The Power of Denial: Buddhism, Purity, and Gender
The Power of Denial: Buddhism, Purity, and Gender
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否认的力量:佛教、纯洁和性别
DOI:
10.1111/j.1540-6253.2004.00162_2.x
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发表时间:
2003
期刊:
影响因子:
--
通讯作者:
B. Faure
中科院分区:
文献类型:
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作者:
B. Faure
This is another towering achievement by Bernard Faure, the leading proponent of cultural criticism in examinations of East Asian Buddhism, who continues his assault on the stereotypes and inconsistencies that veil the true picture of how Buddhists actually thought and behaved. Faure spent much of the 1990s publishing a series of books challenging the" Rhetoric of Immediacy" expressed in Chan/Zen Buddhist self-promotional tracts and texts. This rhetorical claim was, as he showed in a very compelling way, often undercut by the wide variety of mediating forces such as deities, thaumaturges, funeral rites, mummification ceremonies and the like, which were characteristic of the sect's practices through the centuries. His main point was to demonstrate the variances and ambiguities regarding rhetoric articulating an idealized religious vision, which is still preserved and portrayed as fact in much of scholarship today, and historicity, to the extent that it can be reconstructed from diverse canonical, quasi-canonical, and extra-canonical sources.In the past few years, Faure has turned his attention to broader social issues, especially gender and sexuality. The Power of Denial is the second of a series of books, including The Red Thread: Buddhist Approaches to Sexuality (Princeton University Press, 1998) and the forthcoming Resilient Spirits: Buddhas, Gods, and Demons in Medieval Japan. His method here resembles the work on Chan/Zen in two ways. First, while Faure has a great familiarity and facility with conventional texts representing the views the tradition wishes to express, he is particularly notable in highlighting the role of diverse sources such as myths, legends, folktales, or plays. This is especially useful when it leads him to discover how various versions and subtle twists of a narrative bring out new angles, as in the discussion of Ono no Komachi, who was portrayed in a wide range of images. Komachi was pictured as a devotee of Kannon, or the incarnation of the Eleven-headed icon of the bodhisattva of compassion, or someone who transgressed the precepts and suffers in hell, or a corpse decomposing in nine stages that monks contemplate as a reminder on the need to avoid sin (p. 275). Faure brings out tremendously rich and fascinating material, though at times the sources are so far removed from the mainstream Buddhist canon and embedded in other kinds of medieval Japanese cultural expressions that the book's subtitle seems a bit misleading.