Podcast appearances and mentions of charlotte eubanks

What does it mean to experience a sacred text? How did Buddhism make its way from south Asia to the Japanese archipelago? How did the adoption of Buddhism impact the Japanese Middle Ages? Join Jon Correa Reyes and Reed O'Mara for a conversation with Charlotte Eubanks, where they discuss some of the many ways in which Buddhist beliefs and practices shaped medieval Japanese history, individuals, and landscapes. Additionally, they shed light on how engagement with Buddhist sacred texts was a deeply embodied experience for Buddhist monks and devotees.For more about Charlotte, Jon, Reed, and their conversation, visit our Show Notes: https://tinyurl.com/mmapodcast.

A reading guide by Frances Garrett for the article, "Circumambulatory Reading: Revolving Sutra Libraries and Buddhist Scrolls" by Charlotte Eubanks, published in 2010 in Book History 13, 1-24. This episode of Footnotes was produced by Frances Garrett, with sound editing by Jesse Whitty. The Footnotes series is created at the University of Toronto, in Canada, with support from eCampus Ontario.

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan (U Hawaii Press, 2019) examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement. Charlotte Eubanks is associate professor of comparative literature, Japanese and Asian Studies at the Pennsylvania State University. She studies the material culture of books and word/image relations, with a focus on Japanese literature from the medieval period to the present. Her articles have appeared in Ars Orientalis, Book History, Harvard Journal of Asiatic Studies, Japanese Journal of Religious Studies, PMLA, Symposium, Word &Image, and a range of other venues. She is associate editor at the journal Verge: Studies in Global Asias. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Allison Alexy talks with Prof. Charlotte Eubanks, whose research focuses on material culture, performance studies, and ethics, with a focus on Japanese and Buddhist literature from the medieval period to the present. The conversation centers on their new book The Art of Persistence: Akamatsu Toshiko and the Visual Cultures of Transwar Japan. Topics of discussion include: settler families in Hokkaido, art, sketching, life histories, art and books for children, war guilt and responsibility, and research methods for art historians. Prof. Charlotte Eubanks is Department Head and Associate Professor of Comparative Literature, Japanese, and Asian Studies at the Pennsylvania State University. 

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach at carlanappi@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among... Learn more about your ad choices. Visit megaphone.fm/adchoices

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach at carlanappi@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach at carlanappi@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach at carlanappi@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Verge: Studies in Global Asias is an inspiring and path-breaking new journal that explores innovative forms for individual and collaborative scholarly work. I had the privilege of talking with Charlotte Eubanks, Jonathan E. Abel, and Tina Chen about Volume 1, Issue 2: Collecting Asias (Fall 2015), which includes – among several fascinating essays – a portfolio of Akamatsu Toshiko’s sketches of Micronesia, an interview about Mughal collections, an introduction to three wonderful digital projects, and a field trip to collaboratively-curated exhibition. In addition to exploring the particular contributions of this special issue, we talked about some of the features of the journal that really excitingly push the boundaries of what an academic journal can be, considering aspects of the innovative forms that are curated in the Convergence section of Verge and reflected in its essays. Highly recommended, both for reading and for teaching! Carla Nappi is Associate Professor of History at the University of British Columbia. Her research and writing concern the histories of science, medicine, materiality, and their translations in early modern China. You can find out more about her work by visiting www.carlanappi.com. She can be reach at carlanappi@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way in which text and body are not as separate as we usually assume. Two of the questions she wants to answer are “What do sÅ«tras want?” and “What do sÅ«tras get?” She examines Buddhist scriptures of continental origin to answer the former, while she turns to Japanese tale literature (setsuwa) to answer the latter. Two ideas central to the book are that bodies can become texts, and that texts can become bodies. Concerning the first, through reciting, reproducing, and in some sense embodying a sutra, an individual can in effect turn his or her body into the text itself (a result that the sÅ«tras themselves encourage through various admonishments, a move that can be seen as their own quest for survival). As for the second–the idea that texts can become bodies–Eubanks shows that in the Japanese context sÅ«tras literary materialize, becoming independent actors in their own right. While it was largely through setsuwa and other such filters that medieval Japanese understood Buddhist scripture, the ease