Thesis (Ph. D.)--University of California, Los Angeles, 1985. / Includes abstract and vita. Includes bibliographical references (p. 306-311).

Thesis (Ph.D.)--University of Kansas, 1997. / Co-Chairs: Chu-tsing Li; Marsha Weidner. Includes bibliographical references.

Kuki Shuzo was a philosopher at the margins of the Kyoto School; his most significant contribution was the short work 'Iki' no kozo, in which he located Japanese uniqueness in the Edo demimonde aesthetic of iki, style or chic. This thesis surveys the major Western critiques of Kuki's aesthetics, focussing particularly on the work done by Peter Dale, Leslie Pincus, and Harry Harootunian revealing Kuki's borrowing from European modernism, especially fascist modernism, and attempts to uncover an alternative genealogy for Kuki in Japanese Pure Land thought. It finally asserts that Kuki's valorization of resignation, and his own retreat into the aesthetic, can be read as a form of resistance to Japanese nationalism.

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張雪松. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 251-265). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhang Xuesong.

For many people, Japanese life is increasingly marked by precarity. This is often characterized by a lack of social and familial relationships that were the foundation of Japanese society in earlier eras. Buddhism has rarely played a part in addressing these feelings of precarity because Buddhism in Japan is associated with funerals and death. Yet some women participate in and actively create what this dissertation calls “feeling Buddhism,” which combats the feelings of helplessness and social isolation that accompany precarity. Feeling Buddhism is about sensing Buddhism, physically feeling the body perform ritual acts and inhabit sacred space. It is also about the emotions, affects, and feelings that accompany these physical acts. Based in feminist ethnography, this dissertation argues that Japanese women cultivate constructive feelings through Buddhism that enable them to craft deep and meaningful connections with one another. In particular, it focuses on the Buddhist women who belong to the Pure Land Sect or Jōdoshū. Chapter One traces the history of women’s historical involvement in Japanese Buddhism to show that Japanese women have always been active participants in Buddhism. Chapter Two examines three articles written by Japanese scholar-priests to argue that they are more concerned with praising Jōdoshū and Hōnen than addressing women’s relationship with Buddhism. Chapter Three looks at two Jōdoshū women’s groups in Kyoto and utilizes theories of ritualization and affect to argue that these experiences create new and mend existing relationships though Buddhism. Chapter Four looks at the Jōdoshū nun Kikuchi Yūken and her caring labor with young women in Tokyo to argue that her work ought to be considered a form of socially engaged Buddhism. Chapter Five moves beyond Jōdoshū to examine the International Ladies Association of Buddhism and argues that the women within the organization attempt to cultivate upper-class taste and an appreciation for an internationalization.

Thesis (Ph. D.)--University of Michigan, 1983. / Index of references to illustrations, leaves 643-646. Includes bibliographical references (v. 1, leaves 442-483).

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此文獻以淨土佛教中的解神話化爭議來闡述更為廣泛的議題，意即，西方人文學科的分類（在此則特指宗教哲學）是否、以及在何種程度上，對於識別和解釋現代東亞知識發展有所助益？ 在序章中，已對此一普遍議題對當代淨土佛教研究如何產生影響有所說明。該領域長期以來受到日本學者—特別是被歸類為所謂「宗學」的日本淨土教派的學者們—所左右。毋庸置疑地，這些學者們所用以談論淨土傳統的思想框架，強烈地受到19世紀末日本面對西方哲學、神學之衝擊所影響。然而，近幾年來，部分西方學者認為，這樣的觀點並不適用於中國淨土佛教的情況，因為在中國，淨土宗並非一有系統之思想內容，而僅是作為虔誠與儀式實踐。本論文將以不同的切入點來探討此爭議。本文關注於：當淨土信仰與實踐被置於「佛教詮釋學」中的爭議來論述時，意即，以較為精練的方法論來詮釋文本時，西方化的思想框架是否能夠充分地呈現這些佛經的「詮釋者」們最初的關懷。 本文所關注的議題，在於部分佛教現代主義者借助唯識思想來詮釋淨土信仰之傾向。如同在本書頭二章所敘述的，部分日本淨土「宗學家」將此種解讀歸類為將淨土佛教「解神話化」。在此，解神話被理解為對淨土神話的批判性詮釋，並以此回應現代化與西方化。此種詮釋亦被認為是回歸到淨土神話「真正的」意義，意即，阿彌陀佛實為內在真理之象徵，而非外存之他者。然而，如同第四章所述，在近代中國，以唯識學詮釋淨土教義的方法論發展，乃是對現代化之前、以及現代化早期所產生的、懸而未決之爭議的反動，而不僅是西方衝擊之下的產物。而如同第五章中所論及的，這些尚未塵埃落定的爭議其中之一，便是所謂「自性彌陀」是否應被理解為真正的救世主；又或者，其應當被視為嚮導、老師。 在接續的章節中，筆者將著重於特別選定的若干核心材料，藉以呈現前述之中國佛教徒開始大量接受現代西方概念後所發展出來的詮釋學爭論。第六章探討由19世紀在家學者沈善登所撰寫的論著《報恩論》之殘篇。就筆者所知，《報恩論》為可知成書年代的漢語文獻中，最早從「現代」觀點來檢視淨土宗與唯識學的關係之著作，意即，該類撰文者普遍熟知後啟蒙時代的西方觀點。第七章則分析中、日對於適切理解淨土宗解脫敘述的爭論。該爭論為1899年至1901年間，楊文會與淨土真宗的一組僧人，即小栗栖香頂和内記龍舟，之間的筆戰。此處所關注之抄本收載了楊文會對唯識思想與淨土信仰的關係最為早期之書面表態，意即，其堅信淨土信仰應當與唯識思想之研修相互連結。雖已有部分學者對該爭論進行研究，然而，此一特殊面向卻尚未引起太多關注。為了進一步解析前述之發展於民國初期的概念，第八章將以唐大圓之選文作為研究實例。作為改革派在家居士，唐大圓主要活躍於20至30年代之間，亦為西方概念匯聚之時期。本章不僅剖釋唐大圓之銘言：「行在淨土，解在唯識」，亦將闡述此奠基於唯識思想之「解」如何在對同期淨土傳統、特別是對法藏菩薩之神話理解的批評中，揭示呈顯出來。 最後，第九章將總結主要考察成果，並提出未來深入研究之可行方向。在第九章，筆者主張唯識思想為漢傳佛教提供了統一的準則來理解淨土神話，而此方式與兩種傳統解讀大相逕庭，意即，其並非彷彿單純的奉獻者一樣，照字面地將阿彌陀佛與淨土理解為「心外」之物，亦非如學院派讀法一般，將阿彌陀佛等同於心性。淨土信仰的唯識學詮釋能夠支持將阿彌陀佛視為人類社群的「啟發的領導者」此一現代想像；同時，其亦得以將佛教思想與現代對理想社會和社群發展的理念相互連結。

