Tidal Sounds in the Changshou Monastery Garden of Canton in the Qing Dynasty." Religions 15, no. 6 (2024): 664. http://dx.doi.org/10.3390/rel15060664.

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The Caodong School (曹洞宗) advocates the integration of Buddhism, Taoism, and Confucianism (三教會通) and interprets Chan through the I Ching (以易釋禪). During the transition from the Ming to the Qing Dynasty, there was extensive interaction and mobility between the Ming loyalists (遺民) and Chan monks. This accelerated the secularization of monks and promoted the construction of temple gardens, which were expressed and preserved through literary Chan poetry. This study explores the relationship between Buddhist concepts and garden construction through a specific case, the Changshou Monastery Garden (長壽寺

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22

Shuneyko, Aleksandr, and Olga Chibisova. "Buddhism in the Poetic Works of Innokenty Annensky." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (April 2019): 180–86. http://dx.doi.org/10.15688/jvolsu2.2019.1.15.

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The importance of the work is determined by the place which I. Annensky occupies in Russian poetry and his unrelenting influence on generations of readers. The purpose of the work is to reveal the presence and linguistic ways of implementing the semantics of the Buddhist understanding of the world in the poetic heritage of I. Annensky. The material for the study is all original poems of the poet. The main methods are semantic, comparative and intertextual analysis. From the days of his study at the university, the poet was well acquainted with the basics of Buddhism and demonstrated obsession

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23

Hajjari, Leila, and Zahra Soltani Sarvestani. "IMPERMANENCE / MUTABILITY: READING PERCY BYSSHE SHELLEY’S POETRY THROUGH BUDDHA." Littera Aperta. International Journal of Literary and Cultural Studies 5 (December 30, 2017): 19–37. http://dx.doi.org/10.21071/ltap.v5i5.13320.

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As an ongoing phenomenon, the impermanence of the world has been observed by many people, both in ancient and modern times, in the East and in the West. Two of these authors are Gautama Buddha (an ancient, eastern philosopher from the 6th-5th centuries B.C.) and Percy Bysshe Shelley (a modern Western poet: 1792-1822). The aim of this paper is to examine in the light of Buddhist philosophy what impermanence means or looks in a selection of Shelley’s poems, after considering that this philosophy was not alien to the Europeans of the 18th and 19th centuries. Buddhism, seeing impermanence (anicca)

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Tsyrempilov, Nikolay V. "Екатерина II как воплощение Белой Тары: обожествляли ли буряты Романовых?" Oriental studies 16, № 5 (2023): 1099–114. http://dx.doi.org/10.22162/2619-0990-2023-69-5-1099-1114.

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Introduction. The tradition of worshipping the Russian Empress Catherine II by Buryat Buddhists as an earthly incarnation of the enlightened Buddhist deity White Tara is regarded as an established historical fact by researchers (and officials of Russia’s largest Buddhist organization ‘Buddhist Traditional Sangha of Russia’), and has never been questioned. Yet a careful analysis of Buryat written sources and Russian historical documents makes the statement somewhat problematic. Goals. The article attempts a comparative insight into a range of documentary, narrative and folklore sources in Burya

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Doud, Robert E. "Emptiness as Transparency in the Late Poetry of Thomas Merton." Horizons 21, no. 2 (1994): 253–69. http://dx.doi.org/10.1017/s0360966900028504.

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AbstractThis article examines chiefly Buddhist influences in Thomas Merton. Cables to the Ace is a book based on the Buddhist idea of pratitya-samutpada, or dependent co-origination. Beneath everything there is a blissful emptiness, or shunyata. The ace is the poet's selfhood at the point vierge, here interpreted as a Buddhist no-self. Heidegger's Gelassenheit also defines the point vierge. In The Geography of Lograire, a supreme karuna, or compassion, is poured out for all the countries and peoples of the world. Footprints of the Buddha figure in, and so does the transparency which is also em

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Mendell, Dean. "The Poet in the Natural World: Dissolving Epiphanies in the Poetry of W. S. Merwin." CEA Critic 85, no. 3 (2023): 274–80. http://dx.doi.org/10.1353/cea.2023.a912105.

