jueves, 30 de agosto de 2018


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Dear Friends,
Gatsal 34We are delighted to share our latest newsletter with you.
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H-Buddhism.


New items have been posted in H-Buddhism.

Table of Contents

  1. Re: QUERY> A Puzzling Description of the Trikāya in a Qing-period Document

Re: QUERY> A Puzzling Description of the Trikāya in a Qing-period Document

by Dan Lusthaus
Hi Matthew,
Just got back from a conference in Xi’an — was offline without computer while in China, and just saw your posting to H-Buddhism about the unusual Qing description of the trikāya. In Chinese, context is everything, so without knowing more about where and why this passage appears, speculating about possible implications are at best tenuous. One can’t rule out a typo (mistakenly reversing nirmāṇa and sambhoga), or the author’s own confusion. Without knowing the context, again, it is hard to guess.
But, if we assume that the text is a correct presentation of the author’s thought, and the author is not simply confused about the more usual descriptions of the Buddha bodies, then there might be a way to interpret the passage that may make some sense. My initial impression is that it is treating the nirmāṇa-kāya not as a generic term for a type of buddha-body, but as a particularized reference to Śākyamuni, who, no longer with us, is currently invisible. Why is the sambhoga-kāya “visible”? There is a lot of Chinese material on “visualizing” the sambhoga kāya, which would include Amitābha, i.e., buddha-anusmṛti practices — they typically get reduced to chanting (Namu amito fo, etc) after the 7th c, but some visualization techniques were still touted, and perhaps this author was dipping into those sources, which are included in earlier texts that were incorporated into Pure Land foundations. Certainly the sambhoga buddhas are visible in their own buddha lands — one of the reasons often given for seeking rebirth there, i.e., to confirm one’s faith by seeing a buddha face-to-face.
Again, just speculation without context.
best,
Dan
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martes, 28 de agosto de 2018

Octava Charla online ALADAA, Sección Argentina

Sábado 1· de septiembre de 2018, 10:00 a 11:00 hs.

"Sudáfrica post apartheid: claves para comprender la historia reciente de Sudáfrica y sus dinámicas actuales"

Dra. Mónica Cejas



Resumen

En esta charla propongo esbozar un panorama actualizado de la compleja y tensa trama de la historia reciente de Sudáfrica. Lo haré a través de la presentación del libro Sudáfrica post apartheid: nación, ciudadanía, gobierno, movimientos sociales, género y sexualidades (Itaca-UAM-X, 2017) cuyos artículos abordan las paradojas de estos años para a través de ellas ahondar en la complejidad del contexto y acercarnos a comprender los derroteros de un modelo de superación de la diferencia, de la segregación, de la exclusión que muchos de quienes luchaban contra el apartheid pensaron que no llegarían a ver en vida, precisamente por lo rizomática de su penetración en la configuración de la identidad social. Y a sus pendientes, desafíos, agendas encubiertas, y finalmente nuevas propuestas superadoras y transformadoras.

CV de la Expositora

Mónica Inés Cejas es Profesora-investigadora de la Maestría en Estudios de la Mujer y del Doctorado en Estudios Feministas del Departamento de Política y Cultura en la Universidad Autónoma Metropolitana-Xochimilco. Doctora en Estudios Internacionales y Culturales por la Universidad Tsuda de Tokio en Japón. Tiene una Maestría en Estudios de Asia y África por el Colegio de México y es Licenciada en Historia por la Universidad Nacional de Luján (Argentina). Sus líneas de investigación son mujeres, nación y ciudadanía; activismo desde la cultura; movimientos de mujeres y políticas de género en Sudáfrica; feminismos en África y políticas de la memoria. Ha coordinado entre otros, Leer y pensar el racismo (Universidad de Guadalajara, 2004); Igualdad de género y participación política. Chile, China, Egipto, Liberia, México y Sudáfrica (El Colegio de México, CEAA, 2008);con Ana Lau Jaiven Mujeres y ciudadanía en México: estudios de caso (UAM-Xochimilco/Itaca, 2011); con Ana Lau Jaiven En la encrucijada de género y ciudadanía: sujetos políticos, derechos, gobierno, nación y acción política (UAM-Xochimilco/Itaca, 2011); Mujeres frente a las paradojas de la ciudadanía (UAM-Xochimilco/Terracota, 2016) y Feminismo, cultura y política: prácticas irreverentes (UAM-Xochimilco/Itaca, 2016).
Más información y acceso a publicaciones: https://xoc-uam.academia.edu/MonicaCejas




H-Buddhism.


Table of Contents

  1. BOOK REVIEW> Kesavan Veluthat. Notes of Dissent: Essays on Indian History. New Delhi: Primus Books, 2018. 214 pp. $54.95 (cloth), ISBN 978-93-8655270-9.

BOOK REVIEW> Kesavan Veluthat. Notes of Dissent: Essays on Indian History. New Delhi: Primus Books, 2018. 214 pp. $54.95 (cloth), ISBN 978-93-8655270-9.

by A. Charles Muller
Kesavan Veluthat. Notes of Dissent: Essays on Indian History. New Delhi: Primus Books, 2018. 214 pp. $54.95 (cloth), ISBN 978-93-8655270-9.
Reviewed by Donald Davis (University of Texas at Austin)
Published on H-Asia (August, 2018)
Commissioned by Sumit Guha (The University of Texas at Austin)
https://www.h-net.org/reviews/showrev.php?id=52450

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lunes, 27 de agosto de 2018

August 27, 2018
National Museum of Modern and Contemporary
 Art, Korea
Konkuk University Library (The present Konkuk University Language Institute), 1956. Courtesy of Kimchungup Architecture Museum.  


Architecture, architectural sculptures and installations emerged alon
sideminimalism on theglobal art scene during the 1960s. 
collision of art and architecture is

one example of the opening up of the traditional artistic disciplines and has
evolved to create integrative collaborations using diverse media, 
supports and materials. Kim Chung-up Dialogue ruminates over the
hybridization of art and architecture in Korean society. The focus is
on the works and activities of architect Kim Chung-up (1922–1988)
 whose artistic legacy has not previously been studied in depth. Rather
 than seeing his work as part of a global trend, this exhibition focuses 
in examining the Korean context within which Kim Chung-up’s work 
was produced..
Kim Chung-up Dialogue is an exhibition co-hosted by National Museum of 
Modern and Contemporary Art, Korea and Kim Chung-up Architecture Museum
 to celebrate the architect on the 30th anniversary of his death.
 Kim Chung-up is renowned as a master of Korean modern architecture who 
 best known for designing the Samil Building and the French Embassy to Korea,
both in Seoul. He is known for his unique architectural style that combines
 modernism based on the architectural formality of Le Corbusier—
who he served a 
-year apprenticeship under—and the Korean traditional architectural
 sentiment
and form.
This exhibition aims to fill in the gaps left by previous research on
 Kim Chung-up as well as chronicling his career in order to explore 
his work in more depth. It looks back to when he launched 
Kim Chung-up
 Architecture Studio after his time in France and studies what forces 
the artistic and architectural vision he ultimately realized. 
The following  guided how the exhibition examined Kim Chung-up 
and the political, 
 economic, social and cultural context he existed in: globalism and localism;
 artistic thinking and practice; city and desire (city and production); 
 memory and regeneration. By using these guidelines we hope to gain
a better understanding of Kim Chung-up’s legacy.