bluuebunny/crossref_metadata_2025_split huggingface dataset:
Hermeneutics and Pedagogy: Methodological Issues in Teaching the Daode Jing
Authors: DeAngelis Gary D. , Frisina Warren G. , Kirkland Russell 
Published: May 2008

Abstract
In this “contrarian” approach to reading he DDJ, Russell Kirkland argues that most textbooks do a credible job of presenting the DDJ as it has been inherited through both Confucian and Western conceptual lenses, but that such a view fails to see the Daoist as they saw themselves. He challenges students to “ponder the alienity of ancient China” before making assumptions about what the text is trying to accomplish. By focusing their attention on early Daoist religious practices, and the status of the DDJ as a Daoist scripture, Kirkland aims to cultivate in his students an appreciation for both the originary aims of the text and the way hermeneutical models are developed, challenged and clarified.
1 Cathay to Confucius
Authors: Nock-Hee Park Josephine 
Published: May 2008

AbstractThis chapter argues that Ezra Pound's multiple invocations of China were bound to his American ambitions. Pound struggled with Whitman to take on the mantle of American bard, but he turned to the Orient as a means of disciplining the homeland he had fled. Reading both Pound's early interest in Tang Dynasty verse in his Imagist poetry and his later devotion to Confucianism in the China Cantos, this chapter unveils an underlying desire to speak for and to America via the Orient that runs the length of Pound's career.
2 Beatific Orientalism
Authors: Nock-Hee Park Josephine 
Published: May 2008

AbstractThis chapter examines Gary Snyder's interest in the Far East as a mode of reclaiming a native sense of America. The fifties counterculture turned to the Orient in search of a subterranean America, and Snyder's advocacy of Zen presented a vision of the nation as a sacred environment. Snyder combined religious and environmental aims in a unified attempt to become an American bard, and this chapter considers the structure and durability of his cultural creation.
3 Beats and Bandits
Authors: Nock-Hee Park Josephine 
Published: May 2008

AbstractThis chapter presents a spectrum of poetic responses to American Orientalism by Asian American poets in the early years of the ethnic nationalist movement. Largely forgotten poets like David Hsin‐Fu Wand played native informant to both Pound and Snyder, but the Orient was a prisonhouse for activist poet Lawson Fusao Inada, who turned instead to African American and Chicano artistic influences. In reading the differing transpacific and American alliances imagined by Asian American artists, this chapter argues that a literary legacy of Orientalism exerted significant pressure on the formation of Asian American poetry.
Reenvisioning Buddhism in the Late Ming
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter recounts the Buddhist revival in the late Ming. It first describes the institutional reorganization of Buddhism in the early Ming. Then the revival of Tiantai, Huayan, Yogacara, and ordination ceremonies in the late Ming was introduced. However, Chan Buddhism was not fully recovered because of the confusion of dharma transmission and divergence of Chan understandings.
The Literati and Chan Buddhism
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter explores how Confucian literati, especially Wang Yangming's followers, helped to reshape Chan communities through their reinterpretation of Chan teaching. The focus of this chapter is literati's textual spirituality and textual practice such as reading and writing Chan literature. It shows that Chan Buddhism first grew from the pro‐Chan literati culture and was promoted by the literati. Later, this intellectual movement influenced the monastic world and introduced Chan masters to Eastern Zhejiang.
The Rise of Chan Buddhism
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter describes the rise of Chan Buddhism by focusing on the Linji and Caodong schools and their leaders such as Miyun Yuanwu, Hanyue Fazang, Muchen Daomin, Feiyin Tongrong, Zhanran Yuancheng, Wuming Huijing, Yinyuan Longgi, Shilian Dashan, and Fang Yizhi. It shows that these prominent figures first rose under the patronage of the literati, and later their lineage spread all over China in the late Ming and early Qing. During the Ming‐Qing transition, many literati became monks.
Clashes among Enlightened Minds
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter introduces the first controversy between Miyun Yuanwu and Hanyue Fazang. It details Hanyue's understanding of Tathagata Chan, Patriarch Chan, and the perfect circle. The chapter also tells the story about the author's encounter with Miyun and his reluctant acceptance of Miyun's dharma transmission. This chapter lists all relevant polemical essays related to the controversy.
The Divergence of Interpretation
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter explores the disputed issues in the first controversy, which are: (1) using Chan principle as standard to test students' enlightenment experience, (2) the perfect circle as the origins of five Chan schools, and (3) proper understanding of encounter dialogues.The chapter explores the practice of dharma transmission, esoteric ritual, and encounter dialogue in 17th‐century Chan Buddhism.
The Debate about Tianhuang Daowu and Tianwang Daowu in the Late Ming
Authors: Wu Jiang 
Published: May 2008