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Abstract: Merwin was a Buddhist, and aspects of Buddhism and transcendental Romanticism mingle in his nature poetry. His poems are fundamentally Romantic but differ in two ways. Coleridge suggests in The Friend that we choose to feel alienated because "we think of ourselves as separated beings, and place nature in antithesis to the mind, as object to subject, thing to thought" (520). For Merwin that antithesis is instead an unavoidable consequence of writing, and it occasions a sense of alienation that enters the poem and nudges aside the feeling of relatedness he cherishes.

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Kim, Sung-Eun Thomas. "Silencing the Culture of Chosŏn Buddhism: The Ideology of Exclusion of the Chosŏn Wangjo Sillok." Journal of Korean Studies 24, no. 2 (2019): 289–313. http://dx.doi.org/10.1215/07311613-7686601.

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Abstract The culture of Buddhism and its history have been marginalized in the collective memories of the Chosŏn period. Due to the inclination of contemporary research to depend on official records, the patterns of Confucian biases have come to persist in current research. This article examines the ideological biases and the historiographical legacy of the Chosŏn wangjo sillok, a source that has been privileged in the study of Chosŏn history and society. In light of the ideologically driven historiography of the Sillok, this article argues for a nuanced understanding of Chosŏn history and a r

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Dubakov, Leonid V. "A man as a Buddhist imaginary in L. Yuzefovich's novel “Cranes and Dwarfs”." RUDN Journal of Studies in Literature and Journalism 27, no. 4 (2022): 669–76. http://dx.doi.org/10.22363/2312-9220-2022-27-4-669-676.

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Buddhism finds a diverse reflection in the work of L. Yuzefovich for many decades. Buddhist ideas and motifs are present in his early book “The Autocrat of the desert. Baron R. Ungern von Sternberg and the world in which he lived,” in some of his other prose texts, in poetry. In the proposed work, within the framework of a large study devoted to the Buddhist text of modern Russian literature, the influence of Buddhism on Leonid Yuzefovich's novel “Cranes and Dwarfs” is analyzed. The Buddhist idea of the illusory nature of reality and man is reflected in the plot of the work and in the organiza

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Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.

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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts

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kim ki jong. "A Study on Kwon Sang ro's Buddhist Poetry." Studies in Korean Literature ll, no. 40 (2011): 119–54. http://dx.doi.org/10.20881/skl.2011..40.004.

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Kim Chae-Wook and Hyok-Key Song. "A Study on Lee Soong-In’s Buddhist Poetry." HANMUNHAKRONCHIP: Journal of Korean Literature in Chinese 38, no. ll (2014): 195–220. http://dx.doi.org/10.17260/jklc.2014.38..195.

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Шунейко, Александр Альфредович, and Ольга Владимировна Чибисова. "Buddhist Reminiscences in the Poetry of I.F. Annensky." Philology & Human, no. 2 (2019): 20–34. http://dx.doi.org/10.14258/filichel(2019)2-02.

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Arnold, David. "Unsettling the Harmony Stereotype in Buddhist American Poetry." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 4 (2019): 293–305. http://dx.doi.org/10.1080/0895769x.2019.1678456.

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배규범. "The present theme and a form of Buddhist ‘Jangdu-che[藏頭體]’". Korean Classical Poetry Studies ll, № 22 (2007): 269–98. http://dx.doi.org/10.32428/poetry..22.200705.269.

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Tyulin, Dmitry A. "A LAD INSANE / ALADDIN SANE. DAVID BOWIE’S POETRY IN THE CONTEXT OF AMERICAN BUDDHISM." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2023): 129–37. http://dx.doi.org/10.28995/2686-7249-2023-5-129-137.

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Features of Buddhist philosophy as interpreted by the countercultural writer J. Kerouac play an important role in the artistic self-determination of the British poet and musician D. Bowie and the formation of his creative personality. The article suggests that Kerouac’s motif of the road has Buddhist philosophical overtones, which Bowie adopts to create the poetic “persona” of Aladdin Sane, functioning in a unique way in the album cycle of the same name. Aladdin’s “persona” is presented as schizophrenic, but at the same time embodying the concepts of “transience” and “absence of self”, close t

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Han, Kyung-ran. "Aspects of Motifs of Buddhist Goddess of Compassionand Mercy in Surobuin." Korean Classical Poetry Studies 40, no. ll (2016): 5–32. http://dx.doi.org/10.32428/poetry.40..201605.5.

