DOCSLIB.ORG

Situating the Myōan Kyōkai: a Study of Suizen and the Fuke Shakuhachi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Situating the Myōan Kyōkai: a Study of Suizen and the Fuke Shakuhachi Mau, Christian Theodore (2014) Situating the Myōan Kyōkai: a study of Suizen and the Fuke shakuhachi. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18260 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Situating the Myōan Kyōkai: A Study of Suizen and the Fuke Shakuhachi Christian Theodore Mau Thesis submitted for the degree of PhD in Ethnomusicology 2014 Department of Music SOAS, University of London 2 Abstract This thesis examines the activities of the Myōan Kyōkai, which is based at Myōan Temple in Kyoto Japan. It identifies the Myōan Kyōkai as a community and examines the contexts in which members pursue their activities, which are all centred around the shakuhachi, a Japanese end-blown bamboo flute. The shakuhachi itself is most often associated with the Fuke sect of Zen Buddhism and its monks/priests of ‘emptiness and nothingness’ (Komusō). After almost two centuries of holding a virtual monopoly of the instrument, the sect was proscribed by the Japanese government in 1871. Of the sect’s three main temples, only one (Myōan Temple) survives, albeit by necessity in a somewhat modified form. Research questions revolve around the theme of community. What factors contribute to forming the Myōan Kyōkai into a community and then what sustains it as a community? This study identifies three interdependent components that each play some part in defining the Myōan Kyōkai as a community: music, history, and religion. Given that the shakuhachi continues to have such strong links to Zen Buddhism, it has seen contextual changes that often include the concert stage or see it performed in recital-type situations. This thesis seeks to situate the shakuhachi within this larger context back into its original settings in order to illuminate the use of the shakuhachi in an organised and institutionalised form as currently practiced in a Zen temple. 3 Table of Contents Declaration for PhD Thesis..........................................................................................2 Abstract........................................................................................................................3 List of Illustrations.......................................................................................................6 Contents of Accompanying CD...................................................................................6 Conventions Used in this Thesis..................................................................................7 Acknowledgments........................................................................................................8 CHAPTER 1 Introduction: Purpose of this Thesis and Context of this Research..........................10 1.1 Preamble: A flute with multiple identities......................................................10 1.2 Purpose of this thesis......................................................................................14 1.3 Context of this research..................................................................................17 1.3.1 Performance contexts.............................................................................18 1.4 This researcher’s position within the context.................................................21 1.5 Context and Scope: The Myōan Shakuhachi in the Present...........................30 1.6 Methodology..................................................................................................33 1.7 Outline............................................................................................................37 CHAPTER 2 Literature Review......................................................................................................41 2.1 Overview of the Literature.............................................................................41 2.2 Historical Treatments.....................................................................................45 2.3 Musicological Treatments..............................................................................57 2.4 Ethnographic Treatments................................................................................69 2.5 Religious Treatments......................................................................................71 2.6 Conclusion......................................................................................................77 CHAPTER 3 The shakuhachi and the Fuke Sect: A history overshadowed by doubts..................79 3.1 The Shakuhachi..............................................................................................80 3.2 Brief History of the Fuke-shū and Komusō leading to Myōan Kyōkai.........82 3.3 The downfall and proscription of the Fuke sect.............................................93 3.4 Crossing Class Lines: Path to Defeat or a Type of Victory?..........................95 3.5 Reemergence: Founding of the Myōan Kyōkai and Resurrection of Myōan Temple...................................................................................................................98 3.6 Conclusion: The Fuke sect re-invented and perpetuated as Myōan Kyōkai 103 CHAPTER 4 Musical Praxis I: Blowing Zen................................................................................111 4.1 Contexts of Blowing Zen.............................................................................113 4.2 Blowing Zen: A Look at the Suizen-kai (Blowing Zen Gathering).............115 4.2.1 Suizen-kai.............................................................................................119 4.2.2 Benkyō-kai...........................................................................................127 4.3 Kaiden-shiki.................................................................................................130 4.4 Tai-kai...........................................................................................................134 