Image Construction and Community Building in the Spiritual Career of the Buddha in Western Tibet from the Eleventh–Thirteenth Century

Abruptly Dogen

10.53288/0389.1.00 ◽

2022 ◽

Author(s):

Kidder Smith

Keyword(s):

Everyday Life ◽

Thirteenth Century ◽

Full Moon ◽

The Moon ◽

The World ◽

The Buddha ◽

The Way

In the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pith writings—startling, shifting, funny, spilling out in every direction. They come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from chapter 1, “A Case of Here We Are”: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon?

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Relics, oaths and politics in thirteenth-century Siam

Journal of Southeast Asian Studies ◽

10.1017/s0022463401000017 ◽

2001 ◽

Vol 32 (1) ◽

pp. 3-66 ◽

Cited By ~ 9

Author(s):

David K. Wyatt

Keyword(s):

Thirteenth Century ◽

Religious Thought ◽

The Buddha

Recent efforts have re-dated the Wat Bang Sanuk inscription to 1219, long before the Ram Khamhaeng inscription of 1292. Attempts to assess the implications force a re-thinking of Thai rebellion against Angkor by linking rebellion to religious thought, including especially the discovery and public show of relics of the Buddha.

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The Buddha's Biography: Its Development in the Pagan Murals vs. the Later Vernacular Literature, in the Theravādin Buddhist Context of Southeast Asia

Journal of the Royal Asiatic Society of Great Britain & Ireland ◽

10.1017/s1356186316000602 ◽

2017 ◽

Vol 27 (2) ◽

pp. 255-294

Author(s):

SAMERCHAI POOLSUWAN

Keyword(s):

Sri Lanka ◽

Southeast Asia ◽

Thirteenth Century ◽

Twelfth Century ◽

Vernacular Literature ◽

Buddhist Tradition ◽

The Subject ◽

Biographical Account ◽

The Buddha ◽

Complete Account

AbstractAn investigation is provided on the narration of the Buddha's biography in Burmese murals of the Pagan Period (eleventh to thirteenth century ce). It detects a development of the complete account on the subject in the oldest murals of the period at the Patho-hta-mya Temple, which probably predate the earliest known literary counterpart in Pāli, the Jinālaṅkāra, which was most likely composed in Sri-Lanka during the mid-twelfth century ce. The comparison is provided between the biographical account of the Buddha illustrated in Pagan murals and those found in the two main groups of much later vernacular texts compiled in Southeast Asia, namely: Malālamkāravatthu-Tathāgataudanadīpanī particularly prevailing in Burma and representing the later Burmese tradition on narrating the Buddha's biography; and, Pathamasambodhi gaining its popularity over several other parts of Southeast Asia (i.e., Thailand, Laos, Cambodia, Southwestern China and eastern part of the Shan State). The Pagan narrative on the Buddha's life is shown to be far more associated with the Malālamkāravatthu-Tathāgataudanadīpanī than with the Pathamasambodhi, suggesting the first group of texts to be a later product of the longstanding Buddhist tradition existing in Burma at least since the Pagan Period, and the latter of a separate development.

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We narration in Chang-rae Lee’s On such a full sea and Julie Otsuka’s The Buddha in the attic: “Unnaturally” Asian American?

Frontiers of Narrative Studies ◽

10.1515/fns-2018-0005 ◽

2018 ◽

Vol 4 (1) ◽

pp. 66-81 ◽

Cited By ~ 2

Author(s):

Delphine Munos

Keyword(s):

Asian American ◽

Narrative Theory ◽

Community Building ◽

First Person ◽

Story Telling ◽

Theoretical Level ◽

Person Plural ◽

First Person Plural ◽

The Buddha

AbstractThis essay looks at two recent Asian American texts written in the first-person plural – namely Julie Otsuka’s The Buddha in the attic (2011) and Chang-rae Lee’s On such a full sea (2014). Its main goal is to show that the ambiguities and tensions here generated by we narration prove particularly apt when it comes to calling into question essentialist views concerning the anatomy of community-building. But my contention is that these two we texts are particularly interesting at a theoretical level, too, in that they help us challenge the orthodoxies of traditional narrative theory – among which Gérard Genette’s all-too-rigid distinction between the homo- and heterodiegetic levels in a text, or the generalized assumption, which has been notably challenged by Mieke Bal, that every act of story-telling is necessarily indebted to ‘a’ narrator, and a narrator of anthropomorphic standards at that.

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The Theoretical Contrast in Scanning and Conventional High Resolution Microscopes

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100062762 ◽

1969 ◽

Vol 27 ◽

pp. 170-171

Author(s):

E. Zeitler ◽

M. G. R. Thomson

Keyword(s):

Small Volume ◽

Volume Element ◽

Optical Processing ◽

Image Construction ◽

Object Interaction ◽

Transmission Electron ◽

Scanning Transmission ◽

Optical Treatment ◽

Electron Microscopes ◽

Intensity Contrast

In the formation of an image each small volume element of the object is correlated to an areal element in the image. The structure or detail of the object is represented by changes in intensity from element to element, and this variation of intensity (contrast) is determined by the interaction of the electrons with the specimen, and by the optical processing of the information-carrying electrons. Both conventional and scanning transmission electron microscopes form images which may be considered in this way, but the mechanism of image construction is very different in the two cases. Although the electron-object interaction is the same, the optical treatment differs.

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