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Why Buddhism Baffles the West
WHY BUDDHISM BAFFLES THE WEST None of the world’s major religions is more richly varied than Buddhism. From the time of its birth some 2,500 years ago in India, it was reworked and reshaped over and over again as it spread to the many kingdoms of Asia—and, recently, to the West. In each of these lands, Buddhism profoundly influenced local cul- tures, and was in turn profoundly remolded by them—so much so that today’s adherents some- times even honor different Buddhas. Such variety makes it all the more ironic, our contributors point out, that Westerners today have such a one-dimen- sional picture of the faith the Buddha spawned. 72 Jan Nattier on America’s three varieties of Buddhism 81 Donald K. Swearer on the worldliness of Buddhism Buddhism Comes To Main Street by Jan Nattier uddhism is big news in America these days. Whether through a New York Times article carrying the Dalai Lama’s Blatest remarks or a CNN spot on a political fund-raising scandal at a Taiwanese branch temple in Los Angeles, whether by seeing Bernardo Bertolucci’s Little Buddha or following Tina Turner’s life story in What’s Love Got to Do With It?, Americans have become more aware than ever before of something called “Buddhism.” But it is not only as interesting bits of cultural and polit- ical exotica that Buddhism has entered the American consciousness. Increasingly, Americans themselves are becoming Buddhists. Though precise statistics are impossible to come by, according to most esti- mates between one and two million Americans now consider them- selves practicing Buddhists. -
Doc Nyc Announces Final Titles Including
DOC NYC ANNOUNCES FINAL TITLES INCLUDING WORLD PREMIERE OF BRUCE SPRINGSTREEN & THE E STREET BAND’S “DARKNESS ON THE EDGE OF TOWN” CONCERT FILM AT ZIEGFELD THEATER ON NOVEMBER 4TH AND “MOMENTS OF TRUTH” FEATURING ALEC BALDWIN AND OTHER FAMOUS FIGURES DISCUSSING THEIR FAVORITE DOC MOMENTS New York, NY, October 19th 2010 - DOC NYC, New York’s Documentary Festival, announced its final slate of titles including the world premiere of “Darkness on the Edge of Town,” a new concert film with Bruce Springsteen & the E Street Band performing their classic album. The film will screen at the Ziegfeld Theatre on November 4. Directed by the Grammy and Emmy award winner Thom Zimny, the film was shot last year at the Paramount Theatre in Asbury Park, NJ in an unconventional manner without any audience in attendance. Springsteen’s manager Jon Landau has said this presentation “best captures the starkness of the original album.” The film will be released on DVD as part of the box set “The Promise: The Darkness on the Edge of Town Story” later in November. “We wanted to give fans a one night only opportunity to see this spectacular performance on the Ziegfeld’s big screen,” said DOC NYC Artistic Director Thom Powers. A portion of the proceeds from this screening will be donated to the Danny Fund/Melanoma Research Alliance – a non-profit foundation devoted to advancing melanoma research and awareness set up after the 2008 passing of Danny Federici, longtime Springsteen friend and E-Street Band member. DOC NYC will help launch a new promo campaign of shorts called “Moments of Truth,” in which noteworthy figures (actors, politicians, musicians, etc) describe particular documentary moments that moved them. -
PUBLICATION of SAN FRANCISCO ZEN CENTER Vol. XXXVI No. 1 Spring I Summer 2002 CONTENTS