4.5 Unpacking Performance...............................................................................136 4.6 Combining Practice and Performance..........................................................144 4 4.7 Conclusion: From solitude to gathering and forming communities.............145 CHAPTER 5 Musical Praxis II: Introduction to the Repertoire...................................................151 5.1 Overview of the Repertoire..........................................................................151 5.2 Core Repertoire............................................................................................154 5.3 Levels and Steps leading to Kaiden/Dōshu..................................................160 5.3.1 Additional Repertoire...........................................................................168 5.4 Transmission: Textual and Oral Considerations...........................................170 5.5 Notational system.........................................................................................174 5.6 Conclusion....................................................................................................181 CHAPTER 6 Musical Praxis III: A Closer Look at the Repertoire...............................................183 6.1 Musical and Stylistic Tendencies.................................................................183 6.2 ‘Transcriptions’ of Honte Jōshi and Azuma Jishi.........................................193 6.2.1 Honte Jōshi...........................................................................................194 6.2.2 Azuma Jishi..........................................................................................195 6.3 Conclusion....................................................................................................196 CHAPTER 7 Situating the Myōan Kyōkai...................................................................................198 7.1 Myōan Kyōkai: Religious sect, club, society (or what)?.............................198 7.2 Who becomes a member?.............................................................................209 CHAPTER 8 Conclusion..............................................................................................................213 BIBLIOGRAPHY....................................................................................................219 DISCOGRAPHY.....................................................................................................230 APPENDIX 1 Roman to Japanese Transliteration of Key Words and Names........232 APPENDIX 2 Fingering Charts and Score Examples.............................................238 APPENDIX 3 Distribution of the membership.......................................................246 5 List of Illustrations Photo 1.1: Gate to Myōan Temple, Kyoto...................................................................9 Photo 1.2: Contemporary Komusō............................................................................20
Load more

Recommended publications
  • AUSTRALIAN SHAKUHACHI SOCIETY NEWSLETTER Nr
    AUSTRALIAN SHAKUHACHI SOCIETY NEWSLETTER Nr. 10 June-July 2002 P.O. Box 63. Woodford, NSW. 2778 and tuned to the bamboo itself rather than western standards of pitch. As a result, jinashikan are solo instruments that some feel more closely reflect the mood and spirit of shakuhachi honkyoku ("original" zen music). I am very excited about this new direction in which myflute making is moving and am presently focusing on perfecting the design of these instruments. I hope soon to expand the range of available sizes to include 2.0' and 2.1' as well as 2.9' and 3.0'. I've had the opportunity to show my jinashikan to a number of well-known shakuhachi teachers and players, all of whom were very enthusiastic about the way they performed. After 32 years, of making shakuhachi, I feel as if my contract is being renewed. Thanks so much for your support and encouragement over the years. It is greatly appreciated. If you would like to learn more about jinashikan, please go to: http://www.shakuhachi.com/Q-Models-Jinashi.html For a listing of jinashi shakuhachi in stock, go to: http://www.shakuhachi.com/TOC-JinashiInStock.html Please get back to me if you have any questions. This newsletter is a bit thinner this edition as I have not been able to pin down some authors to submit new articles.. This is your news letter so please keep those ~~~~~~~~~~~~~~~ cards and letters, photos, web links etc etc, rolling in…. You can always reach me at: [email protected] Jane Suffield has moved from Wagga Wagga to Melbourne.
    [Show full text]
  • Buddhism in America
    Buddhism in America The Columbia Contemporary American Religion Series Columbia Contemporary American Religion Series The United States is the birthplace of religious pluralism, and the spiritual landscape of contemporary America is as varied and complex as that of any country in the world. The books in this new series, written by leading scholars for students and general readers alike, fall into two categories: some of these well-crafted, thought-provoking portraits of the country’s major religious groups describe and explain particular religious practices and rituals, beliefs, and major challenges facing a given community today. Others explore current themes and topics in American religion that cut across denominational lines. The texts are supplemented with care- fully selected photographs and artwork, annotated bibliographies, con- cise profiles of important individuals, and chronologies of major events. — Roman Catholicism in America Islam in America . B UDDHISM in America Richard Hughes Seager C C Publishers Since New York Chichester, West Sussex Copyright © Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Seager, Richard Hughes. Buddhism in America / Richard Hughes Seager. p. cm. — (Columbia contemporary American religion series) Includes bibliographical references and index. ISBN ‒‒‒ — ISBN ‒‒‒ (pbk.) . Buddhism—United States. I. Title. II. Series. BQ.S .'—dc – Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper.
