Buddhist Poetry

Repetition has emerged as a critical term in modern European philosophy, aesthetics, gender studies, and theology, from its early utilization in the critique of teleological models of memory (Søren Kierkegaard), history (Friedrich Nietzsche, Karl Marx), and the self (Sigmund Freud); its role in experimental modernist writing (Charles Péguy, Raymond Roussel, Gertrude Stein); and its centrality for critiques of authorship (Jacques Derrida) and representation (Gilles Deleuze) right up to helping conceptualize the order of music (Adam Ockelford), sexual difference (Judith Butler), and a theological ontology based on insistence (Catherine
Pickstock). European and North American academic interest in Buddhist iterative forms of cosmology and time, particularly those inherent in concepts of rebirth and world renewal, has confined itself to the largely representational paradigm of the cyclical and the linear, at best using repetition to distinguish between the two. One of the aims of this chapter is to contribute, with the help of select passages from Theravāda texts,
toward a shift from a geometrical and typological way of thinking about time to an event- and language-oriented one, involving speaker participation and linguistic self-reflexivity, repeating, so to speak, the insights of some of the authors mentioned earlier. The term repetition will
allow us to think about time, not from a place outside of time from which types of time appear in lines and circles but from a time within time, the time between one repetition and the other, where time could be made explicit or may remain implied. It is a time that is thoroughly mediated by the linguistic practices, including translation, of Pāli, English, and other idioms, a mediation out of which, among many other things, the discourses of time, line, and circle have emerged.

This is an annotated translation of selections from Shinzai’s Introduction to Kūkai’s Collected Prose and Poetry and Kūkai’s poem “Interest in Going to the Mountains”. Kūkai’s collected prose and poetry is titled Henjō Hakki Shōryōsyū also called Henjō Hakki Seireishū (遍照発揮性霊集 Collection Divining the Spiritual Nature of Henjō), Henjō being Kūkai’s esoteric transformation name. Shinzai was one of Kūkai’s followers. The classical Chinese text used for these translations are found in the Kōbō Daishi Kūkai Zenshū, Volume 6. This paper also includes translations of the Japanese footnotes from those texts. “Interest in Going to the Mountains” is the third poem in Henjō Hakki Shōryōsyū / Seireishū.

That paper was present at the Southeast Conference of the Association for Asian Studies. The footnotes were discussed as a part of the examination of Confucian and Daoist motifs.

Keywords:
Buddhist Literature, Buddhist Studies, Kūkai ( Kukai ), Kōbō Daishi, Buddhist Poetry
空海の詩,  性霊集弘法大師, 弘法大師空海全集

Traducción y comentario de "La canción de Pañcasikha” (Pañcasikhagita), también conocida como “Los versos sobre el Buddha, el dhamma, los árahants y el deseo amoroso” (Gāthā buddhūpasaṃhitā dhammūpasaṃhitā arahantūpasaṃhitā kāmūpasaṃhitā), un ejemplar excepcional en la historia de la literatura budista en pali, tanto por su carga erótica como por su ingenioso uso de tropos, símbolos e imágenes comunes al repertorio ascético.

Forma parte del libro Primer Amor, Antología Poética, editado por Francisco Segovia, Adrián Muñoz y Juan Carlos Calvillo.

This chapter is driven by the question of what role jewels play in how people relate to each other. More precisely, it asks how jewels, on the basis of the difference between those who display them and those who take note, help to create the difference between the desired and the desiring. The most obvious domains this difference plays out in are in the relations between women and men, be they human or superhuman, and between classes or castes, shaping how members of specific gender or status groups understand themselves and relate within the groups they find themselves in – through jewels. That involves looking at jewels, at least as a first step, as a commodity and at the market conditions under which they are produced, owned, and circulated. It further also requires looking at the way jewels figure in literary discourse that has shaped historically enduring ways of understanding the implications of the deployment and enjoyment of jewels and creating and reconfirming what jewels are meant to and happen to do.

Esta traducción coteja las versiones que hicieron al inglés Ian Haight y T’ae-Yong Ho, quienes trabajaron con los facsimilares de la Universidad de Kumasawa en Japón; junto a la traducción de Roderick Whitfield y Young-Eui Park que se publicó como el volumen IX de Collected Works of Korean Buddhism (詩選集). Así mismo, se revisaron cautelosamente las versiones originales en chino y las anotaciones a distintas referencias religiosas y contextuales.