Appendix 1: Classical Tibetan data for the article "Realization-Potential: A Necessary and Important Semantic Category of Tibetan Verbs."
2025
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8 pages
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Abstract
文獻中的《麗江版甘珠爾》、《德格版丹珠爾》、《萨迦格言及注释》、《宗喀巴大師全集》、 《博東·卻勒南傑大師全集》、《昂旺羅卓紮巴大師全集》、《局米旁大師全集》,《遍知 果然巴大師全集》來源於語料庫 ADARSHA (https://adarsha.dharma-treasure.org),這 些文獻多屬刻本,語料庫附有影印。《米拉日巴傳及道歌》和《青史》是公開出版的版本。另外例(8)、(15)、(29)、(35)直接引自馬進武(2019)。
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This article takes various expressions using the Chinese term "speak" (shuo) as the basis for its investigation of Nāgārjuna's linguistic strategy. These include speak, unspeakable, unspoken, and spoken by prajñapti in the Chinese version of the Mūlamadhyamakākarikā. I first point out the two background causes that make the Buddha withdraw from preaching and remain in silence: the profundity of the Dharma and the limits of people's capacities. In response, the Mūlamadhyamakākarikā seems to reveal a two-sided strategy, i.e., confirmation and negation. On the one hand, it emphasizes the unspeakable to get rid of people's attachment, until at last all prapañcas have ceased, and one arrives at the unspoken. On the other hand, Mūlamadhyamakākarikā positively approves of the conventional truth and prajñapti to express that conventional linguistic cognition is necessary. The Mūlamadhyamakākarikā's theory of pratītya-samutpāda and śūnyatā, therefore, reveal double the aspects of negation and confirmation in Buddhist Philosophy and lead people to the way of nirvāṇa.
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從規範佛教而言,佛教戒律中不贊同修道者歌舞倡伎以影響道心,但是佛教 傳至明清時期卻扭轉了這種規範性的認知,確實看見了大傳統與小傳統的不同。 不論從唐代的《洛陽伽藍記》描述佛教寺院中有戲臺的影子,到了明清版畫中也 能看到寺院搭起戲臺表演俗劇。除了戲臺外,還出現佛道融合的儀軌例如「破地 獄」,將表演與儀式結合,表現出的文化現象。在佛教戒律中禁止歌舞倡伎,但 是在寺院外卻搭起戲臺歌唱世俗情愛,這種佛教與民間衝擊的弔詭現象,現在佛 教研究的學術界甚少討論,因此希望藉由本文作為一個開端,使未來更多人關注 佛教音樂的研究。 本文欲透過文本分析、圖片考證,整理中國佛寺戲臺以及明清佛教戲劇與儀 式的資料,試圖歸納過去佛寺戲臺搬演及紀錄,還有現存佛寺戲臺的遺址。並且 列出明清時期佛教相關戲曲,乃至於佛教故事表演如何與儀式結合進行探討。希 望透過這兩個層面,概述明清佛教寺院戲劇與儀式的形態。
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Sangsrgyas Tshering