    [Show full text]
  • Fall 1969 Wind Bell
    PUBLICATION OF ZEN •CENTER Volume Vilt Nos. 1-2 Fall 1969 This fellow was a son of Nobusuke Goemon Ichenose of Takahama, the province of Wakasa. His nature was stupid and tough. When he was young, none of his relatives liked him. When he was twelve years old, he was or<Llined as a monk by Ekkei, Abbot of Myo-shin Monastery. Afterwards, he studied literature under Shungai of Kennin Monastery for three years, and gained nothing. Then he went to Mii-dera and studied Tendai philosophy under Tai-ho for. a summer, and gained nothing. After this, he went to Bizen and studied Zen under the old teacher Gisan for one year, and attained nothing. He then went to the East, to Kamakura, and studied under the Zen master Ko-sen in the Engaku Monastery for six years, and added nothing to the aforesaid nothingness. He was in charge of a little temple, Butsu-nichi, one of the temples in Engaku Cathedral, for one year and from there he went to Tokyo to attend Kei-o College for one year and a half, making himself the worst student there; and forgot the nothingness that he had gained. Then he created for himself new delusions, and came to Ceylon in the spring of 1887; and now, under the Ceylon monk, he is studying the Pali Language and Hinayana Buddhism. Such a wandering mendicant! He ought to <repay the twenty years of debts to those who fed him in the name of Buddhism. July 1888, Ceylon. Soyen Shaku c.--....- Ocean Wind Zendo THE KOSEN ANO HARADA LINEAOES IN AMF.RICAN 7.llN A surname in CAI':> andl(:attt a Uhatma heir• .l.incagea not aignilleant to Zen in Amttka arc not gi•cn.
    [Show full text]
  • Zen Is a Form of Buddhism That Developed First in China Around the Sixth Century CE and Then Spread from China to Korea, Vietnam and Japan
    Zen Zen is a form of Buddhism that developed first in China around the sixth century CE and then spread from China to Korea, Vietnam and Japan. The term Zen is just the Japanese way of saying the Chinese word Chan ( 禪 ), which is the Chinese translation of the Sanskrit word Dhyāna (Jhāna in Pali), which means "meditation." In the image above one sees on the left the character 禪 in Japanese calligraphy and on the right an ensō, or Zen circle. In Japan the drawing of such a circle is considered a high art, the expression of a moment of enlightenment by the Zen master calligrapher. The tradition known as Chan Buddhism in China, and Zen Buddhism in Japan, brings together Mahāyāna Buddhism and Daoism. This confluence of Buddhism and Daoism in Zen is most obvious in the Chinese script on the left which reads: "The heart-mind (xin 心) is the buddha (佛), the buddha (佛) is the path (dao 道), the path (dao 道) is meditation (chan 禪)." The line is from a text called the Bloodstream Sermon attributed to the legendary Bodhidharma. An Indian meditation master, Bodhidharma had come to China around 520 CE and in time would come to be regarded as the first patriarch of Chan Buddhism. In Bodhidharma’s Bloodstream Introduction to Asian Philosophy Zen Buddhism Sermon (in the Chan Buddhism online selections) it is evident that Bodhidharma had absorbed something of Daoism after he came to China. The Mahāyāna Buddhist teachings that are most evident in Bodhidharma’s text are the teachings of emptiness (Śūnyatā) from the Prajñāpāramitā Sūtras as well as the notion of the buddha-nature (dharmakāya) that is part of the Mahāyāna teaching of the three bodies (trikāya) of the Buddha.
