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東アジア仏教の諸問題
東アジア中心に22名の聖厳博士への論文集
Green Recovery with Resilience and High Quality Development
This open access book is based on the research outputs of China Council for International Cooperation on Environment and Development (CCICED) in 2021. It covers major topics of Chinese and international attention regarding green development, such as climate, biodiversity, ocean, BRI, urbanization, sustainable production and consumption, technology, finance, value chain, and related topics. It also reviews the progress of China‘s environmental and development policies and the impacts from CCICED. This is a highly informative and carefully presented book, providing insight for policy makers in environmental issues.
中華佛學學報
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Silent Illumination
Our natural awakening—or buddha-nature—is inherent within all of us and waiting to be realized. Buddha-nature has the qualities of both silence and illumination, and by working with silent illumination meditation you can find your own awakening. Distinguished Chan Buddhist teacher Guo Gu introduces you to the significance and methods of this practice through in-depth explanations and guided instructions. To help establish a foundation for realizing silent illumination, he has translated twenty-five teachings from the influential master Hongzhi Zhengjue into English, accompanied by his personal commentary. This book will be an indispensable resource for meditators interested in beginning or deepening their silent illumination practice.
Anxiety Aesthetics
Anxiety Aesthetics is the first book to consider a prehistory of contemporaneity in China through the emergent creative practices in the aftermath of the Mao era. Arguing that socialist residues underwrite contemporary Chinese art, complicating its theorization through Maoism, Jennifer Dorothy Lee traces a selection of historical events and controversies in late 1970s and early 1980s Beijing. Lee offers a fresh critical frame for doing symptomatic readings of protest ephemera and artistic interventions in the Beijing Spring social movement of 1978-80, while exploring the rhetoric of heated debates waged in institutional contexts prior to the '85 New Wave. Lee demonstrates how socialist aesthetic theories and structures continued to shape young artists' engagement with both space and selfhood and occupied the minds of figures looking to reform the nation. In magnifying this fleeting moment, Lee provides a new historical foundation for the unprecedented global exposure of contemporary Chinese art today.
