Dissertations / Theses on the topic 'Zen Buddhism – China – Philosophy'

The overall plan of the thesis is to present a theological understanding of holistic personhood in relation to the Zenist monistic and the Cartesian dualistic treatments of selfhood. The focus of the study is to analyze the Zenist religious view of the self as unthinking nothingness and the Cartesian philosophical interpretation of the self as thinking substance, Zenist meditation representing a classical stance of Chinese intuitivism and Cartesian meditation of Western rationalism. Common to both approaches to the realization of personal identity is their mentalist-individualist paradigm which does not adequately account for the unity of experience of embodied personhood. In contrast with the 'I un/think therefore I am' of Zen and Cartesianism is the 'I commune therefore I am' of the biblical tradition. Through this communitarian model derived from the Judaeo-Christian biblical tradition, the thesis points towards a possible resolution of the quandary brought about by Cartesian and Zen 'meditational' conceptions of personhood.

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2003.
Includes bibliographical references (leaves 124-131). Also available in electronic version. Access restricted to campus users.

No other form of Oriental philosophy has had such a widespread, positive effect on culture and international contemporary painting as Zen Aesthetic. Owing to the birth of Zen Buddhism in China, its extraordinary boom and influence is evident in all aspects of society and Chinese culture. Especially painting with brush-tipped ink, it led to the development of a particular spirit or aesthetic, known worldwide as Zen, which has not stopped propagating since Zen Buddhism in the 16th century crossed the sea to reach Japan. Once there, it fecundated the native culture and motivated the development of an aesthetic with distinct Zen peculiarities, to such an extent that it took root in everyday life and was projected in different spheres of cultural life and creativity. This trend of Zen Aesthetic has long been recognized as the essence of Oriental aesthetics due to the fusion of Buddhism, Taoism and Confucianism, overcoming geographical limitations and cultural differences, becoming one of the most active and distinctive leading thought in the twentieth century. Once it was introduced to the United States by Soyen Shaku in Chicago in 1893, it soon became an admired and applied trend in the different cultural spheres of the country, and in particular it was followed closely by several painters, to such an extent that it was felt in contemporary painting both in the United States and in the same places of its origin. That is to say, China and Japan. Despite its impact, the Zen Aesthetic phenomenon and in particular its influence in culture and contemporary painting has not been thoroughly investigated. Also, there are many gaps, which is why we have explored its thematic research. The theme of typology required a panoramic approach or focus, for the simple reason that Zen Aesthetic can hardly be understood in contemporary painting without knowing its origins, cultural development and influence, as well as the geographic trajectory or international centers of propagation of Zen Aesthetic. In spite of its apparent amplitude, the author tried in the first place to compile as much documentation as possible or more understanding that explains the expansion of the Zen phenomenon at the intercontinental level, without forgetting their critical interrelations, to understand the extraordinary influence of this aesthetic movement and spirituality in Occidental contemporary painting. Also, within Oriental contemporary painting, such as any rebound effect or return to their places of origin. While the author has investigated as far as possible, the causes and their development from China to the United States, through Japan, the investigation has not forgotten the European continent. Indeed, in the thesis there are different European references, although their arrival in Europe came after the United States, through D. T. Suzuki around 1936, so it seemed convenient to leave this part of the research on the European continent for a new occasion due to its breadth, complexity, and stylistic derivations. The real Zen can hardly be understood without entering into the direct experience or life of the world that revolves around the principles of Zazen. In this regard, the two research centers that have contributed significantly to the development of this study are the Dongshan Monastery and the Shatou Cultural Center. Firstly, the author has been allowed to perform a three-month immersion period in Zen Buddhism meditation. And then, it has been fundamental to consult the documentary sources of Zen Buddhism and its different practices, such as Taiji, calligraphy, and painting as a method of