PUBLICATION OF SAN FRANCISCO ZEN CENTER Vol. XXXVI No. 1 Spring I Summer 2002 CONTENTS TALKS 3 The Gift of Zazen BY Shunryu Suzuki-roshi 16 Practice On and Off the Cushion BY Anna Thom 20 The World Is Vast and Wide BY Gretel Ehrlich 36 An Appropriate Response BY Abbess Linda Ruth Cutts POETRY AND ART 4 Kannon in Waves BY Dan Welch (See also front cover and pages 9 and 46) 5 Like Water BY Sojun Mel Weitsman 24 Study Hall BY Zenshin Philip Whalen NEWS AND FEATURES 8 orman Fischer Revisited AN INTERVIEW 11 An Interview with Annie Somerville, Executive Chef of Greens 25 Projections on an Empty Screen BY Michael Wenger 27 Sangha-e! 28 Through a Glass, Darkly BY Alan Senauke 42 'Treasurer's Report on Fiscal Year 2002 DY Kokai Roberts 2 covet WNO eru 111 -ASSl\ll\tll.,,. o..N WEICH The Gi~ of Zazen Shunryu Suzuki Roshi December 14, 1967-Los Altos, California JAM STILL STUDYING to find out what our way is. Recently I reached the conclusion that there is no Buddhism or Zen or anythjng. When I was preparing for the evening lecture in San Francisco yesterday, I tried to find something to talk about, but I couldn't; then I thought of the story 1 was told in Obun Festival when I was young. The story is about water and the people in Hell Although they have water, the people in hell cannot drink it because the water burns like fire or it looks like blood, so they cannot drink it. -
SNOW LION PUBLI C'ltl Olss JANET BUDD 946 NOTTINGHAM DR
M 17 BULK RATE U.S. POSTAGE PAID ITHACA, NY 14851 Permit No. 746 SNOW LION PUBLI C'lTl OLsS JANET BUDD 946 NOTTINGHAM DR REDLANDS CA SNOW LION ORDER FROM OUR NEW TOLL FREE NUMBER NEWSLETTER & CATALOG 1-800-950-0313 SPRING 1992 SNOW LION PUBLICATIONS PO BOX 6483, ITHACA, NY 14851, (607)-273-8506 ISSN 1059-3691 VOLUME 7, NUMBER 2 Nyingma Transmission The Statement of His Holiness How 'The Cyclone' Came to the West the Dalai Lama on the Occasion by Mardie Junkins of the 33rd Anniversary of Once there lived a family in the practice were woven into their he danced on the rocks in an ex- village of Joephu, in the Palrong lives. If one of the children hap- plosion of radiant energy. Not sur- the Tibetan National Uprising valley of the Dhoshul region in pened to wake in the night, the prisingly, Tsa Sum Lingpa is Eastern Tibet. There was a father, father's continuous chanting could especially revered in the Dhoshul mother, two sisters, and two be heard. region of Tibet. As we commemorate today the brothers. Like many Tibetan fam- The valley was a magical place The oldest of the brothers was 33rd anniversary of the March ilies they were very devout. The fa- with a high mountain no one had nicknamed "The Cyclone" for his 10th Uprising in 1959,1 am more ther taught his children and the yet climbed and a high lake with enormous energy. He would run optimistic than ever before about children of the village the Bud- milky white water and yellow crys- up a nearby mountain to explore the future of Tibet. -
New American Zen: Examining American Women's Adaptation of Traditional Japanese Soto Zen Practice Courtney M
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 2011 New American Zen: Examining American Women's Adaptation of Traditional Japanese Soto Zen Practice Courtney M. Just Florida International University, [email protected] DOI: 10.25148/etd.FI11120903 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Recommended Citation Just, Courtney M., "New American Zen: Examining American Women's Adaptation of Traditional Japanese Soto Zen Practice" (2011). FIU Electronic Theses and Dissertations. 527. https://digitalcommons.fiu.edu/etd/527 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida NEW AMERICAN ZEN: EXAMINING AMERICAN WOMEN’S ADAPTATION OF TRADITIONAL JAPANESE SOTO ZEN PRACTICE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in LIBERAL STUDIES by Courtney Just 2011 To: Dean Kenneth Furton College of Arts and Sciences This thesis, written by Courtney Just, and entitled New American Zen: Examining American Women’s Adaptation of Traditional Japanese Soto Zen Practice, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. –––––––––––––––––––––––––––––––––––– Laurie Shrage ––––––––––––––––––––––––––––––––––––– Kiriake Xerohemona ––––––––––––––––––––––––––––––––––––– Lesley A. Northup, Major Professor Date of Defense: November 10, 2011 The thesis of Courtney Just is approved. –––––––––––––––––––––––––––––––––––––––– Dean Kenneth Furton College of Arts and Science ––––––––––––––––––––––––––––––––––––––––– Dean Lakshmi N. -
A Short Talk During Zazen