with which sÅ«tras and bodies moved back and forth along what Eubanks terms “the text-flesh continuum” was dependent upon Mahāyāna sÅ«tras' concealment of their authorship. Indeed, certain sÅ«tras went so far as to suggest that their origins are to be found prior to the Buddha himself, the figure who in traditional Buddhism would have been considered the author of these texts. This move allowed Mahāyāna sÅ«tras to claim agency for themselves, and thus for Japanese setsuwa to later depict sÅ«tras as willful, motivated actors rather than mere containers for the teachings of the Buddha. Besides using setsuwa as a source for understanding the Japanese reception of Buddhist sÅ«tras, Eubanks examines the prefaces and colophons of setsuwa collections in order to understand how the compilers or authors of these tales intended this didactic literature to interact with human bodies (e.g., as food or medicine), showing that in the ideal relationship between setsuwa and reader/listener, the latter not only received ideas and ethical norms but also came to embody (both literally and figuratively) those very ideas and norms. Beside being rewarded with a stimulating reinterpretation of the way in which sÅ«tras and setsuwa make their messages heard and felt, the reader will be treated to a plethora of fascinating accounts from nine medieval setsuwa collections. In addition, Eubanks addresses gender at various points throughout the work, showing how Japanese and non-Japanese scholars alike have treated this genre as an erotic object, and the way in which setsuwa were conceived by their own authors and compilers as elderly female matchmakers (to give but two examples). And in the final chapter Eubanks discusses the relationship between material form and the practice of reading, seeking to understand the development of the revolving sÅ«tra library and the persistence of the scroll in East Asian Buddhism long after the codex has come into use. This book will be of particular interest to those researching medieval Japanese Buddhism, Mahāyāna sÅ«tras as a genre, setsuwa, Buddhist textual culture, gender symbolism in Japanese Buddhism, medieval traditions of preaching and proselytization, and the body in religious thought and practice. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way in which text and body are not as separate as we usually assume.  Two of the questions she wants to answer are “What do sÅ«tras want?” and “What do sÅ«tras get?”  She examines Buddhist scriptures of continental origin to answer the former, while she turns to Japanese tale literature (setsuwa) to answer the latter. Two ideas central to the book are that bodies can become texts, and that texts can become bodies.  Concerning the first, through reciting, reproducing, and in some sense embodying a sutra, an individual can in effect turn his or her body into the text itself (a result that the sÅ«tras themselves encourage through various admonishments, a move that can be seen as their own quest for survival). As for the second–the idea that texts can become bodies–Eubanks shows that in the Japanese context sÅ«tras literary materialize, becoming independent actors in their own right. While it was largely through setsuwa and other such filters that medieval Japanese understood Buddhist scripture, the ease with which sÅ«tras and bodies moved back and forth along what Eubanks terms “the text-flesh continuum” was dependent upon Mahāyāna sÅ«tras’ concealment of their authorship.  Indeed, certain sÅ«tras went so far as to suggest that their origins are to be found prior to the Buddha himself, the figure who in traditional Buddhism would have been considered the author of these texts.  This move allowed Mahāyāna sÅ«tras to claim agency for themselves, and thus for Japanese setsuwa to later depict sÅ«tras as willful, motivated actors rather than mere containers for the teachings of the Buddha. Besides using setsuwa as a source for understanding the Japanese reception of Buddhist sÅ«tras, Eubanks examines the prefaces and colophons of setsuwa collections in order to understand how the compilers or authors of these tales intended this didactic literature to interact with human bodies (e.g., as food or medicine), showing that in the ideal relationship between setsuwa and reader/listener, the latter not only received ideas and ethical norms but also came to embody (both literally and figuratively) those very ideas and norms. Beside being rewarded with a stimulating reinterpretation of the way in which sÅ«tras and setsuwa make their messages heard and felt, the reader will be treated to a plethora of fascinating accounts from nine medieval setsuwa collections.  In addition, Eubanks addresses gender at various points throughout the work, showing how Japanese and non-Japanese scholars alike have treated this genre as an erotic object, and the way in which setsuwa were conceived by their own authors and compilers as elderly female matchmakers (to give but two examples).  And in the final chapter Eubanks discusses the relationship between material form and the practice of reading, seeking to understand the development of the revolving sÅ«tra library and the persistence of the scroll in East Asian Buddhism long after the codex has come into use. This book will be of particular interest to those researching medieval Japanese Buddhism, Mahāyāna sÅ«tras as a genre, setsuwa, Buddhist textual culture, gender symbolism in Japanese Buddhism, medieval traditions of preaching and proselytization, and the body in religious thought and practice. