Morten Schlütter
Steven Heine and Dale S. Wright (eds)
- Published in print:
- 2004
- Published Online:
- February 2006
- ISBN:
- 9780195150674
- eISBN:
- 9780199784615
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195150678.003.0007
- Subject:
- Religion, Buddhism
This chapter offers an analysis of the “recorded sayings” genre of Zen literature by focusing on the Chan master Hongzhi Zhengjue (1091-1157), a well-known Song dynasty Zen teacher around whom an ...
More
This chapter offers an analysis of the “recorded sayings” genre of Zen literature by focusing on the Chan master Hongzhi Zhengjue (1091-1157), a well-known Song dynasty Zen teacher around whom an extensive literary tradition evolved. The essay begins by outlining the yulu genre, its origins and development, and then offers a similar study of development in the history of the literature surrounding this one master, Hongzhi. The Hongzhi lu is shown to be composed of a variety of historical layers, each grafted onto the whole over time through a variety of techniques. The text is shown to develop from small collections of sayings circulating during the master’s lifetime to larger official collections, until its eventual loss in China and increasing prominence in Japan.Less
This chapter offers an analysis of the “recorded sayings” genre of Zen literature by focusing on the Chan master Hongzhi Zhengjue (1091-1157), a well-known Song dynasty Zen teacher around whom an extensive literary tradition evolved. The essay begins by outlining the yulu genre, its origins and development, and then offers a similar study of development in the history of the literature surrounding this one master, Hongzhi. The Hongzhi lu is shown to be composed of a variety of historical layers, each grafted onto the whole over time through a variety of techniques. The text is shown to develop from small collections of sayings circulating during the master’s lifetime to larger official collections, until its eventual loss in China and increasing prominence in Japan.
Christopher Grobe
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781479829170
- eISBN:
- 9781479839599
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479829170.003.0003
- Subject:
- Film, Television and Radio, Television
Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the ...
More
Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.Less
Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.