A Short Talk During Zazen Shunryu Suzuki Roshi (Presented during zazen on the moming of June 28, 1970, between the tenth and eleventh Sandokai lectures) YouSHOULD SIT WITH YOUR WHOLE BODY: your spine, mouth, toes, mudra. l Check on your posture during zazen. Each part of your body should practice zazen independently or separately: Your toes should prac tice zazen independently, your mudra should practice zazen independently, and your spine and your mouth should practice zazen independently. You should feel each part of your body doing zazen independently. Each part of your body should participate completely in zazen. Check to see that each part of your body is doing zazen independently- this is also known as shiknntaza. To think, "I am doing zazen" or "my body is doing zazen" is wrong understanding. It is a self-centered idea. The mudra is especially important. You should not feel as if you are resting your mudra on the heel of your foot for your own convenience. Your mudra should be placed in its own position. Don't move your legs for your own convenience. Your legs are practic ing their own zazen independently and are com pletely involved in their own pain. They are doing zazen through pain. You should all ow them to practice their own zazen. If you think you are practicing zazen, you are involved in some selfish, egotistical idea. If you think that you have a difficulty in some part of your body, then the rest of the body should help the part that is in difficulty. You are not having difficulty with some part of your body, but the part of the body is having difficulty: for example, your mudra is having difficulty. -
Mensile 2009 Anno Xxv / N
COMUNE DI BOLOGNA Settore Cultura e Rapporti con l'Università SETTEMBRE MENSILE 2009 ANNO XXV / N. 9 ANNI DI PROGRAMMA LUMIÈRE LUMIERE via Azzo Gardino, 65 Bologna - tel. 051 2195311 SALA SCORSESE prime visioni d’essai SALA OFFICINEMA / MASTROIANNI progetto sostenuto da La paura (Italia-Francia/2009) di Pippo Delbono www.cinetecadibologna.it SALA OFFICINEMA / MASTROIANNI occitane che da bambini hanno lavorato Lontano ormai dai canoni ‘Dogma’ e dal SETTEMBRE 2009 – piazzàti appunto – presso famiglie che li clima tetro e claustrofobico di Festen, 07 il regista danese torna però idealmente LUNEDÌ Agosto ci ha portato via Tullio Kezich, una delle incaricavano di vari lavori. Un fi lm dove più che cercare risposte si pongono interrogativi; sul sul ‘luogo del delitto’ per raccontare fi gure eccellenti della critica cinematografi ca un’altra festa di famiglia, o meglio 20.00 LA PAURA (replica) nazionale, che per decenni ci ha raccontato senso dell’infanzia, della famiglia, del gioco e di un’intera comunità in preda allo Al termine, incontro con il regista delle diffi coltà, oggi come ieri. Pippo Delbono e il cinema. Maurizio Porro, a lungo suo collega scompiglio per celebrare l’anniversario Pippo Delbono il suo La paura, presentato al recente Festival di sul Corriere della Sera, ha scritto, “Un tipo del villaggio. Torneranno alla luce Locarno, un fi lm di cui avevamo bisogno. Diario così non si plagia, non si copia, si rimpiange segreti del passato, tra rivolgimenti personale, realizzato usando esclusivamente sentimentali e accettazione di ogni La fi nestra sul presente e basta”. la fotocamera di un telefonino, fi lm intimo, ma forma di espressione sessuale. -
Bridging Worlds: Buddhist Women's Voices Across Generations