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Dezső, Csaba. "Inspired Poetry: Śāntākaragupta’s Play on the Legend of Prince Sudhana and the Kinnarī." Indo-Iranian Journal 57, no. 1-2 (2014): 73–104. http://dx.doi.org/10.1163/15728536-05701016.

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A fragment of a play written on the Buddhist legend of prince Sudhana and the kinnarī has been microfilmed by the Nepal-German Manuscript Preservation Project. It was probably written at the end of the eleventh century in Bengal by a Buddhist scholar called Śāntākaragupta. The present article contains a critical edition and an English translation of the fragment, as well as an analysis of the intertextuality of the play and especially the literary influences that shaped the author’s poetic diction.

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Jangbeong Han. "A Study on Dasan Jeong Yak - yong's Buddhist Poetry." Dongyang studies in Korean Classics 45, no. ll (2016): 139–67. http://dx.doi.org/10.35374/dyha.45..201610.005.

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WonBin Yim. "Du-Mu(杜牧)'s Poetry and Buddhist Culture". Journal of Sinology and China Studies 69, № ll (2016): 83–99. http://dx.doi.org/10.18077/chss.2016.69..004.

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Kim,Mi-Seon. "The Aesthetic Consciousness of A Buddhist Dhyana(Zen) Poetry." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 49 (2011): 167–90. http://dx.doi.org/10.17293/dbkcls.2011..49.167.

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Robert, Jean-Noël. "From Medieval Buddhist Poetry to Twentieth Century Japanese Thought." La lettre du Collège de France, no. 7 (October 29, 2015): 25. http://dx.doi.org/10.4000/lettre-cdf.2635.

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Heine, Steven. "Poetry as Philosophy in Song-Dynasty Chan Buddhist Discourse." Journal of Chinese Philosophy 50, no. 2 (2023): 168–81. http://dx.doi.org/10.1163/15406253-12340100.

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Abstract This paper examines ways leading Song-dynasty Chan teachers, especially Cishou Huaishen 慈受懷深 (1077–1132), a prominent poet-monk (shiseng 詩僧) and temple abbot from the Yunmen lineage, transform the intricate rhetorical techniques of Chinese poetry in order to explicate the relationship between an experience of spiritual realization beyond language and logic and the ethical decision-making of everyday life that is inspired by transcendent principles. Huaishen’s poetry expresses didactic Buddhist doctrines showing how an awareness of nonduality and the surpassing of all conceptual bounda

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Nelson, Paul. "Projective Verse: The Spiritual Legacy of the Beat Generation." Humanities 7, no. 4 (2018): 102. http://dx.doi.org/10.3390/h7040102.

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Allen Ginsberg’s poetry, poetics or cultural activism; Jack Kerouac’s prose, poetry and his method of composition; Gary Snyder’s environmental and Buddhist consciousness and bioregional ethos, or the opening made by the Beats for Eastern spirituality in the west are of intrinsic value and will be for generations, this paper seeks to posit that it is Michael McClure’s use of Projective Verse, that future generations of writers and readers will come to appreciate as that movement’s spiritual legacy.

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Bui Linh, Hue, and Hang Duong Thu. "The Body in Ho Xuan Huong’s Nom Poetry from A Comparison with East Asian Literature." Journal of Science Social Science 68, no. 1 (2023): 41–52. http://dx.doi.org/10.18173/2354-1067.2023-0005.

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The issue of “body” and “sensuality” in Ho Xuan Huong's poetry has been interested by some researchers. However, there are currently no works that place her work in the system of East Asian sensual literature. This article compares Ho Xuan Huong's poetry with the sensuality poetry of some East Asian male and female poets such as Tiet Dao, Vuong Ngan Hoang, and Hwang Jin Yi to explore these poetic phenomena as a rebellion against the neglect of the “body” in medieval Confucian and Buddhist society, thereby conversing and challenging the classic poetics of medieval East Asian poetry and the repr

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Davis, Sara. "The Hawaiification of Sipsongbanna: Orality, Power, and Cultural Survival in Southwest China." TDR/The Drama Review 45, no. 4 (2001): 25–41. http://dx.doi.org/10.1162/105420401772990315.