meditation that is engaged in research, with the aim of seeking inner peace without any other secular purpose. The thesis is structured in twelve large sections with a series of chapters and sub-chapters within each. In the introduction, the research approach is presented, which is the specific typology of the panoramic thesis of critical compilation and the thematic justification, as well as the motivation of the thesis title. Although there are many publications on Zen Aesthetic, the author considers that the particular theme of seeking the motives of its cultural and pictorial influence in the contemporary world of the three countries China, Japan, and the United States is unprecedented. In addition to fundamentally exposing the different objectives and their diachronic, comparative, analytical, and critical methodology, the introduction ends with a large interrelated organization chart of the various parts of the configurator system of the influence of Zen aesthetics in contemporary painting from China, Japan and the United States.
Ninguna otra forma de filosofía oriental ha tenido un efecto positivo tan extendido en la cultura y en la pintura contemporanea internacional como la estética Zen. Gracias al nacimiento del budismo Zen en China y su extraordinaria auge e influencia en todos los aspectos de la sociedad y la cultura china, en especial la pintura con tinta a punta de pincel, hizo que se desarrollara en paralelo un espíritu o estética particular, conocida mundialmente por Zen, que no ha parado de propagarse desde que, en el siglo XVI, el budismo Zen cruzara el mar para llegar a Japón. Una vez allí, fecundó la cultura autóctona y motivó el desarrollo de una estética con particularidades propiamente Zen, hasta tal punto que arraigó en la vida cotidiana y se proyectó en distintos ambitos de la vida cultural y de la creatividad. Esta corriente de estética Zen ha sido reconocida desde hace mucho tiempo como la esencia de la estética oriental debido a la fusión del budismo, el taoísmo y el confucianismo, llegando a superar las limitaciones regionales y las diferencias culturales, convirtiéndose en una de las más activas y distintivas, líder en el siglo XX, una vez ya introducida en EE.UU. de América por Soyen Shaku en 1893 en la ciudad de Chicago. Pronto se convertiría en una tendencia admirada y aplicada en los distintos ambitos culturales del país, y en particular seguida de cerca por varios pintores, hasta tal punto que se hizo sentir en la pintura contemporánea tanto de EE.UU, como en los mismos lugares de su origen, es decir de China y Japón. A pesar de su impacto, el fenómeno estético Zen y en particular su influencia cultural y en la pintura contemporánea, no ha sido investigada en profundidad, y existen bastantes lagunas, razón por la cual nos hemos planteado su investigación temática. Una temática de esta tipología requería un planteamiento o enfoque panorámico, por la sencilla razón de que difícilmente se puede entender la estética Zen en la pintura contemporánea, sin conocer sus orígenes, su desarrollo e influencia cultural, así como la trayectoria geográfica o centros internacionales de propagación de la estética Zen. A pesar de su aparente amplitud, intentamos en primer lugar compilar la mayor documentación posible o más destacada que explica la expansión del fenómeno Zen a nivel intercontinental, sin olvidarnos de sus interrelaciones de modo crítico, para entender la extraordinaria influencia de dicho movimiento estético y espiritual en la pintura contemporánea occidental y asimismo oriental, como efecto rebote o retorno a sus lugares de origen. Si bien hemos investigado en la medida de lo posible las causas y su desarrollo desde China hasta EE.UU, pasando por Japón, no nos hemos olvidado del continente europeo. Efectivamente, en el transcurso de la tesis aparecen distintas referencias y referentes europeos, aunque su llegada a Europa se produjo después de EE.UU, a través deD.T. Suzuki en torno de 1936, por lo que nos ha parecido conveniente dejar esta parte de la investigación del continente europeo para una nueva ocasión, dadas su amplitud, complejidad y derivaciones estilfsticas. Difícilmente se puede entender el verdadero Zen sin en- trar en la vivencia o experiencia directa del mundo que gira entorno de los principios del Zazen. En este sentido, caben destacar los dos centros de investigación que han contribuido sobremanera al desarrollo de esta investigación: el Monasterio de Dongshan y el Centro Cultural de Shatou. El primero, nos ha permitido efectuar un período de inmersión de tres meses en la meditación del budismo Zen. En cuanto al segundo, ha sido fundamental para consultar las fuentes documentales del budismo Zen y sus diferentes practicas, como el Taiji, la caligrafía y la pintura como un metodo de meditación que se ocupa en la investigación, con el objetivo de buscar la paz interior sin ningún otro propósito secular.