Abstract
The chapter introduces the beginning of the second controversy in the late Ming. This dispute concerns the identity of Tianhuang Daowu and Tianwang Daowu in the Tang dynasty. The author summarizes all evidence and explains how the literati first discovered the issue. The key issue here is the use of evidential scholarship in determining dharma transmission. The controversy started with the publication of Muchen Daomin's Chandeng shipu, which relied on the spurious inscription of Tianwang Daowu.
The Lawsuit about Feiyin Tongrong's Wudeng yantong in the Early Qing
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter focuses on the dispute about Feiyin Tongrong's Wudeng yantong (Strict transmissions of the five Chan schools). The chapter details the process of the debate and contents of various polemical books. In particular, based on a newly discovered collection of legal documents, the chapter explores how the lawsuit about Feiyin's book was judged by officials.
The Aftermath
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter focuses on the aftermath of the second controversy after 1654 in China and Japan. In China, some Linji monks defended Feiyin and the Caodong monks opposed them. The center of controversy was the publication of Wudeng quanshu (Complete book about the five Chan schools), which is based on Feiyin's theory about the two Daowus. In addition, because Feiyin's disciple Yinyuan Longqi published Feiyin's Wudeng yantong in Japan, this book also influenced Japanese Buddhism.
Explaining the Rise and Fall of Chan Buddhism
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter explains the rise and fall of Chan Buddhism in the 17th century. The chapter shows that Chan Buddhism was revived through romantic imaginations of textual ideals and thus should be described as a reinvention. The literati and Chan Buddhists formed various kinds of textual communities that were devoted to reading and interpreting ancient Chan texts. However, the revived Chan Buddhism based on textual ideals contradicted the ritualized monastic reality in many ways.
The Pattern of Buddhist Revival in the Past
Authors: Wu Jiang 
Published: May 2008

Abstract
This chapter identifies the legacies of 17th‐century Chan Buddhism as expansion of Chan influence in Chinese culture and society, integration of monastic practice, and intensive networking by dharma transmission. The chapter argues that Chan Buddhism has a larger role in the history of Chinese Buddhism because it not only bridged the gap between Buddhism and Chinese culture and society and also unified the Buddhist world by systemizing monastic rituals and spreading dharma transmission. The reinvention of Chan also shows that there was a boundary within Chinese society to limit the growth of Buddhism and a general pattern of Buddhist revival can be discerned.
The Protestant Reformation in the Church and the Arts
Authors: Viladesau Richard 
Published: May 2008

Abstract
This chapter examines the context of the Protestant Reformation and explores the centrality of the cross in the theologies of the Reformers, especially Luther and Calvin. Both Reformers espoused a form of the theory of Christ's “penal substitution” for sinful humanity in his suffering on the cross. The emphasis on the Bible as the “word of God” resulted in iconoclasm on the part of some Reformers, and a devaluation of the pictorial arts for others. Albrecht Dürer is presented as a transitional figure, showing elements of both late medieval devotionalism and of the new humanist approach in his many portrayals of the Passion. Lukas Cranach exemplifies the direct influence of Luther on art, both thematically and in technique.
The Cross in the Catholic Reformation and Counter‐Reformation
Authors: Viladesau Richard 
Published: May 2008