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Near the Burmese border, ethnic Chinese Tai villagers perform zhangkhap songs based on Buddhist epics and improvised oral poetry. Repressed from the 1950s as through the 'as, zhanghap has revived dramatically in recent years. Tourists are taking notice, but this may not be good news.

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SHEKERA, Ya. "On the question of the metaphoricity of the Taoist treatise of the 3rd century "Book of the Yellow Court" and its reflections in early medieval Chinese poetry." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 27 (2021): 56–61. http://dx.doi.org/10.17721/1728-242x.2021.27.56-61.

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The question of the metaphoricity of the Taoist treatise of the 3rd century ʺBook of the Yellow Courtʺ has been investigated; the reflection of Taoist ideas (as well as similar Buddhist) in traditional Chinese poetry have been traced (works by Cao Cao, Wang Wei, Sikong Tu and Ouyang Xiu). We have shown that the metaphoric nature of the ʺBookʺ is due to the eternal tradition of seeing a deep analogy between the micro- and macrocosm, feeling the original holiness of everything and the incorporation of a person into it. This metaphoric nature is already manifested in the title of the ʺBookʺ, sinc

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Lim, Bo-Youn. "Anguish found in the poetry of Hye-jeong, Buddhist nun." Studies of Korean Literature 73 (January 31, 2022): 45–64. http://dx.doi.org/10.20864/skl.2022.1.73.045.

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Parta, Ida Bagus Made Wisnu, I. Nyoman Suarka, I. Wayan Cika, and I. Made Suastika. "Implementation Of Transformation Legitimacy Function Candra Bhairawa Manuscript For The Community." e-Journal of Linguistics 16, no. 1 (2021): 96. http://dx.doi.org/10.24843/e-jl.2022.v16.i01.p10.

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The people enthusiastically received the Candra Bhairawa manuscript. Its purpose of altering legitimacy is to validate Shiva Buddha syncretism in Bali. Problem in this study is text transformation on Candra Bhairawa manuscript for community. To describe Candra Bhairawa manuscript as one of the texts that justify Shiva Buddhist syncretism in society. This study is qualitative and uses structural functionalism theory. The Candra Bhairawa manuscript data was analyzed using descriptive statistics and reading methods. Data analysis in prose and poetry with Old Javanese and Balinese into a descripti

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Tähtinen, Tero. "“In the Mountain Forest I Lose My Self”: The Experience of No-Self in Wang Wei's Short Landscape Poems." Journal of Chinese Literature and Culture 9, no. 2 (2022): 338–66. http://dx.doi.org/10.1215/23290048-9965632.

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Abstract This article discusses the dialectics of subject and object in Wang Wei's short landscape poems from the perspective of Buddhist metaphysics. First, the article traces Wang's Buddhist connections and surveys the Buddhist concepts, ideas, and practices of which Wang himself explicitly wrote in his essays and poems. Then it uses these ideas to analyze poems from his “Wang Stream Collection” (Wangchuan ji). The conjunctive theme of this article is the underlying emptiness of all existing phenomena, one of the main metaphysical doctrines of Mahayana philosophy and a recurrent motif in Wan

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Baldanmaksarova, Elizaveta E. "The Early Stage of Buryat-Mongol Literature." Studia Litterarum 6, no. 1 (2021): 320–37. http://dx.doi.org/10.22455/2500-4247-2021-6-1-320-337.

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The article examines the genesis of Buryat literature, which is key to the modern literary studies of Buryatia. Its aim is to recreate the history of Buryat literature and place it in the cultural and philosophical context of the history of Mongolian ethnos. It is well known that the genesis of Buryat literature owes to the literary work as well as to the theoretical and literary research of the first Buryat scholars and writers from among the Buddhist clergy. The search, introduction, and study of literary works written by Buryat authors in the 18 th — early 20 th centuries is one of the rele

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