This study concerns the investigation of the mind training method called Lojong, as portrayed by the Gelug branch of Tibetan Buddhism. The emphasis is placed on the practical application of the philosophical tenets underlying this set of routines. Some of the issues to be addressed are: the use of imagery in the process of emotional healing, the ethical concerns that arise in regards to interpreting key concepts pertaining to the Mahayana Buddhist world view, the importance of individuality and the problem of selflessness in practices that deal with alleviating negative emotions, and the suitability of the specific practices for the contemporary western female practitioner. In consideration of the pragmatic nature of this study, conclusions have been drawn towards the possible changes that might be made, when a form of training devised for a distinct group of practitioners, is extended to a more diversified population.

Religion
Ph.D.
Since its inception in the 1960s, the scientific research of Buddhist-based meditation practices have grown exponentially with hundreds of new studies every year in the past decade. Some researchers are using Buddhist teachings, such as not-self, as an explanation for the causal mechanism of meditation’s effectiveness, for conditions such as stress, anxiety, and depression. However, there has been little response from Buddhist studies scholars to these proposed mechanisms in the growing discourse surrounding the engagement of ‘Buddhism’ and ‘Science.’ I argue that the mechanistic causal explanations of meditation offered by researchers provide an incomplete understanding of meditative practices. I focus on two articles, by David Vago and his co-authors, that have been cited over nine hundred and three hundred times. I make explicit internal criticisms of their work from their peers in neuroscience, and offer external criticisms of their understanding of the cognitive aspects of meditation by using an extended, enactive, embodied, embedded, and affective (4EA) model of cognition. I also use Chinese Huayan Buddhist mereology and causation to provide a corrective for a more holistic understanding. The constructive aspect of my project combines 4EA cognition with Huayan mereology and causation in order to propose new directions of research on how meditative practices may lead to a changing sense of self that does not privilege neurobiological mechanisms. Instead, I argue a fruitful understanding of change in ethical behavior is a changing sense of self using support from a consummate meditator in the Japanese Zen Buddhist context: Dōgen and his text Shoakumakusa. Contemporary research looking for mechanistic causation focuses on the physical body, specifically the brain, without considering how the mind is involved in meditative practices. The group of researchers I focus on reduce the senses of self to localized parts of the brain. In contrast, according to Mahayana Buddhist terminology, Huayan offers a nondualistic understanding of the self that does not privilege the brain. Rather, Huayan characterizes the self as a mind-body complex and meditation is understood to involve the whole of the person. My critique notes how the methodology used in these studies focuses too much on the localized, explicit, and foreground, but not enough on the whole, implicit, and background processes in meditative practices. Bringing in Huayan also offers a constructive aspect to this engagement of Buddhist studies and neuroscience as there are implications of its mereology for a more complete understanding of not just meditation, but also of neuroplasticity. To be clear, the corrective is only meant for the direction of research that focuses on neural-mechanistic explanations of meditation. Surely, there is value in scientific research on meditative practices. However, that emphasis on neural mechanisms gives a misleading impression of being able to fully explain meditative practices. I argue that a more fruitful direction of engagement between Buddhist traditions and scientific research is the small but growing amount of experiments conducted on how meditative practices lead to ethical change. This direction provides a more complete characterization of how meditative practices changes the senses of self.
Temple University--Theses

Religion
M.A.
Within recent Japanese Buddhist scholarship there is a debate over the interpretation of Karmic causality evidenced in the 75 and 12 fascicle editions of Dogen's Shobogenzo, one salient example being that found in the daishugyo and shinjin inga fascicles on the fox koan from the mumonkon. At issue is whether a Buddhist of great cultivation transcends karmic causality, with the earlier daishugyo promoting a balanced perspective of both "not falling into" and "not obscuring" causality, while shinjin inga instead strongly favors the latter over the former. Traditionalists interpret the apparent reversal in shinjin inga as an introductory simplification to aid novices, while some Critical Buddhists see Dogen as instead returning to the orthodox truth of universal causality. I argue that Dogen philosophically favored the view found in daishugyo, but moved away from it in his later teachings due to misinterpretations made by both senior and novice monks alike.
Temple University--Theses

