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

The purpose of the investigation was to determine the effectiveness of Zen meditation practice in facilitating positive change on the personality variables time competence, inner direction, locus of control, and field independence, as well as to investigate the subjective experiences of novice meditators. Two population groups were included in the study: a student group and a clinical group. The student-population group consisted of forty-six undergraduate college students. The student subjects were randomly assigned to one of three groups: experimental group (Zen meditation group taught to focus attention on the breath, as well as a formal Zen posture), placebo group (formal Zen posture only), or control group (no treatment). The clinical-population group consisted of thirty-seven in-patient volunteers from the alcoholic-drug unit of a psychiatric state hospital. The clinical subjects were randomly assigned to either an experimental group (Zen meditation group which practiced focused attention on the breath, as well as a formal Zen meditation posture) or a control group (no treatment).

Esta dissertação investiga a produção de haikais do poeta curitibano Paulo Leminski, tomando como corpus de análise sua produção das décadas de 1970 e 1980, período de maior intensidade artística, a partir das obras Caprichos e Relaxos (1983) e La vie en close (1994). A investigação será possível mediante a constituição - pelo caminho das críticas literárias brasileira e francesa, de Benedito Nunes a Maurice Blanchot - de um espaço interseccional em que (i) a obra literária possa se abrir para o mundo, reatando os liames com o real; (ii) a literatura e a filosofia possam dialogar, sem nenhuma relação antipodal; (iii) a poesia se encontre com o pensamento oriental e com o Zen-budismo. Deste modo, defendemos a tese de que o haikai, pela sua estética do ver, do sentir e do experienciar o mundo, é a fina flor da poesia, e que os haikais de Leminski, em diálogo com a tradição nipônica e com a filosofia Zen, são carregados de experiência mística e contemplativa, um caminho em direção ao Nada.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-05-15T12:25:28Z No. of bitstreams: 1 normaribeironassersalomao.pdf: 2554843 bytes, checksum: 8eb85afd198857663b5d583aefa1dc6f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T15:53:45Z (GMT) No. of bitstreams: 1 normaribeironassersalomao.pdf: 2554843 bytes, checksum: 8eb85afd198857663b5d583aefa1dc6f (MD5) / Made available in DSpace on 2017-05-17T15:53:45Z (GMT). No. of bitstreams: 1 normaribeironassersalomao.pdf: 2554843 bytes, checksum: 8eb85afd198857663b5d583aefa1dc6f (MD5) Previous issue date: 2014-12-17 / Este trabalho propõe-se a lançar um olhar sobre o ver em Thomas Merton ao deixar-se tocar pela espiritualidade Zen budista na sua trajetória cristã. O eixo central desta tese será, portanto, o foco na sua via mística em comunhão com a natureza. A rigorosa tradição monástica Zen e o monasticismo trapista da Ordem Cisterciense assemelham-se na rígida disciplina de sua vida cotidiana. A criação para Merton está associada à visão de sacralidade, sendo que este amor é compartilhado pela perspectiva do Zen Budismo, no qual Natureza/Despertar são inseparáveis. A sede de Deus e de aprendizado levou o monge a uma peregrinação pelo continente asiático. Na sua busca da grande compaixão, ele encontrou o outro lado da montanha e viveu experiências místicas definitivas em sítios sagrados da Ásia. / This study proposes one sharp “looking” at Thomas Merton’s “seeing” considering how he let himself to be touched by the Zen Buddhist spirituality on his Christian journey. The axis of this thesis will be, therefore, to promote a focus on his mystic life lived in a great communion with the nature. The strict Zen monastic tradition and the trapist monasticism of the Cisters are really alike on their rigid disciplines taken seriously for the everyday living by the monks. The Creation in accordance with Merton’s thoughts is extremely associated with the vision of sacrality, furthermore the divine love is shared through a Zen perspective where nature/ to awake are inseparable. Thirsty of God and learning he has done a pilgrimage around the eastern continent and on his search for the great compassion he finally found the “other side of the mountain”, or in another words: he has lived many remarkable mystic experiences indeed while visiting some Asian sacred places.

Zen Buddhism Thoughts and their Reflection in Japanese Art This thesis covers the development of Chan and Zen Buddhism thoughts, their effect on Japanese culture and their reflection in specific art forms. In the first part, it summarizes the arriving and settling of Zen in Japan as a follow-up to Chan development in China and as a reaction to the preceeding Buddhist schools in Japan. In the second part it deduces a set of criteria for defining "Zen Arts" from the general trends in taste at that time. And in the third part, it compares the differences in architecture, landscape design and painting before and after the influence of Zen. It follows the changes in development of specific components and techniques of these art forms and on this basis it determines what are the key Zen Buddhism thoughts that are expressed by that and how.