Abstract
The theology of the passion in the Catholic Counter‐Reformation is examined in the decress of the Council of Trent and in the Catechism written by Robert Bellarmine. The art of the early Counter‐Reformation is dominated by the figure of Michelangelo. His portrayals of the passion and crucifixion are studied in relation to the humanistic and theoretical emphases of the reform era. Michelangelo's “Mannerist” followers exemplify the new triumphal and affective emphases in Catholic theology in response to the Protestant Reformation.
Movements of Ritual and Sincerity
Authors: Seligman Adam B. , Weller Robert P. , Puett Michael J. , Simon Bennett 
Published: May 2008

AbstractThis chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and sincerity in Shakespeare's Merchant of Venice. Second, it looks at the history of architectural ornament, which is ritual-like in its repetitions and rhythms and in its concern with boundaries and framing. Here the ritual/sincerity tension plays out typically as conflict between ornament and pedagogy. Iconoclasm is a core theme of this section. Finally, it compares the formal features of music to those of ritual. Like ritual, music is a way of establishing and crossing boundaries, and of ordering a messy world through techniques of intonation, rhythm, and ornament. The tension between ritual and sincerity culminates in 20th-century attempts to move beyond the conventions of tonality completely.
Introduction
Authors: Cary Phillip 
Published: May 2008

Abstract
To bring the conceptual structure of Augustine's doctrine of grace into focus one must avoid several common strategies for minimizing his Platonism, such as assuming that no philosophy or religion other than Christianity could have a concept of divine grace (which is false); treating faith as deeper and more ultimate than understanding (which is the opposite of Augustine's view); separating intellect from love or head from heart (which Augustine never does); and attributing to Platonism the view that happiness can be achieved by unaided human effort (which is quite contrary to Platonism's ontology of participation in the Good).
Pauline Grace
Authors: Cary Phillip 
Published: May 2008

Abstract
Augustine's doctrine of grace is modified by his reading of the apostle Paul in the 390s, when he realizes it can be difficult to will the good we want to will. The psychological order of salvation fits a four‐stage schema, in which we cannot wholeheartedly will or love the good until we reach the stage under grace. Where faith and merit fit in this schema is unclear until the treatise To Simplicianus, when Augustine concludes that the difference between the saved and the damned is ultimately due to divine election. For it is God who chooses to give unmerited grace to some sinners rather than others by means of a “suitable call,” an external word or admonition that God knows will unfailingly elicit the will's delight and free assent to believe. This attempt to reconcile grace and free will, illustrated by Augustine's own conversion narrative, will prove insufficient.
Conclusion
Authors: Cary Phillip 
Published: May 2008

Abstract
Aspects of Augustine's doctrine of grace that are worth being critical of include his belief in the human capacity for intellectual vision; his belief that intellectual vision sees more deeply than faith in the Gospel of Christ; his belief in a psychological order of salvation that begins at a particular moment of conversion to faith; his location of the power of prevenient grace within the soul rather than in external signs such as word and sacrament; his notion that we can find God by looking within the self; and his failure to see that God is other and external to the self because he is the God of the Jews, and that this is a blessing for all nations.
Outward Signs
Authors: Cary Phillip 
Published: May 2008

Abstract
Augustine invented expressionist semiotics, the theory that words and other bodily things are external signs that give expression to what lies within the soul. This theory of signs is quite different from Greek philosophical semiotics, which is a theory of empirical inference, not a theory of language or expression. Augustine's semiotics is rooted in his Platonism, which allows no external or sensible thing to have causal power over the inner realm of the soul. Consequently, Augustine thinks we learn nothing from words, not even from Scripture. Faith, for Augustine, means believing in the authority of external teachers or witnesses, which is useful so long as we cannot yet see for ourselves in the light of the inner teacher, which is Christ, the Wisdom of God. Like words, sacramental signs are inherently powerless, and cannot convey to us any inner thing. Hence, in contrast to medieval theology, Augustine has no place for sacraments as efficacious means of conferring grace and does not attribute life‐giving power to the flesh of Christ.
How Words Became Signs
Authors: Cary Phillip 
Published: May 2008