This paper examines the role played by death in the philosophy of Nishitani Keiji, through the nondual logic of contradictory identity developed by his teacher and founder of the Kyotoschool of philosophy, Nishida Kitarō. I explore Nishitani’s understanding of how Nothingness, nihility, through our awareness of death penetrates and nullifies existence itself, how the irreality of all being comes to the fore to make being itself unreal. The nullifying nothingness of nihility, however, is still nothingness represented as a something; it is a reified nothing, defined as the antithesis to being and thus still seen as a corollary of being itself. A truly absolute nothingness, what Nishitani calls Śūnyatā, emptiness, must be a nothingness so devoid of being as to not even be nothing; it must be absolutely nothing at all, and thus nothing else than being itself. The final chapter of my paper seeks to apply this nondual understanding of being and nothingness to the question of death itself; to understand the ontological meaning of death - the passage from being to non-being - when being and non-being have been one from the very beginning. The paper also seeks to blur the lines between what has traditionally been considered philosophy and religion, using the thinking of the Kyoto school to point to the deeper ties between the two in the borderland that is buddhist philosophy.

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.

Cette étude de philosophie comparée propose une herméneutique de l’idée de soi à partir d’une analyse de la dimension ascétique de la question « quel soi ? », qui se manifeste à travers les disciplines de libération mises en place par les traditions du Portique et du Zen. Déclinée sous différentes formes, cette question constitue la pierre angulaire des pratiques de soi propres aux deux traditions. Il apparaît que sa principale fonction est celle d’orienter l’idée de soi, eu égard à une polarité soi ↔ non-soi, afin de parvenir à la condition du sage, celle d’un accord libérateur avec une nature originelle commune à tous. Ainsi, au lieu de désigner simplement un fondement ontologique – réel ou supposé – l’idée de soi joue alors bien plutôt un rôle de vecteur, qui, selon son orientation,permet ou non d’actualiser cet accord. Par la prise en compte comparative du rôle de la négation (détachement) de soi, cette étude cherche donc à élargir le spectre des processus de subjectivation ou des pratiques de soi et, ainsi, de mettre au jour un aspect assez négligé par l’histoire occidentale de la subjectivité. Par là même, cette thèse permet de mieux comprendre comment une (méta)physique stoïcienne du plein peut être à même de penser la négation (détachement) de soi et, inversement, comment une métaphysique bouddhiste de la vacuité peut développer une pensée de la subjectivité morale et de la responsabilité
This study in comparative philosophy offers a hermeneutics of the idea of self. It explores the ascetic dimension of the question “what self?” apparent across the various disciplines of liberation developed by the Stoic and Zen traditions. In its diverse guises, this question is the cornerstone of specific practices of the self within these traditions. As such, its main function is to guide the idea of self, with regard to the polarity self ↔ non-self, in order to achieve the status of the sage, which represents a kind of harmony with an original nature that is common to all individuals. Therefore, rather than simply designating an ontological foundation – real or alleged – the idea of self has the role of a vector, which, depending on its orientation, allows one to actualise (or not) this harmony. Through comparative analysis of the role of negation (detachment) of the self, this study seeks to broaden the spectrum of the processes of subjectification or practices of the self and, thus, to bring to light an aspect that has been somewhat neglected by the Western history of subjectivity. In doing so, this thesis enables better understanding of how the full-bodied (meta)physics of the Stoics is able to think the negation (detachment) of the self and, conversely, of how the Buddhist metaphysics of emptiness can develop an idea of moral subjectivity and responsibility

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.

碩士
國立政治大學
哲學研究所
97
This thesis is a comparative study of the Pyrrhonian Skepticism and Zen Buddhist approaches to “tranquility.” I will argue that state of ataraxia (“unperturbedness”) as interpreted by the Skeptics is essentially identical to the Zen state of “non-dwelling” as articulated by the Sixth Patriarch Huineng. In doing so, I will attempt to show how the philosophical methodologies of both Sextus and Huineng succeed in bringing the individual to a state of tranquility through the skillful use of opposition pairs, be they in the form of opposed arguments (for the Skeptics) or traditional dichotomies (for the Zennists). I will argue also that simple non-dogmatic reliance on non-rational guides to life (e.g. culture, custom, etc.) as advocated by the Skeptics is equivalent to the Zen idea of returning to life in the ordinary world absent attachment to either the ordinary or the transcendent.

