|
|
|
 |
|
|
|
|
|
|
批判與繼承：星雲法師《無聲息的歌唱》之創作義蘊及人間佛教理念=Critique and Inheritance: The Creative Implication and the Idea of Humanistic Buddhism in Bells, Gongs and Wooden Fish by Venerable Master Hsing Yun |
|
|
|
| Author |
李仲謹 (撰)=Li, Zhong-jin (compose)
|
|---|
| Date | 2016 |
|---|
| Pages | 129 |
|---|
| Publisher | 南華大學 |
|---|
| Publisher Url |
https://web.nhu.edu.tw/
|
|---|
| Location | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
|---|
| Content type | 博碩士論文=Thesis and Dissertation |
|---|
| Language | 中文=Chinese |
|---|
| Degree | master |
|---|
| Institution | 南華大學 |
|---|
| Department | 宗教學研究所 |
|---|
| Advisor | 李芝瑩 |
|---|
| Publication year | 104 |
|---|
| Keyword | 《無聲息的歌唱》=Bells, Gongs and Wooden Fish; 人間佛教=Humanistic Buddhism; 星雲法師=Master Hsing Yun; 創作義蘊=creative implication; 佛教文學=Buddhist Literature |
|---|
| Abstract | 《無聲息的歌唱》作為星雲法師第一部佛教文學創作，其散文與詩的兩種文體交互映照，兩種文體互相呼應，呈顯不同的文學趣味。在書中星雲法師借物言志，以對治當時的佛教邊緣化、佛陀神格化及僧眾流俗化的問題，其中對僧眾流俗化的批判尤為嚴厲，呈顯他對末法時流的憂患意識。批判僧眾的背後實際上是期許喚起僧眾對出家本意的認知與對佛教存亡的關懷，期望藉由僧眾對佛教精神的繼承次第對治佛陀神格化與佛教邊緣化的問題以達到佛教復興的目標，因而提出回歸佛教根本法義與佛陀人間德範為一切僧格行誼的準則，並且為使佛法與佛陀回到人間，弘法者的條件與弘法方式作為關鍵，由此推動佛教復興。本文透過探討星雲法師《無聲息的歌唱》的體裁、修辭與其中蘊含的創作義蘊，及藉由星雲法師所處的時代背景的歷史參照，探索其文學創作的理念與其創作意識，並採取互文參照法以對星雲法師青年時期的人間佛教思想有更全面的理解。
Venerable Master Hsing Yun’s first work is Bells, Gongs and Wooden Fish. He used two kinds of literary forms, poetry and prose, to interact with each other. Master Hsing Yun showed his idea of Humanistic Buddhism through different kinds of dharma instruments to deal with the Buddhist problems: Marginalized Buddhism, Deificated Buddha, and Secularized Sangha. In particular, he criticized the secularized sangha the harshest, showing his consciousness of Dharma-Ending Period. The implication of his critics was to wake the secularized sangha about the cognition of the meaning of ordination and the care of the survival of Buddhism. He expected sangha could inherit the spirit of Buddha so that they could gradually modify the phenomenon of Deificated Buddha and Marginalized Buddhism, and eventually it would achieve the goal of the Buddhist Revival. In order to reach this goal, he appealed to the Buddhists to return to the fundamental dharma of Buddhism and follow the merits of Buddha. To bring the Dharma and Buddha back to the human world, he emphasized the importance of the qualifications of Buddhist missionaries and the appropriate ways of preaching. This thesis explores the creative literary idea and the creative consciousness of Master Hsing Yun through analyzing the genre, the rhetoric and the connotations in Bells, Gongs and Wooden Fish, and expects to get more comprehensive understanding of the early ideas of Humanistic Buddhism of Master Hsing Yun by the Intertextual Analysis of his early works. |
|---|
| Table of contents | 第一章緒論 1
第一節研究動機與目的 1
第二節研究方法與架構 2
第三節前人研究文獻回顧 4
第二章《無聲息的歌唱》創作形式分析 9
第一節佛教文學的定義 9
第二節佛教文學的特色 12
第三節《無聲息的歌唱》的文學特色 19
第三章星雲法師《無聲息的歌唱》的創作義蘊 34
第一節星雲法師的寫作因緣 34
第二節星雲法師文學創作理念 46
第三節《無聲息的歌唱》之創作意識 51
第四章星雲法師早期人間佛教理念的批判與繼承 71
第一節「回歸佛教本初」所呈顯教理的批判與繼承 72
第二節「端正僧格行誼」所呈顯教制的批判與繼承 91
第三節「弘法利生」所呈顯佛教傳佈的批判與繼承 107
第五章結論 114
參考書目 118
附錄 125 |
|---|
| Hits | 297 |
|---|
| Created date | 2020.02.12 |
|---|
| Modified date | 2023.01.09 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