BRIDGING WORLDS Buddhist Women’s Voices Across Generations EDITED BY Karma Lekshe Tsomo First Edition: Yuan Chuan Press 2004 Second Edition: Sakyadhita 2018 Copyright © 2018 Karma Lekshe Tsomo All rights reserved No part of this book may not be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage or retreival system, without the prior written permission from the publisher, except in the case of brief quotations. Cover Illustration, "Woman on Bridge" © 1982 Shig Hiu Wan. All rights reserved. "Buddha" calligraphy ©1978 Il Ta Sunim. All rights reserved. Chapter Illustrations © 2012 Dr. Helen H. Hu. All rights reserved. Book design and layout by Lillian Barnes Bridging Worlds Buddhist Women’s Voices Across Generations EDITED BY Karma Lekshe Tsomo 7th Sakyadhita International Conference on Buddhist Women With a Message from His Holiness the XIVth Dalai Lama SAKYADHITA | HONOLULU, HAWAI‘I iv | Bridging Worlds Contents | v CONTENTS MESSAGE His Holiness the XIVth Dalai Lama xi ACKNOWLEDGMENTS xiii INTRODUCTION 1 Karma Lekshe Tsomo UNDERSTANDING BUDDHIST WOMEN AROUND THE WORLD Thus Have I Heard: The Emerging Female Voice in Buddhism Tenzin Palmo 21 Sakyadhita: Empowering the Daughters of the Buddha Thea Mohr 27 Buddhist Women of Bhutan Tenzin Dadon (Sonam Wangmo) 43 Buddhist Laywomen of Nepal Nivedita Kumari Mishra 45 Himalayan Buddhist Nuns Pacha Lobzang Chhodon 59 Great Women Practitioners of Buddhadharma: Inspiration in Modern Times Sherab Sangmo 63 Buddhist Nuns of Vietnam Thich Nu Dien Van Hue 67 A Survey of the Bhikkhunī Saṅgha in Vietnam Thich Nu Dong Anh (Nguyen Thi Kim Loan) 71 Nuns of the Mendicant Tradition in Vietnam Thich Nu Tri Lien (Nguyen Thi Tuyet) 77 vi | Bridging Worlds UNDERSTANDING BUDDHIST WOMEN OF TAIWAN Buddhist Women in Taiwan Chuandao Shih 85 A Perspective on Buddhist Women in Taiwan Yikong Shi 91 The Inspiration ofVen. -
Orientalist Commercializations: Tibetan Buddhism in American Popular Film
Journal of Religion & Film Volume 2 Issue 2 October 1998 Article 5 October 1998 Orientalist Commercializations: Tibetan Buddhism in American Popular Film Eve Mullen Mississippi State University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Mullen, Eve (1998) "Orientalist Commercializations: Tibetan Buddhism in American Popular Film," Journal of Religion & Film: Vol. 2 : Iss. 2 , Article 5. Available at: https://digitalcommons.unomaha.edu/jrf/vol2/iss2/5 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Orientalist Commercializations: Tibetan Buddhism in American Popular Film Abstract Many contemporary American popular films are presenting us with particular views of Tibetan Buddhism and culture. Unfortunately, the views these movies present are often misleading. In this essay I will identify four false characterizations of Tibetan Buddhism, as described by Tibetologist Donald Lopez, characterizations that have been refuted by post-colonial scholarship. I will then show how these misleading characterizations make their way into three contemporary films, Seven Years in Tibet, Kundun and Little Buddha. Finally, I will offer an explanation for the American fascination with Tibet as Tibetan culture is represented in these films. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol2/iss2/5 Mullen: Orientalist Commercializations Tibetan religion and culture are experiencing an unparalleled popularity. Tibetan Buddhism and Tibetan history are commonly the subjects of Hollywood films. -
Introduction Shunryu Suzuki Sojun Mel Weitsman
Introduction Shunryu Suzuki Sojun Mel Weitsman INTHE SUMMER OF 1970 Suzuki Roshi gave these talks on the Sandokai of Sekito Kisen. BRANCHING Suzuki Roshi had come to America in 1959, leaving Rinso-in, his tem STREAMS ple in Yaizu, Japan, to serve as FLOW IN THE priest for the Japanese-American congregation at Sokoji temple at DARKNESS 1881 Bush Street in San Francisco. During those years a large number of people came to practice with him, and San Francisco Zen Center Zen Talks on the Sandokai was born. Suzuki Roshi became By tht author of Z~n Mind. Beginne~s Mind surrounded by so many enthusias- tic American Zen students that in 1969 he and his students moved to a large building at 300 Page Street and established Beginner's Mind Temple. Two years earlier, Zen Center had acquired the Tassajara resort and hot springs, which is at the end of a four teen-mile dirt road that winds through the rugged mountains of the Los Padres National Forest near the central coast of California. He and his stu dents created the first Zen Buddhist monastery in America, Zenshinji (Zen Mind/Heart Te mple). We were starting from scratch under Suzuki Roshi's guidance. Each year Tassajara Zen Mountain Center has two intensive practice period retreats: October through December, and January through March. These two practice periods include many hours of zazen (cross-legged seated meditation) each day, lectures, study, and physical work. The students are there for the entire time. In the spring and summer months (May through August), Tassajara provides a guest season for people who are attracted by the hot mineral baths and the quiet atmosphere. -