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way in which text and body are not as separate as we usually assume.  Two of the questions she wants to answer are “What do sÅ«tras want?” and “What do sÅ«tras get?”  She examines Buddhist scriptures of continental origin to answer the former, while she turns to Japanese tale literature (setsuwa) to answer the latter. Two ideas central to the book are that bodies can become texts, and that texts can become bodies.  Concerning the first, through reciting, reproducing, and in some sense embodying a sutra, an individual can in effect turn his or her body into the text itself (a result that the sÅ«tras themselves encourage through various admonishments, a move that can be seen as their own quest for survival). As for the second–the idea that texts can become bodies–Eubanks shows that in the Japanese context sÅ«tras literary materialize, becoming independent actors in their own right. While it was largely through setsuwa and other such filters that medieval Japanese understood Buddhist scripture, the ease with which sÅ«tras and bodies moved back and forth along what Eubanks terms “the text-flesh continuum” was dependent upon Mahāyāna sÅ«tras’ concealment of their authorship.  Indeed, certain sÅ«tras went so far as to suggest that their origins are to be found prior to the Buddha himself, the figure who in traditional Buddhism would have been considered the author of these texts.  This move allowed Mahāyāna sÅ«tras to claim agency for themselves, and thus for Japanese setsuwa to later depict sÅ«tras as willful, motivated actors rather than mere containers for the teachings of the Buddha. Besides using setsuwa as a source for understanding the Japanese reception of Buddhist sÅ«tras, Eubanks examines the prefaces and colophons of setsuwa collections in order to understand how the compilers or authors of these tales intended this didactic literature to interact with human bodies (e.g., as food or medicine), showing that in the ideal relationship between setsuwa and reader/listener, the latter not only received ideas and ethical norms but also came to embody (both literally and figuratively) those very ideas and norms. Beside being rewarded with a stimulating reinterpretation of the way in which sÅ«tras and setsuwa make their messages heard and felt, the reader will be treated to a plethora of fascinating accounts from nine medieval setsuwa collections.  In addition, Eubanks addresses gender at various points throughout the work, showing how Japanese and non-Japanese scholars alike have treated this genre as an erotic object, and the way in which setsuwa were conceived by their own authors and compilers as elderly female matchmakers (to give but two examples).  And in the final chapter Eubanks discusses the relationship between material form and the practice of reading, seeking to understand the development of the revolving sÅ«tra library and the persistence of the scroll in East Asian Buddhism long after the codex has come into use. This book will be of particular interest to those researching medieval Japanese Buddhism, Mahāyāna sÅ«tras as a genre, setsuwa, Buddhist textual culture, gender symbolism in Japanese Buddhism, medieval traditions of preaching and proselytization, and the body in religious thought and practice. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way in which text and body are not as separate as we usually assume.  Two of the questions she wants to answer are “What do sÅ«tras want?” and “What do sÅ«tras get?”  She examines Buddhist scriptures of continental origin to answer the former, while she turns to Japanese tale literature (setsuwa) to answer the latter. Two ideas central to the book are that bodies can become texts, and that texts can become bodies.  Concerning the first, through reciting, reproducing, and in some sense embodying a sutra, an individual can in effect turn his or her body into the text itself (a result that the sÅ«tras themselves encourage through various admonishments, a move that can be seen as their own quest for survival). As for the second–the idea that texts can become bodies–Eubanks shows that in the Japanese context sÅ«tras literary materialize, becoming independent actors in their own right. While it was largely through setsuwa and other such filters that medieval Japanese understood Buddhist scripture, the ease with which sÅ«tras and bodies moved back and forth along what Eubanks terms “the text-flesh continuum” was dependent upon Mahāyāna sÅ«tras’ concealment of their authorship.  Indeed, certain sÅ«tras went so far as to suggest that their origins are to be found prior to the Buddha himself, the figure who in traditional Buddhism would have been considered the author of these texts.  