Suchergebnisse

This paper strengthens the theoretical ground of feminist analyses of anger by explaining how the angers of the oppressed are ways of knowing. Relying on insights created through the juxtaposition of Latina feminism and Zen Buddhism, I argue that these angers are special kinds of embodied perceptions that surface when there is a profound lack of fit between a particular bodily orientation and its framing world of sense. As openings to alternative sensibilities, these angers are transformative, liberatory, and deeply epistemological.

PurposeThe purpose of this paper consists in rethinking today's management systems in order to look for ways of management which are better adapted to human life. It is assumed that a management practice which takes into consideration the characteristics of human life must be accepted by a large number of people and would be effective and sustainable. Today, the overdevelopment of science and capitalism forget individuals and condemn them to alienation. To cope with this problem, the paper tries to identify ways of management which respect human life more.Design/methodology/approachTo do this, the paper studies the phenomenology of life of Michel Henry and Zen Buddhism in order to understand the profound sense of life, knowledge and community developed by their philosophy. It then examines Toyotism and Fordism under the two dimensions of knowledge and community to illustrate how their management system considers human life.FindingsThe phenomenology of life and Zen share some common ground as both consider the importance of experienced life which constitutes the individual's subjectivity. Living experience generates embodied and tacit knowledge for men. The system of Kaizen which enables Toyota to develop significantly is based on its workers' tacit knowledge. In this dimension, Toyotism is a management system which recognizes better than Fordism the importance of living experiences and as such is better suited to human nature. The paper then discusses Toyotism, Fordism and post‐Fordism in the light of the concept of community. Toyotism appears as a constraining "total community," whereas attempts to reintroduce a sense of community into the post‐Fordist model reveal its limits due to the fact that such a sense of community does not exist at a company level.Originality/valueThe originality of this paper lies in its comparison of the phenomenology of life with Zen in order to understand the importance of life and also in the introduction of the consideration of living workers in managerial performance.

This article outlines and critically discusses South Korean Buddhist films made during the time of the Roh Tae-woo government (1988-1993), which can be called a semi-democratic and semi-dictatorial regime. This was a period of transition in film policy from the censorship of the earlier dictatorial regimes to the freedom of expression offered to directors by the later democratic administrations, unprecedented in Korean film history. During this period the technical skill of directors improved bringing about a corresponding improvement in the quality of Korean Buddhist films and thus international attention. Although the government allowed filmmakers considerably more freedom to express ideas about sensitive political and social issues during the Roh regime, because of individual and institutional pressures, filmmakers could not freely and critically portray monastic lives and religious issues. For example, conservative Buddhists protested the release of films that depicted Korean Buddhism in a negative light, calling for a form of private censorship. These pressure led filmmakers to use abstruse dialogues, metaphors, stories, images, and technical terms in their Buddhist films, particularly those about Zen Buddhism, that likely baffled audiences.