    [Show full text]
  • Asahi Falls —Mendicant Shakuhachi Monks and the Izu Pennisula— Christopher Yohmei Blasdel
    Asahi Falls —Mendicant Shakuhachi Monks and the Izu Pennisula— Christopher Yohmei Blasdel Asahi Falls, Ōdaira, Izu. Photograph by the author. 1 The anfractuous road from Shūzen-ji to the Amagi Pass winds through the middle of the mountainous Izu Peninsula. It cuts across small villages, traverses deep rivers filled with fresh, running waters and traces hairpin curves that straddle exquisitely terraced rice paddies. Every turn offers a stunning vista of towering mountains and verdant slopes. These views are juxtaposed with glimpses of local daily life as village residents make their way back and forth from school, shopping or their work in the fields and forests. One of the small communities the road passes along the way is Ōdaira. From the center of this settlement, a small lane leaves the road and makes its way up westward to the edge of the mountain, where is situated the remains of an old temple, a shrine and a magnificent waterfall that cascades from on high out of the forested hillside. This eastward-facing waterfall is named Asahi Daki (“Morning-sun waterfall”), and the name of temple—or the empty space where it once stood—is Rōgen-ji (literally, “origin of the waterfall”). A sign at the entrance to the area tells the visitor that Rōgen-ji was a ko- musō temple. Komusō, the sign informs us, were a band of itinerant monks who covered their heads with deep basket hats, called tengai, and wandered the Japanese countryside playing the shakuhachi bamboo flute and begging for alms. These monks belonged to the Fuke Sect, which was loosely connected to the Rinzai sect of Zen Buddhism, and Rōgen-ji was an affiliate temple of Rei- hō-ji Temple in Ōme, now a municipality of Tokyo in western mountainous re- gion.
    [Show full text]
  • SHIN DHARMA NET AS VIRTUAL DÖJÖ Scott A. Mitchell Introduction
    SHIN DHARMA NET AS VIRTUAL DÖJÖ Scott A. Mitchell Introduction Prompted by economic hardships in their homeland, Japanese immigrants began to make their way to the Kingdom of Hawai'i and the west coast of the United States in the 1880's. Bringing with them their language, their customs, and their religion, it was not long before this formidable group of laborers made requests for spiritual guidance from the temples back home. The Nishi Hongwanji branch of Jödo Shinshü sent several ministers both to Hawai'i and the mainland, and by the end of the nineteenth century, the Honpa Hongwanji Mission in Hawai'i and the Buddhist Mission of North America (later to become the Buddhist Churches of America) were both well established. At first, these institutions catered to the needs of the immigrant communities and their children walking the delicate balance between preserving Japanese traditions and acclimating themselves to their new cultural environment. This community, as is well known, was shaken to its core by the events of the Second World War and the subsequent internment of tens of thousands of Japanese Americans, many of whom were United States citizens. Nevertheless, emerging from the camps to resettle old homes and create news ones, the Honpa Hongwanji Mission and the Buddhist Churches of America reestablished themselves as the loci of religious and cultural support within Japanese-American communities. Today, over a hundred years after their inception, these two institutions comprise nearly a hundred individual temples and churches in Hawai'i and the mainland. With roots that reach deep not only into their rich cultural heritage in Japan and North America, these communities take part fully in 208 Scott Mitchell mainstream cultural life.
    [Show full text]
  • Shinjin, Faith, and Entrusting Heart: Notes on the Presentation of Shin Buddhism in English
    Shinjin, Faith, and Entrusting Heart: Notes on the Presentation of Shin Buddhism in English Daniel G. Friedrich 浄土真宗の「信心」をいかに英語で伝えるか？ ―ローマ字表記と英語訳をめぐる論考― フリードリック・ダニエル・G Abstract In 1978 with the publication of the Letters of Shinran: A translation of the Mattōshō, translators working at the Hongwanji International Center sparked a debate that continues at present regarding the translation or transliteration of the term shinjin. That this debate continues into the present day is not surprising when we consider that shinjin is the cornerstone of Shin Buddhist paths of awakening. This paper begins by analyzing shinjin within Shinran’s writings and the Shin Buddhist tradition. Second, it examines arguments for and against either the transliteration or translation of shinjin. This paper then concludes by arguing that depending on context it is necessary to employ both strategies in order to properly communicate Shin Buddhism in English. Key words : shinjin, faith, entrusting heart, translation, transliteration, Jōdo Shin-shū (Received September 30, 2008) 抄 録 1978 年に『末灯鈔』（親鸞の書簡）の英訳を出版するにあたり、本願寺国際センター翻 訳部では、「信心」という用語を英語に翻訳するか、そのままローマ字表記にするかにつ いて論争が起こった。この問題に関する議論は現在も継続中である。「信心」が浄土真宗 の要の概念であることを考えれば、議論が今も続いていること自体は驚くにはあたらない。 本論は、まず親鸞の著書と真宗教学における「信心」の意味を分析し、次に「信心」を英 語の用語で言い換える立場とローマ字表記にする立場の両者の主張を検証する。結論では、 英語圏の人々に浄土真宗を伝えるためには、文脈に応じて二通りの方法を使い分けること が必要だと述べる。 キーワード：信心、翻訳、ローマ字表記、浄土真宗 （2008 年 9 月 30 日受理） － 107 － 大阪女学院大学紀要５号（2008） Introduction In 1978 with the publication of the Letters of Shinran: A translation of the Mattōshō1, the Hongwanji International
