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--University of Pennsylvania. / Includes bibliographical references and index.

Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Vita. "List of characters": leaves 355-360. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 361-384).

Thesis (Ph.D.)--University of Pennsylvania, 2002. / Adviser: Victor Mair. Includes bibliographical references.

<i>The Unravelers</i> is a Buddhist novel of literary fiction, which to my knowledge is the first in the last one hundred years to synthesize the Buddhist teachings and values found in the suttas of the <i>Pāli</i> Canon, the theory of ancient Indian <i>kāvya</i> literature, and the latest stylistic and structural innovations of contemporary literary fiction. The narrative follows four characters from the moment of their deaths as they manipulate the process of becoming—the mental act of creating and entering into “worlds”. The novel depicts the characters’ development of dispassion for a variety of realms, resulting in their eventual return to the human world with the motivation necessary to practice the Buddhist path. My critical essay opens with an introduction to <i>kāvya </i>and Theravāda Buddhist concepts that are particularly relevant to the process of creating a fictional world— namely, <i>saṅkhāra </i>(fabrication) and <i>bhava </i>(becoming)—and the inherent karma of writing. Section II “Literary Review” explores narrative modes from Theravāda Buddhist literature and develops them through experimental narrative modes of contemporary literary fiction. Section III discusses the depiction of becoming, fabrication, and dispassion through the novel’s characters. Section IV “<i>Rasa</i>,” explains the theory of how a reader experiences the work’s savor, while relating the use of <i>rasa </i>in<i> The Unravelers</i> to the early Buddhist <i>kāvyas </i>(the <i>Pāli </i>Canon’s <i>Udāna </i>and <i>Dhammapada</i>, and two works by Aśvaghoṣa). Section V evaluates the classic use of Buddhist concepts and metaphors in Aśvaghoṣa’s <i>Handsome Nanda</i> as compared to<i> The Unravelers</i>. Section VI examines Jack Kerouac’s <i>The Dharma Bums</i> as a forerunner to the genre of the Buddhist novel and Keith Kachtick’s <i>Hungry Ghost</i> as archetypal. Section VII concludes by detailing<i> The Unravelers</i>’ contribution to the Buddhist novel.

<p>Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.</p><p>Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.</p><p>The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.</p>

University of Macau / Faculty of Social Sciences and Humanities / Department of History

Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context. Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha. The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.

This study investigated what constitutes a moral development program in Buddhist temple preschools in Thailand. The researcher employed three qualitative methods: structured, in-depth interviews, observations of teachers' instruction, and document analysis of curriculum guides. Four Buddhist temple preschools were selected as the sites. Participants for interview included three abbots and one head nun, four principals, and twelve teachers. Participants for observations included four teachers of third year classes in each preschool. The study concentrated on four research questions: (a) what are the elements of the character education curriculum? (b) How do teachers teach moral development concepts and skills? (c) What are the teachers' perceptions of the moral development of third year preschoolers? (d) How do teachers assess their pupils' moral development? Key findings for the research questions were: character education was not a subject in the National Preschool Curriculum which was implemented in the Buddhist temple preschools. Core morality was integrated into every topic. The moral behaviors emphasized in the curriculum and the lesson plans included discipline, mindfulness, kindness, helpfulness, patience, honesty, respect, thriftiness, and politeness. The Buddhist concept of the process of moral development includes character education and meditation. The preschoolers were trained to pay respect to teachers and parents as an obedience approach to character education. Preparation of teachers included screening for their values and pre-service training. The instruction of meditation was approached gradually and aroused the children's interest. After three years of schooling, the third year preschoolers were well-behaved, helpful, and kind; no aggressive behaviors were reported. The assessment of moral development of preschoolers was based on observation of the teachers throughout the school year. Implications for practice are discussed, including procedures for gathering information on beliefs, attitudes, and culture of the parents before implementation of different models of moral development. Finally, future research directions are proposed.

No description available.