Abstract
Augustine's new Platonist theory of signs can be called “expressionist semiotics.” In this theory, lower things can be signs of higher things, and words are external signs expressing what is in the soul. The most important precursor for this expressive notion of signs is Latin theories of rhetoric, especially in Cicero, who treats bodily gestures as signs that signify and give expression to movements of the soul. In the semiotics of Augustine's treatise On Christian Doctrine, words are classified as “given signs,” which get their significance by expressing the communicative will of the soul. Such signs are needed after the Fall, when our bodies become mortal and opaque, and one soul cannot see into another. But by the same token, after the Fall words are often used to deceive, and despite their inherent powerlessness they can move us because of our inordinate attachment to external things.
Why We Learn Nothing from Words
Authors: Cary Phillip 
Published: May 2008

Abstract
According to Augustine's early treatise On the Teacher, we do not learn things from words or other signs. Real understanding comes from the inner teaching of Christ as divine Wisdom. Hence neither Scripture nor discursive proof gives us knowledge of God; such knowledge comes only through inner intellectual vision. Words are useful as admonitions or reminders directing our minds to look for the truth in a more inward and intelligible dimension of being. Likewise, faith is useful because while we are still learning we must trust the authority of external teaching until we can see with our own reason. Hence on Platonist grounds, we must believe before we can understand or see for ourselves. The great shift in Augustine's later relation to Platonism is his recognition that the authority of Christian teaching is not something Christians ever outgrow in this mortal life.
The Efficacy of the Church's Baptism
Authors: Cary Phillip 
Published: May 2008

Abstract
In his polemics against Donatism, Augustine makes a sharp distinction between the validity of the sacrament of baptism and the salvific efficacy of what it signifies. Efficacy is found not in the external sign but in the inner unity and peace of the church, outside of which there is no salvation. The efficacy of baptism, for both infants and adults, derives from the prayers of the one true church. Though the external sacrament itself is not efficacious, it is a necessary outward mark of this inner unity. Hence even infants are damned if they die without it, for all who are not united inwardly with Christ are united with Adam in the mass of damnation generated by original sin.
New Testament Sacraments and the Flesh of Christ
Authors: Cary Phillip 
Published: May 2008

Abstract
Augustine belongs with Calvin in denying that external signs can confer grace, in contrast to the medieval view, shared by Luther, which makes sacraments efficacious external means of grace. Because they do not take them literally, Augustine contends, Christians are less burdened by external signs and sacraments than the Jews are. Unlike the medieval theologians, when Augustine speaks of the virtue of the sacrament he means not its power but the piety it signifies. Even the flesh of Christ, for instance in the Eucharist, has no life‐giving efficacy because it is external.
Enlightenment Orpheus
Authors: Agnew Vanessa 
Published: May 2008