    [Show full text]
  • Zen Masters at Play and on Play: a Take on Koans and Koan Practice
    ZEN MASTERS AT PLAY AND ON PLAY: A TAKE ON KOANS AND KOAN PRACTICE A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brian Peshek August, 2009 Thesis written by Brian Peshek B.Music, University of Cincinnati, 1994 M.A., Kent State University, 2009 Approved by Jeffrey Wattles, Advisor David Odell-Scott, Chair, Department of Philosophy John R.D. Stalvey, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements iv Chapter 1. Introduction and the Question “What is Play?” 1 Chapter 2. The Koan Tradition and Koan Training 14 Chapter 3. Zen Masters At Play in the Koan Tradition 21 Chapter 4. Zen Doctrine 36 Chapter 5. Zen Masters On Play 45 Note on the Layout of Appendixes 79 APPENDIX 1. Seventy-fourth Koan of the Blue Cliff Record: 80 “Jinniu’s Rice Pail” APPENDIX 2. Ninty-third Koan of the Blue Cliff Record: 85 “Daguang Does a Dance” BIBLIOGRAPHY 89 iii ACKNOWLEDGEMENTS There are times in one’s life when it is appropriate to make one’s gratitude explicit. Sometimes this task is made difficult not by lack of gratitude nor lack of reason for it. Rather, we are occasionally fortunate enough to have more gratitude than words can contain. Such is the case when I consider the contributions of my advisor, Jeffrey Wattles, who went far beyond his obligations in the preparation of this document. From the beginning, his nurturing presence has fueled the process of exploration, allowing me to follow my truth, rather than persuading me to support his.
    [Show full text]
  • Personal Stories ... Responses to Shin Buddhism
    Personal Stories ... Responses to Shin Buddhism D.C., Missouri I have lived my entire life in the St. Louis area. My education includes a B.A. from Southern Illinois University in Government, History & Sociology and an M.A. from Webster University in Business Administration. I have worked since 1967 as an accountant, currently serving as Treasurer of a small manufacturing company in St. Louis. Our companies claim to fame is that our co-founder was T.S. Eliot's father. Although I have earned my living for thirty plus years as an accountant, my interest has always been in the area of comparative religion/sociology of religion. At age 40 I met and married a research nurse who is currently working with the department of Geriatrics for St Louis University Medical School. In 1986 after two years of marriage we became foster parents with the hope of eventually adopting. Finally in 1990, we were able to adopt three brothers-the three youngest of a sibling group of seven. The boys are now 12, 10 and 8. I was raised in a Southern Baptist church which I rejected in my early teens and have been searching since then for a satisfactory outlet for my religious impulses. I was always uncomfortable with the ideas of eternal punishment for people who did not belong to the right religion, with the idea that Jesus was God (in a unique way), with the idea of the inerrancy of the King James version of the bible, and the idea that all religions other than evangelical Protestant Christianity were totally wrong.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Myōan Eisai And
    UNIVERSITY OF CALIFORNIA Los Angeles Myōan Eisai and Conceptions of Zen Morality: The Role of Eisai's Chinese Sources in the Formation of Japanese Zen Precept Discourse A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Asian Languages and Cultures by Dermott Joseph Walsh 2018 ABSTRACT OF THE DISSERTATION Myōan Eisai and Conceptions of Zen Morality: The Role of Eisai's Chinese Sources in the Formation of Japanese Zen Precept Discourse by Dermott Joseph Walsh Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2018 Professor William M. Bodiford, Chair The focus of this dissertation is Myōan Eisai, considered by scholarship as the founder of the Rinzai Zen lineage in Japan. This work aims to answer two interrelated questions: what is Eisai's Zen? and how does Eisai's Zen relate to other schools of Buddhism? Through an analysis of Eisai's texts composed following his return from his second trip to China in 1187, I illustrate the link between Eisai's understanding of Zen and the practice of morality im Buddhism; moreover this dissertation shows clearly that, for Eisai, Zen is compatible with both Tendai and the study of the precepts. This work analyzes the Eisai's use of doctrinal debates found in Chinese sources to argue for the introduction of Zen to Japan. Through this analysis, we see how Eisai views ii Zen, based on his experience in Chinese monasteries, not as a distinct group of practitioners rebelling against traditional forms of practice, but rather as a return to fundamental Buddhist positions concerning the importance of morality and its relationship to meditative practices.