This move allowed Mahāyāna sÅ«tras to claim agency for themselves, and thus for Japanese setsuwa to later depict sÅ«tras as willful, motivated actors rather than mere containers for the teachings of the Buddha. Besides using setsuwa as a source for understanding the Japanese reception of Buddhist sÅ«tras, Eubanks examines the prefaces and colophons of setsuwa collections in order to understand how the compilers or authors of these tales intended this didactic literature to interact with human bodies (e.g., as food or medicine), showing that in the ideal relationship between setsuwa and reader/listener, the latter not only received ideas and ethical norms but also came to embody (both literally and figuratively) those very ideas and norms. Beside being rewarded with a stimulating reinterpretation of the way in which sÅ«tras and setsuwa make their messages heard and felt, the reader will be treated to a plethora of fascinating accounts from nine medieval setsuwa collections.  In addition, Eubanks addresses gender at various points throughout the work, showing how Japanese and non-Japanese scholars alike have treated this genre as an erotic object, and the way in which setsuwa were conceived by their own authors and compilers as elderly female matchmakers (to give but two examples).  And in the final chapter Eubanks discusses the relationship between material form and the practice of reading, seeking to understand the development of the revolving sÅ«tra library and the persistence of the scroll in East Asian Buddhism long after the codex has come into use. This book will be of particular interest to those researching medieval Japanese Buddhism, Mahāyāna sÅ«tras as a genre, setsuwa, Buddhist textual culture, gender symbolism in Japanese Buddhism, medieval traditions of preaching and proselytization, and the body in religious thought and practice. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way... Learn more about your ad choices. Visit megaphone.fm/adchoices

In Miracles of Book and Body: Buddhist Textual Culture and Medieval Japan (University of California Press, 2011), Charlotte Eubanks examines the relationship between Mahāyāna Buddhist sÅ«tras and the human body, using Japanese tale literature (setsuwa) as a lens through which to understand this particular aspect of Buddhist textual culture and the way in which text and body are not as separate as we usually assume.  Two of the questions she wants to answer are “What do sÅ«tras want?” and “What do sÅ«tras get?”  She examines Buddhist scriptures of continental origin to answer the former, while she turns to Japanese tale literature (setsuwa) to answer the latter. Two ideas central to the book are that bodies can become texts, and that texts can become bodies.  Concerning the first, through reciting, reproducing, and in some sense embodying a sutra, an individual can in effect turn his or her body into the text itself (a result that the sÅ«tras themselves encourage through various admonishments, a move that can be seen as their own quest for survival). As for the second–the idea that texts can become bodies–Eubanks shows that in the Japanese context sÅ«tras literary materialize, becoming independent actors in their own right. While it was largely through setsuwa and other such filters that medieval Japanese understood Buddhist scripture, the ease with which sÅ«tras and bodies moved back and forth along what Eubanks terms “the text-flesh continuum” was dependent upon Mahāyāna sÅ«tras’ concealment of their authorship.  Indeed, certain sÅ«tras went so far as to suggest that their origins are to be found prior to the Buddha himself, the figure who in traditional Buddhism would have been considered the author of these texts.  This move allowed Mahāyāna sÅ«tras to claim agency for themselves, and thus for Japanese setsuwa to later depict sÅ«tras as willful, motivated actors rather than mere containers for the teachings of the Buddha. Besides using setsuwa as a source for understanding the Japanese reception of Buddhist sÅ«tras, Eubanks examines the prefaces and colophons of setsuwa collections in order to understand how the compilers or authors of these tales intended this didactic literature to interact with human bodies (e.g., as food or medicine), showing that in the ideal relationship between setsuwa and reader/listener, the latter not only received ideas and ethical norms but also came to embody (both literally and figuratively) those very ideas and norms. Beside being rewarded with a stimulating reinterpretation of the way in which sÅ«tras and setsuwa make their messages heard and felt, the reader will be treated to a plethora of fascinating accounts from nine medieval setsuwa collections.  In addition, Eubanks addresses gender at various points throughout the work, showing how Japanese and non-Japanese scholars alike have treated this genre as an erotic object, and the way in which setsuwa were conceived by their own authors and compilers as elderly female matchmakers (to give but two examples).  And in the final chapter Eubanks discusses the relationship between material form and the practice of reading, seeking to understand the development of the revolving sÅ«tra library and the persistence of the scroll in East Asian Buddhism long after the codex has come into use. This book will be of particular interest to those researching medieval Japanese Buddhism, Mahāyāna sÅ«tras as a genre, setsuwa, Buddhist textual culture, gender symbolism in Japanese Buddhism, medieval traditions of preaching and proselytization, and the body in religious thought and practice. Learn more about your ad choices. Visit megaphone.fm/adchoices