Thesis (M. Tech Degree. Fine Arts) Tshwane University of Technology 2012.
The topic for this study was sparked when a colleague observed that many of my artworks expressed certain Zen philosophies. As I examined the works of artists who influenced me, the Zen principles were highlighted and thus began a process of examining these principles. The study follows the spread of Buddhism from India, where it originated, to China, where it later spread, and finally to Japan, where Zen philosophies are still practised today. Confronted by words in foreign languages and new philosophical terms, this study seeks to clarify and demystify complex Eastern traditions, rituals and practices in order to explore Zen principles, such as dualism, spontaneity, non-action, the interconnectedness of all phenomenon and beauty in its natural form. The study begins with an introduction to Buddhism and proceeds to explain the link to Daoism, highlighting the aforementioned Zen philosophies and practices like the tea ceremony and demonstrating their influence on Andy Goldsworthy, Anish Kapoor and Peter Voulkos, through an analysis of a selection of their artworks.

This dissertation explores how Chan Buddhists made the unprecedented claim to a level of religious authority on par with the historical Buddha Śākyamuni and, in the process, invented what it means to be a buddha in China. This claim helped propel the Chan tradition to dominance of elite monastic Buddhism during the Song dynasty (960-1279), licensed an outpouring of Chan literature treated as equivalent to scripture, and changed the way Chinese Buddhists understood their own capacity for religious authority in relation to the historical Buddha and the Indian homeland of Buddhism. But the claim itself was fraught with complication. After all, according to canonical Buddhist scriptures, the Buddha was easily recognizable by the “marks of the great man” that adorned his body, while the same could not be said for Chan masters in the Song. What, then, distinguished Chan masters from everyone else? What authorized their elite status and granted them the authority of buddhas? According to what normative ideals did Chan aspirants pursue liberation, and by what standards did Chan masters evaluate their students to determine who was worthy of admission into an elite Chan lineage? How, in short, could one recognize a buddha in Song-dynasty China? The Chan tradition never answered this question once and for all; instead, the question broadly animated Chan rituals, institutional norms, literary practices, and visual cultures. My dissertation takes a performative approach to the analysis of Chan hagiographies, discourse records, commentarial collections, and visual materials, mobilizing the tradition’s rich archive to measure how Chan interventions in Buddhist tradition changed the landscape of elite Chinese Buddhism and participated in the epochal changes attending China’s Tang-to-Song transition.

碩士
文化大學
哲學研究所
81
In my thesis of Master of Philosophy " The main idea of Language and Truth of The Zen Buddhism ---- one way to understand through The West Philosophy " , first, by way of the research of the theory of Ferdinand de Saussure (1857-1913) and Ludwig Wittgenstein (1889-1951), I had disscussed the nature of Language in detail; and by way of the explanation and criticise of the theory of knowledge of David Hume (1711-1776), I had explained and cleared elementally the nature of Truth; finally, by way of West Philosophy, I made the nature of Language and of Truth as two supporting pillar to contribute to the understanding toward The Zen Buddhism . In my thesis, the research of the nature of Language stop finally at "Language, is one of the transmissive tool of meaning (sort of state of mind)". And in the process of the research of the nature of Truth, first, through Hume''s theory of perception, I built up a "Model of Mind", according to it, I gave a further underatanding and explanation to what people called "Understanding", "Reason", "Intuition" and "Experience"; second, on the basis of "Model of Mind", I separated "Truth" into two forms, and gave each of it clear and definite distinctions and explanations. By way of the research above, it is clear to find that, through these two different ways of trace ---- Language and Truth, finally, both of them reveal the same request ---- they ask further understanding about Mind, and such request can also be regarded as the request to research the nature of philosophy. Therefore, what I called "The new foundation of understanding" can be decided as : a brand-new foundation of understanding through the cognition toward the Mind.