Abstract
Ancient beliefs in the power of music gained urgency during the mid to late 18th century. The period saw an efflorescence of Orpheus-themed musical works, including operas by Gluck, Mozart, and Haydn. Orpheus as archmusician also emerged as a key trope in aesthetic, literary, critical, and historical thought. Yet this widespread interest in musical utility (called Orphic discourse) seems to conflict with the notion of aesthetic autonomy that emerged around the same time. The confluence of these apparently antithetical positions casts doubt on the widespread view that there was an aesthetic-philosophical break between the 18th and 19th centuries. Instead, this book exposes the hidden instrumentality that is typically disavowed by aesthetic disinterest and concludes that musical utility is a site of discursive continuity within modernity. Focusing on the English traveler and music historian Charles Burney's 1772 journey through the Netherlands and central Europe — soon to be the home of aesthetic autonomy — the book examines the scholarly discussions and social practices that characterize the Enlightenment as an age of Orpheus. It argues that aesthetic autonomy went hand in hand with the late 18th-century insistence on music's moral, social, and political utility. It argues that the foregrounding of alterity, like the new historicization of music, arose within the context of the late 18th century's increased mobility and its burgeoning cross-cultural encounters. The traveler's exposure to new listeners and new musical vernaculars posed critical challenges to classical ideas about what music could do. Understanding the broader function of Orphic discourse thus necessitates a transnational approach that coheres with the cosmopolitan character of serious music and music scholarship. Such an approach exposes the ways in which Orphic discourse made claims about music acting at the margins in order to promote specific class, professional, and national interests.
Introduction
Authors: Agnew Vanessa 
Published: May 2008

Abstract
This introductory chapter presents the central figures in the book — Charles Burney and his German interlocutors — along with the book's main problem: the Enlightenment interrogation of Neoplatonic ideas. It argues for the centrality of travel and cross-cultural musical encounters to the development of musical thought in the late 18th and early 19th centuries. Further, it raises the question of how music and musical thought were imbricated in the articulation of new cultural and national identities. The chapter frames this with a rereading of the Orpheus myth and asks what happened to Neoplatonic ideas when Europeans were systematically exposed to other kinds of music. It argues that the encounter with musical difference brought about a shift in thinking. When scholars found that Orpheus ceased to exert exclusive control over music, they mobilized the pendant to the myth — Orpheus's subjugation by the savage and raucous Thracians. From now on, listening to others would hold potential dangers.
Argonaut Orpheus
Authors: Agnew Vanessa 
Published: May 2008

Abstract
Focusing on Charles Burney's 1772 central European journey to collect material for a general history of music, this chapter shows how travel and musical mapping were co-opted for the making of a German cultural imaginary. It transnationalizes Bourdieu's notion of symbolic capital to show how national cultural identities were mobilized via the figure of the traveler. It was the traveler who was authorized to traverse liminal spaces, compare cultural systems, and exercise aesthetic judgments. German scholars like Christoph Daniel Ebeling, Johann Nicolaus Forkel, and Johann Friedrich Reichardt saw the Englishman's journey as an opportunity to reprioritize German over French and Italian music, and thereby contribute to a German Kulturnation. Yet Burney preferred a protosociological approach to the study of music and this helps explain his negative reception in Germany. The dispute between Burney and the Germans highlights the problems with an epistemology of music based on travel: the unreliability of the musical informant and the social and political uses of music did not ultimately cohere with the kinds of music-immanent criteria upon which the German scholars' project depended.
Anti‐Orpheus
Authors: Agnew Vanessa 
Published: May 2008

Abstract
This chapter analyzes debates about the meaning and power of music and the constitution of English culture in the latter part of the century. These debates pitted ideas about the power of music against an anti-Orphic discourse that challenged what some writers saw as the hyperinflation of music's moral and social uses. The chapter centers on Burney's thwarted efforts to found a music conservatory and makes a detailed study of his opposition — in particular, John Bicknell's parody, Musical Travels thro' England, by Joel Collier, Organist (1774). In so doing, the chapter investigates the kind of cultural work performed by parody, burlesque, and other forms of symbolic inversion. It shows that rather than ushering in a new set of aesthetic values, anti-Orphic discourse used a triangulated argument in which figures like the castrato, the Polynesian, the traveler, and the music scholar were parodied. By burlesquing the outsider, composers and writers sidelined cosmopolitan, aristocratic musical culture in an effort to consolidate middle class forms of cultural production. This suggests that by the latter part of the century, Britons'fascination with foreignness was giving way to new anxieties as debates about music were folded into broader concerns about changing class relations, abolitionism, Jacobinism, and the loss of the American colonies.