Inicio Dissertacao
UNIVERSIDADE ESTADUAL DE CAMPINAS Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO CAMPINAS 2012 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Gabriel Kitofi Tonelo WERNER HERZOG, DOCUMENTARISTA: FIGURAS DA VOZ E DO CORPO Dissertação de Mestrado apresentada ao Instituto de Artes da Universidade Estadual de Campinas para obtenção do Título de Mestre em Multimeios. Orientador: Prof. Dr. Fernão Vitor Pessoa de Almeida Ramos CAMPINAS, 2012 iii iv v vi Resumo Este trabalho pretende analisar a obra de documentários do cineasta alemão Werner Herzog sob a ótica da autorreflexão do diretor, através de sua voz e de seu corpo, em seus documentários e da relação estabelecida entre Herzog e a narrativa em cada filme. Procura- se estabelecer como a característica nasceu em sua filmografia e como evoluiu ao longo das cinco décadas de sua atividade como cineasta. Relacionam-se os processos da inserção de Werner Herzog em seus filmes com a teoria, própria do campo do Cinema Documentário, referente à inserção do sujeito-da-câmera na narrativa fílmica. Tomando como ponto de partida as reflexões surgidas no final da década de 1950 acerca da participação do cineasta na narrativa (Cinema Vérité) até as teorias de uma narrativa documentária profundamente voltada para o universo do próprio cineasta, popularizadas nos anos 1980, pode-se dizer que a autorreflexão do cineasta na narrativa é uma questão viva no campo teórico do Cinema Documentário e que é constantemente problematizada e renovada na produção documentária contemporânea. Palavras-Chave: Werner Herzog, Cinema Documentário, Subjetividade, Autoria. vii viii Abstract This work intends to analyse german filmmaker's Werner Herzog documentary ouevre, under the optics of the director's voice and body self-reflexion in his documentaries and the relationship between Herzog and his narratives in each work. -
Leaving Everything Behind
Leaving Everything Behind A renowned teacher gives up a traditional life of protection to seek the extreme and transformational conditions of an anonymous mendicant monk. Yongey Mingyur Rinpoche Summer 2019 Yongey Mingyur Rinpoche | Photograph by Kevin Sturm In June 2011, the abbot of Tergar Monastery in Bodhgaya, India, Yongey Mingyur Rinpoche, snuck out of his own monastery, leaving behind a letter explaining his intention to do a wandering retreat for the next several years—to beg for alms and sleep on village streets and in mountain caves. The youngest son of the esteemed Tibetan Buddhist meditation master Tulku Urgyen Rinpoche and a world-known teacher in his own right, Mingyur Rinpoche explains in his new book, In Love with the World: A Monk’s Journey through the Bardos of Living and Dying, that he aspired to shed the protections and privileges he had enjoyed his whole life and to let go of his outer identities in order to explore a deeper experience of being. He was away for four and a half years, returning in the fall of 2015. Mingyur Rinpoche left his monastery with Watch “Letting My Self Die,” Helen Tworkov enough money to purchase the saffron and Yongey Mingyur Rinpocheʼs discussion about what the bardos can teach us about shawls worn by homeless sadhus [religious letting go. ascetics]. But for the first two weeks of his wandering retreat, he carried these in his knapsack, continuing to wear his Tibetan robes and paying for lodgings and food. In this excerpt, he is in Kushinagar, the town where the historical Buddha died.