    [Show full text]
  • A POPULAR DICTIONARY of Shinto
    A POPULAR DICTIONARY OF Shinto A POPULAR DICTIONARY OF Shinto BRIAN BOCKING Curzon First published by Curzon Press 15 The Quadrant, Richmond Surrey, TW9 1BP This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Copyright © 1995 by Brian Bocking Revised edition 1997 Cover photograph by Sharon Hoogstraten Cover design by Kim Bartko All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0-203-98627-X Master e-book ISBN ISBN 0-7007-1051-5 (Print Edition) To Shelagh INTRODUCTION How to use this dictionary A Popular Dictionary of Shintō lists in alphabetical order more than a thousand terms relating to Shintō. Almost all are Japanese terms. The dictionary can be used in the ordinary way if the Shintō term you want to look up is already in Japanese (e.g. kami rather than ‘deity’) and has a main entry in the dictionary. If, as is very likely, the concept or word you want is in English such as ‘pollution’, ‘children’, ‘shrine’, etc., or perhaps a place-name like ‘Kyōto’ or ‘Akita’ which does not have a main entry, then consult the comprehensive Thematic Index of English and Japanese terms at the end of the Dictionary first.
    [Show full text]
  • Leef Groots NU Boek.Indd 1 30-10-2012 11:16:47 Leef Groots NU Boek.Indd 2 30-10-2012 11:16:48 Uitgegeven Door Kinetics Communicatie BV
    Leef Groots NU boek.indd 1 30-10-2012 11:16:47 Leef Groots NU boek.indd 2 30-10-2012 11:16:48 Uitgegeven door Kinetics Communicatie BV Contact & informatie: [email protected] www.leefgroots.nu (voor meer grootse inspiratie met onder andere flms, muziek & interviews) ISBN: 978-90-818830-1-6 NUR 728, 808 © 2012 Lars Faber, Gasselte Omslagontwerp & grafsch ontwerp binnenwerk: Lars Faber Heb je echt geleefd als er geen passie in je leven is? Vind je passie, welke die ook moge zijn. Word je passie, laat haar jou worden en je zal ontdekken dat er grote dingen voor jou, met jou en door jou gebeuren. (T. Alan Armstrong) Leef Groots NU boek.indd 3 30-10-2012 11:16:48 INHOUDSOPGAVE VOORWOORD: Prof. Dr. Paul de Blot SJ VOORWOORD II: Tex Gunning INLEIDING: Lars Faber DEEL I: GROOTS LEVEN 1. Leef groots 14 2. Toon je grootsheid 18 3. Houd het kanaal open 20 4. Het geheim van het leven: het is zó voorbij… 22 5. Er zijn geen gewone momenten 24 6. Voorbij de dood 26 7. In het Licht 28 8. Hoe ziet jouw Bucket List eruit? 30 9. Waar draait het leven écht om? 32 10. Ik ben liever as dan stof 34 11. Durf groots te dromen 36 12. Leef het leven waar je van droomt 40 13. Waar word jij opgewonden van? 42 14. Stel grootse doelen 44 15. Haal jezelf niet onderuit 46 16. Je bent prachtig: durf te schitteren 50 17. Als je het kunt zien, kun je het zijn 52 18.
    [Show full text]