Mountains, Rivers, and the Whole Earth: Koan Interpretations of Female Zen Practitioners
Though recent years have seen a critical reappraisal of Buddhist texts from the angle of performance and gender studies, examinations of Zen Buddhist encounter dialogues (better known under their edited form as koan) within this framework are rare. In this article, I first use Rebecca Schneider�...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2018]
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| In: |
Religions
Year: 2018, Volume: 9, Issue: 4, Pages: 1-10 |
| Further subjects: | B
Koan
B Zen Buddhism B encounter dialogue B Gender B Performance |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a Though recent years have seen a critical reappraisal of Buddhist texts from the angle of performance and gender studies, examinations of Zen Buddhist encounter dialogues (better known under their edited form as koan) within this framework are rare. In this article, I first use Rebecca Schneider's notion of reenactment to characterize interpretative strategies developed by contemporary female Zen practitioners to contest the androcentrism found in koan commentary. Drawing on The Hidden Lamp (2013), I suggest that there are two ways of reading encounter dialogues. One of these, the grasping way, tends to be confrontational and full of masculine and martial imagery. The other, the granting way, foregrounds the (female) body and the family as sites of transmission, stressing connection instead of opposition. I then argue that these granting readings of encounter dialogues gesture towards a Zen lineage that is universal, extended to everyone, even to the non-human. | ||
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