Hongyi (1860-1942) est le maître de l’école bouddhiste appelée « Terre Pure » en Chine moderne. Dans l'histoire du bouddhisme chinois, il est le seul maître bouddhiste qui peut se classer parmi les plus grands calligraphes chinois. Dans l'histoire de la calligraphie chinoise, il est le premier moine-calligraphe qui allie sa foi bouddhiste avec son art calligraphique tout en appliquant des principes de la peinture occidentale à son travail de calligraphie. Son art serve bien sa croyance religieuse et n’est pas indépendent de celle-ci, ce qui est extraordinaire dans l’histoire calligraphique. Il utilise le concept bouddhiste de «une forme sans forme» pour interpréter la calligraphie chinoise, et propose une série de théories calligraphiques bouddhistes pour guider sa pratique. D’ailleurs, sa calligraphie ne sert qu'à retranscrire les textes bouddhistes classiques et contemporains. Ses œuvres illustrent donc l'influence du bouddhisme chinois sur la calligraphie chinoise. Traditionnellement, la dernière œuvre d'un calligraphe est souvent considérée comme son chef-d'œuvre en fonction de deux critères: sa technique et son contenu moral. En outre, quelques-unes des dernières œuvres de grands calligraphes ont survécu. La rareté les rend encore plus précieuses. Bei xin ji jiao («悲欣交集») est la dernière œuvre de Hongyi, qui a été achevée trois jours avant son nirvana. Ce mémoire sera d'étudier et d'analyser l'influence de sa pensée bouddhiste sur le contenu littéraire et la forme artistique de cette œuvre, et d’expliciter qu’elle guide pleinement vers l'état ultime de sa pratique bouddhiste au plus haut niveau de sa calligraphie. / Hongyi (1860-1942) is a Master of Pure Land Buddhism in modern China. In the history of Chinese Buddhism, he is the only Buddhist Master who can rank among the greatest Chinese calligraphers. In the history of Chinese calligraphy, he is the first monk calligrapher who combines his Buddhist faith with his calligraphic art, and applies Western painting principles in his work of calligraphy. His calligraphic art well serves his religious belief, not independent from the latter as it is in most cases in the history. He uses the Buddhist concept of “a form without form” to interpret Chinese calligraphy, and puts forward a series of Buddhist calligraphic theories to guide his practice. Moreover, his calligraphy serves only to transcribe classical and contemporary Buddhist texts. In this sense, his calligraphic work exemplifies the influence of Chinese Buddhism on Chinese calligraphy. Traditionally, the last work of a calligrapher is often considered as his masterpiece according to two standards: its technique and its moral content. Furthermore, few of the last works by great calligraphers have survived. Scarcity makes these works even more valuable. Bei xin jiao ji (“悲欣交集”) is Hongyi’s last calligraphic work, which was completed three days before his nirvana. This thesis will study and analyze the influence of Hongyi’s Buddhist thought on the literary content and artistic form of this work and expounds that his last work fully displays the ultimate state of his Buddhist practice and the highest level of his calligraphy.