Chan King Wai Kelvin.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report."
Includes bibliographical references (leaf 91).
mongkok and latent anxiety --- p.3
dormant silence --- p.4
zen and concept --- p.5
design approach --- p.6
mongkok --- p.7
precedent studies --- p.12
early design --- p.24
final design sketches --- p.33
diagrams & development --- p.37
FINAL design --- p.48
models --- p.72
perspectives --- p.83

背景: 近代不少西方的實證心理治療方法都開始採納東方源來已久的身心治療，來醫治常見的情緒病，例如：抑鬱症，效果最為顯著。這個發展趨勢正好回應現存醫療制度及資源的限制，或其他社會文化及個人所造成的障礙。本研究旨在檢視一種促進身心健康的中國禪宗身心治療方法 － 以「德建身心療法」對比於 「認知行為治療法」及「等候對照組」，在治療一羣抑鬱症患者的抑鬱情緒、腦功能的改善及其身体健康等的療效。
研究方法: 在一個精神科門診部內，研究員召集了75 名成人的抑鬱症患者。他們都是有不同程度的抑鬱情緒或身體健康問題，同時有興趣參加為期十節的「德建身心療法」或「認知行為治療法」。 在對照基本資料後 (如年齡、學歷、抑鬱程度，初患或復發) ，他們被隨機分派到「德建身心療法」、「認知行為治療法」或「等候對照組」中。治療前及治療後，抑鬱症患者都會接受情緒、腦功能、健康狀況及腦電波的評估。
結果: 整體而言，相對於「等候對照組」，「德建身心療法」及「認知行為治療」更有效地減低患者的抑鬱症狀。此外，「德建身心療法」更帶來一些其他組別所末見的療效；包括有效地提昇患者的專注力、記憶、執行功能、腸道功能及睡眠質素。再者、研究亦發現「德建身心療法」的參加者，在有關正面情緒和專注力的兩個客觀量化腦電波(QEEG)指數上有顯著的攀升。意外地，在短短的十星期後「德建身心療法」參加者使用抗抑鬱药的份量亦有效地減少。
總結: 本研究的結果顯示中國的禪宗身心治療方法 －「德建身心療法」在治療抑鬱症患者的情緒捆纏、腦功能失衡、睡眠及腸道功能、提升正面情緒及專注力的量化腦電波指數都有明顯的功效。
BACKGROUND: There are growing interests and encouraging findings of adapting and developing Mind-Body Intervention into evidence-based group treatment for common mental disorders such as depression. The advancement is a partial response to the limitations on the availability and accessibility of the existing treatment in the current health care system for depression, and/or a partial response to the socio-cultural and personal reasons in different communities. The present study aimed to evaluate the effectiveness of a newly developed Chinese Chan-based treatment the Dejian Mind-Body Intervention (DMBI), as compared to the groups of Cognitive-behavioural Therapy (CBT) and Wait-list control, in alleviating depressive mood and improving physical health of adult depressive patients.
METHOD: Seventy-five patients with the diagnosis of Major Depressive Disorder were recruited in the current study. They were stratified for age, education, level of depression, course of illness before random assignment to receive either 10-session DMBI or CBT, or placed on a wait-list. Pre-post measurements included primary outcome measures on psychiatrists’ rating and self-evaluated mood scores (HRSD and BDI) and secondary outcome measures on performance in different neuropsychological assessment (Executive function, Attention, Memory). The three groups also compared among different sleep (SOL, TST, and WASO), gastrointestinal parameters as well as neurophysiological QEEG indices.
RESULTS: Both the DMBI and CBT groups demonstrated significant reduction in depressive psychopathology after intervention. However, the DMBI group but not the CBT or Wait-list control groups demonstrated significant improvement in attention, verbal memory, executive function, gastrointestinal health and overall sleep quality. Besides, Dejian Mind-Body Intervention brought about significant increase in objective QEEG measures of positive affect and attention that were not evidenced in the other two groups. Participants in the DMBI group also demonstrated significant reduction in the use of anti-depressant after the end of 10-week treatment.
CONCLUSIONS: Findings of the current study suggested that a Chinese Chan-based Dejian mind-body intervention has positive effects on improving the mood and health conditions of individuals with depression.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Wong, Yun Ping.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 79-109).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese; some appendixes also in Chinese.
ABSTRACT --- p.iii
CHINESE ABSTRACT --- p.v
ACKNOWLEDGEMENTS --- p.vii
TABLE OF CONTENTS --- p.ix
LIST OF TABLES --- p.x
LIST OF FIGURES --- p.xii
LIST OF APPENDICES --- p.xiii
LIST OF FIGURES --- p.xii
Chapter CHAPTER I: --- INTRODUCTION --- p.1
PURPOSES OF THE PRESENT STUDY --- p.26
Chapter CHAPTER II: --- METHODS --- p.29
Chapter CHAPTER III: --- RESULTS --- p.47
Chapter CHAPTER IV: --- DISCUSSION --- p.68
GENERAL DISCUSSION --- p.70
CLINICAL IMPLICATIONS --- p.76
LIMITATION AND SUGGESTIONS FOR FUTURE DIRECTION --- p.77
REFERENCES --- p.79
TABLES --- p.110
FIGURES --- p.124
APPENDICES --- p.128