Can we learn about the art of living from sociology? Sociology teaches us that we are the part of a broader group called society. We are taught that society should be first described in order to be understood and/or explained, and that the cognitive function is the most important part in understanding the role sociology should play in a democratic and modern society. Is this understanding (cognition) enough? What more can we get to better our quality of life and live a wholesome life from studying sociology or society using a sociological perspective? Is sociology a tool for the art of living or is it just a play of the "sophisticated"? In this paper, we analyze the sociology from the philosophy of Zen Buddhism to show the connection between the work of mind and the sociological concepts that are used to analyze "society." Moreover, we analyze the approaches of George H. Mead, Robert Merton, and especially and separately Anthony Giddens that created, very important for our considerations, the concept of "ontological security." We also reconstruct the structural conditions of the art of living and happiness, analyzing the concept of greedy institutions by Lewis Coser. We analytically connect the structural conditions of work in contemporary greedy institutions (working on projects) with the loss of ontological security. We analyze the displacement of the meaning of work, career, autonomy, time structure, identity, privacy and happiness, and finally the sociology. We try to use a Buddhist inspiration to analyze issues of suffering and, associated with it, so called ontological insecurity and the welfare of the individual and/or society. ; Czy możemy nauczyć się sztuki życia z socjologii? Socjologia uczy nas, że jesteśmy częścią szerszej grupy zwanej społeczeństwem. Nauczono nas, że społeczeństwo powinno być najpierw opisane, aby mogło być zrozumiane i/lub wyjaśnione, a funkcja poznawcza jest najważniejszą częścią zrozumienia roli, jaką powinna odgrywać socjologia w demokratycznym i nowoczesnym społeczeństwie. Czy to zrozumienie (poznanie) jest wystarczające? Co jeszcze może możemy uzyskać od socjologii, by ulepszyć jakość naszego życia? Czy socjologia jest narzędziem sztuki życia, czy jest grą "wyrafinowanych" naukowców? W niniejszym artykule analizujemy socjologię z punktu widzenia filozofii buddyzmu zen, aby pokazać związek pomiędzy pracą umysłu a koncepcjami socjologicznymi, które są używane do analizy "społeczeństwa". Ponadto analizujemy podejścia George'a H. Meada, Roberta Mertona, a zwłaszcza i osobno Anthony'ego Giddensa, który stworzył bardzo ważne dla naszych rozważań pojęcie "bezpieczeństwa ontologicznego". Odtworzymy również strukturalne warunki sztuki życia i szczęścia, analizując koncepcję tak zwanych chciwych instytucji Lewisa Cosera. Analitycznie połączymy strukturalne warunki pracy we współczesnych chciwych instytucjach (szczególnie tych pracujących nad projektami) z utratą bezpieczeństwa ontologicznego. Analizujemy przesunięcie znaczenia pracy, kariery, autonomii, struktury czasu, tożsamości, prywatności i szczęścia, i wreszcie socjologii. Staramy się używać inspiracji buddyjskich do analizowania problemów cierpienia i związanych z nimi: ontologicznej niepewności oraz dobrostanu jednostki i/lub społeczeństwa.

The tea ceremony and the martial arts are intimately linked in the popular and historical imagination with Zen Buddhism, and Japanese culture. They are commonly interpreted as religio-aesthetic pursuits which express core spiritual values through bodily gesture and the creation of highly valued objects. Ideally, the experience of practising the Zen arts culminates in enlightenment. This book challenges that long-held view and proposes that the Zen arts should be understood as part of a literary and visual history of representing Japanese culture through the arts. Cox argues that these texts and images emerged fully as systems for representing the arts during the modern period, produced within Japan as a form of cultural nationalism and outside Japan as part of an orientalist discourse. Practitioners' experiences are in fact rarely referred to in terms of Zen or art, but instead are spatially and socially grounded. Combining anthropological description with historical criticism, Cox shows that the Zen arts are best understood in terms of a dynamic relationship between an aesthetic discourse on art and culture and the social and embodied experiences of those who participate in them.

The article aims to comprehend the impact of Zen Buddhism, its philosophical positions and practices on the problems and poetics of the novel by A. Makushinsky The Stopped World. The Buddhist influence in the novel is manifested in the literary implementation of the principles of the emptiness of reality, the illusory nature of the human 'I', the relativity of time and space, and also in the features of the created characters, landscapes and interiors, in the organization of the chronotope. Based on the results of the study, it can be stated that in The Stopped World A. Makushinsky not only depicts the world perceived in meditation by means of a thorough and detailed analysis of all components of reality but also literally depicts the world from meditation. The writer draws attention to the principle of universal connections of things showing the similarities of various characters in the novel. The Stopped World is looking for parallels that would most adequately explain what Zen and human consciousness are. Such parallels are sky and water, photography, architecture. Each of them expresses the dynamics that have become static, the fuss that has become peace, or the 'stopped world'. The theoretical and methodological base of the work rests on the research conducted by V. Toporov (on the 'Petersburg text') and P. Alexeev (on the 'Muslim text'): the precedent translation of the structural-semiotic approach from the urban-cultural into the religious sphere allows us to apply it also to the literary study of the presence of Buddhist ideas and motifs in the text. The relevance of the article is determined by the low level of knowledge of the presence of Buddhism in Russian literature as one of the world religions and one of the traditional religions of Russia. The article is novel in that it attempts to provide a consistent and broad study of the 'Buddhist text' of modern Russian literature based on thenovel The Stopped World by A. Makushinsky taking into account the writer's poetic work.