Zugl.: Regensburg, Univ., Diss., 2007.

Thesis (doctoral)--University of Helsinki Graduate School, Institute for Asian and African Studies. / Includes bibliographical references (p. 321-330).

Il existe deux approches, culturelle et cinématographique, dans les recherches sur Ozu. En réponse au conflit entre les deux, nous proposons de retourner plus profondément aux idées essentielles du bouddhisme Zen qui affectent la culture et l’esthétique traditionnelles japonaises, pour obtenir un nouveau regard sur la richesse et la profondeur de son cinéma. Le style du « ni s’attacher ni quitter » d’Ozu vient de la pensée bouddhiste « La couleur même est la vacuité. » « Couleur » signifie « phénomène », le bouddhisme affirme que dans l’univers de vacuité, tout phénomène est changeant et temporaire, à savoir impermanent. Dans notre recherche, nous analyserons comment Ozu nous permet d’apercevoir et de comprendre la réalité de l’impermanence de l’univers et de la vie, à travers l’arrangement d’éléments du vide et du plein, et nous inspire à chérir la compagnie des émotions humaines dans la vie impermanente. Nous constaterons que c’est juste l’interpénétration entre le vide et le plein, entre l’absence et la présence, qui fait naître dans le cinéma d’Ozu une tension qui nous touche. Et son cinéma est pour ainsi dire une manifestation de « la couleur de la vacuité ». / There are two approaches, cultural and cinematographic, in the study of Yasujiro Ozu’s films. In response to the conflict between the two, and to view the richness and depth of Ozu’s works from a new perspective, I propose to return to Zen Buddhism ideas, which are deeply rooted in Japanese culture and aethetics. Ozu’s style of “neither attaching nor quitting" comes from the Buddhist idea that "Color is Emptiness”. "Color" means "phenomenon"; Buddhism asserts that in the universe of Emptiness, all phenomena are changeable and temporary, namely, impermanent. In my research, I will analyze how Ozu, by arranging elements of emptiness and fullness, reveals to us that impermanence is the reality of universe and life, and inspires us to cherish our companies in the impermanent life. We will find that it is the interpenetration of emptiness and fullness, of absence and presence, which give rise to the tension in Ozu’s films. And these films are the manifestation of “the Color of Emptiness”.

In over three decades since their 1993 debut, the hip-hop artists known as RZA and Wu-Tang Clan created a world whose significance (for them) transcends the local contingencies of time, place, race, and religion. Whether it is by their creating a world based on filmic myths, by their conquering the world via hip-hop and finding their destiny in a Chinese sacred landscape, by their making themselves symbolic of a perennial worldview, or by their reimagining of their possibilities against the historical terrors of racism, in each case we find an ongoing quest for transcendence that at least for their leader, RZA, demonstrates the meaning of the Wu-Tang Clan. This study sets out to demonstrate this latter point. Framing its discussion in terms of world and worldmaking, I argue that the fundamental thread of significance that ties together the mythical world of the Wu, especially from the perspective of RZA, is a quest for transcendence, a project that is replete with stylistic, spiritual, existential, cross-cultural, and racial implications. While this is no biography of the Wu-Tang Clan, each chapter, starting with Chapter 2, asks how and why this quest takes shape in a sequentially ordered discussion of Wu’s worldmaking career. In arguing my point, I mainly take a phenomenological approach to RZA and the Wu-Tang Clan’s cultural productions, describing and interpreting various forms of Wu-associated media (songs, compact discs, album concepts and graphic designs, films, books, and more) from 1993 to the early 2020s. Between the practices of cultural criticism and interpretation, the study also draws from and contributes to Afro-Asian studies and Religious Studies. / Dissertation / Doctor of Philosophy (PhD) / This is a study of the Wu-Tang Clan, a hip-hop group from Staten Island, New York. It argues that for over two decades since their 1993 debut, the Wu-Tang Clan has come to produce not only a long resume of music and other media but a mythic world. Furthermore, for the purpose of maintaining this world across time, Wu’s leader, RZA (pronounced “Rizah’), has aimed to make the Wu-Tang Clan symbolic of a universal worldview that transcends their local culture, history, place of origin, religion, and race.

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.