Background. A sizable amount of individuals in the community are presented with various kinds of physical and mental health problems which are either undetected, untreated or inadequately treated, due to the limitations on the availability and accessibility of the services in the existing health care system, or to other social and personal reasons. The current study evaluated the effectiveness of a newly developed modality of health-enhancing treatment---the Mindfulness-based Dejian Mind-Body Intervention, as compared to that of a Group Psychoeducational Treatment, in alleviating depressive mood and improving physical health of adult individuals in the community.
Conclusions. Findings of the current study suggest that compared with the Group Psychoeducational Treatment, Dejian Mind-Body Intervention might be more effective in enhancing the emotional and physical health of community individuals presented with moderate to severe depressive mood and/or problems with bowel functioning.
Method. Forty adult volunteers with various degree of depressive mood and physical problems who expressed interest in receiving either Dejian Mind-Body Intervention or Group Psychoeducational Treatment were recruited in the current study. They were matched for gender, age, education and level of depression, and were randomly assigned to either treatment group.
Results. Both the Dejian Mind-Body Intervention and Group Psychoeducation Treatment were effective in bringing about a significant reduction in depressive mood iv among treatment completers. However, differential effectiveness emerged among those presented with moderate to severe depressive mood, where Dejian Mind-Body Intervention resulted in significantly greater treatment-related reduction in depressive mood compared with the Group Psychoeducational Treatment. Besides, Dejian Mind-Body Intervention brought about significant increase in an objective QEEG measure of positive affect, and improvements in physical health (i.e., bowel functioning) that were not evidenced in the Group Psychoeducation Treatment.
Tsui, Jin Ching.
Adviser: Agnes S.Y. Chan.
Source: Dissertation Abstracts International, Volume: 70-06, Section: B, page: 3799.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 62-68).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.

Quanzhou Kaiyuan Monastery is an important Buddhist monastery on the Southeast coast of China, in Fujian. It was founded in the seventh century and survives with artifacts from every imperial dynasty stretching back more than one thousand years. Today it is the home of more than eighty monks and the site of a vibrant tradition of devotional life. The following chapters examine Kaiyuan monastery from multiple points of view (time, space, inhabitants and activities, discourse and relations with the state) in order to produce a multi-dimensional portrait considering the contributions of each element to the religious and institutional life of the monastery. In shedding light on monastic Buddhism in contemporary China, this study contributes to a small but growing body of knowledge on the revival of religion in post-Mao China. The study begins with a historical survey of the monastery providing the context in which to understand the current recovery. Subsequent chapters chronicle the dual interplay of secular and non-secular forces that contribute to the monastery's identity as a place of religious practice for monastics, laypersons and worshipers and a site of tourism and leisure for a steady stream of visitors. I survey the stages of recovery following the Cultural Revolution (chapter four) as well as the religious life of the monastery today (chapter five). Other chapters examine how material culture (chapter six) and memorials to auspicious events and eminent monks (chapter seven) contribute to the identity of the monastery. Chapters eight and nine consider how Kaiyuan balances demands to accommodate tourists while remaining a place of religious practice.