Gary Snyder

Työni tavoitteena on selvittää, miten Gary Snyder käyttää eläinkuvastoa runokokoelmissaan. Lähestyn ongelmaa poikkitieteellisesti käyttäen ekokriittistä näkökulmaa yhdistettynä buddhalaiseen uskonnolliseen teoriaan.

Aineistoni muodostuu Gary Snyderin runotuotannosta. Tämän lisäksi myös Snyderin proosateoksia käsitellään viitekehyksen sitä vaatiessa. Koska buddhalaiset elementit ovat niin vahvasti läsnä Snyderin tuotannossa, olen myös käyttänyt buddhalaista uskontoteoriaa ja klassisia sutra-tekstejä tutkimuksessani, yhdessä ekokritisismiä ja Beat-sukupolvea käsittelevien teosten kanssa.

Varsinaisessa analyysiosassani jaan Gary Snyderin tuotannon eläinaiheiset runot kolmeen luokkaan: interpenetraatiota ilmentävät runot, toteemieläimiä käsittelevät runot ja eläinten elinympäristön tuhoamista käsittelevät runot. Näiden luokittelujen avulla lähestyn tutkimusongelmaani, eli miten eläimet on esitetty Snyderin runotuotannossa ja mikä niiden funktio on. Analyysiosuudessani käytän hyväkseni sekä aiempaa Gary Snyderiin kohdistuvaa kriittistä tutkimusta että ekokriittisiä ja buddhalaisia prinsiippejä. Työni osoittaa, miten eläimet Gary Snyderin tuotannossa usein ilmentävät ekokriittisiä ja buddhalaisia näkökantoja.

The objective of this paper is to understand the film Batman vs Superman (2016) via elements of Gerard Genette's Transtextuality. A text does not exist in isolation. The atmosphere in terms of politics, other texts and, the general environment of the nation and the world affects the text in more than one way. The reason why Batman vs Superman (2016) becomes important is because the two protagonists have traditionally been separate from each other but fight for the same cause that is for the Good. Both the characters are superheroes who ideally existed in different time phase which never overlapped. So, Batman vs Superman then almost becomes a bricolage of various elements of the two superheroes' lives and characters. And that is the reason why elements of intertextuality in this film are both compelling and imperative for a better understanding.

In the long sustained interest American poets have held for Chinese aesthetics and literature, Ezra Pound and Gary Snyder are the most prominent exponents of this practice, and each has produced exemplary modes of navigating the path between East and West. This essay takes two examples from each poet to illustrate how Pound set much of the agenda for East-West aesthetics during and after the twentieth century, and how Snyder seeks to critically evaluate the tradition in which he performs as a way to further an understanding of Chinese aesthetics. Each poet composed a series of translations of Tang Dynasty poetry early in their careers: for Pound, most of Cathay (1915) was comprised of ‘translations’ of the poetry of Li Bai, adapted from the notes of Ernest Fenollosa and his Japanese tutors; and Snyder’s translations of the highly unorthodox Tang poet Han Shan gave him a critical perspective from which to consider canonicity and poetic practice. Later in their careers, both Pound and Snyder produced ekphrastic poems on Chinese painting: Pound’s Canto XLIX or the ‘Seven Lakes’ canto mediates Chinese painting by way of a Japanese album of painting and calligraphy, while Snyder’s direct apprehension of a Song Dynasty landscape scroll painting in the Cleveland Museum of Art provides him with a means by which to respond to the specific techniques evident in the artwork, and to the centuries of calligraphy, seal stamps of ownership, and other historical records attached to the silk painting. Both poets engage in a version of historical poetics – an awareness of the historical (and cultural) specificity of the objects they take for poetic material, as well as an acute apprehension of their own historically mediated poetic activities, not only in terms of the history of Anglophone poetics, but also, in Snyder’s case, in his response to the challenge presented by Modernist poetic practice to absorb and understand the Chinese artistic and poetic traditions deemed of such value to poets.

This hybrid art-theory article discusses "Indeterminate Hikes," a smartphone app and performance created by ecoarttech, my interdisciplinary eco-art and theory collaborative. The work was originally conceived for a Whitney Museum of American Art exhibition and subsequently performed on the High Line in NYC and the M.I.T. Media Lab, among other places. My essay theorizes the ways in which "Indeterminate Hikes" contributes to discussions of new media art, environmental thought, and performance art, including its relationship to Fluxus "happenings." Excerpts from this text have been presented at the M.I.T. Media Lab, University of North Texas, Indiana University, and--forthcoming in 2012--at the annual College Art Association conference in Los Angeles.

The article discusses the notion of dwelling in selected texts of the American poet Gary Snyder. It is argued that his understanding of existence and being echoes the one analysed by Martin Heidegger in his seminal essay. Dwelling is understood in the context of its moral dimension and identified as thematized by the writer through strategies which include the study of etymology and dissolution of binary oppositions.

The essay offers an analysis of Gary Snyder's poem "Wave". Close reading reveals the connections between metaphorical, structural, and performative levels of meaning in the poem.

This text was written for the course "Another Universe: Wilderness Thought in Ancient Chinese and Modern American Poetry", taught by David Hinton at the Free University of Berlin in the winter semester 2013/2014.

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Whole Earth Thinking and Planetary Coexistence focuses on newly emerging approaches to ecology that cross the disciplinary boundaries of sciences and humanities with the aim of responding to the challenges facing the current era of planetary interconnectedness. It introduces concepts that draw out a creative contrast between religious and secular approaches to the integration of sciences and humanities, with religious approaches represented by the "geologian" Thomas Berry and the whole Earth thinking of Stephanie Kaza and Gary Snyder, and the more secular approaches represented by the "geophilosophy" of poststructuralist theorists Gilles Deleuze and Félix Guattari.

A 'kitchen table dharma conversation' between Susan Fisher and Derek Rasmussen. Topics include: 'dana' (donation / generosity) in the Buddhist Dharma tradition; why dharma is not for sale; capitalism; scarcity vs abundance; strength of collectives; Elders, honouring our wisdom holders; difference between honour and celebrity.

Th is article ai m s to exam i ne the adaptive aesthet ic pri nciple i nvo l ved i n the transiti on from Eng lish Rom an tic ekphrasis to m odern Am erican ekphrasis through t he case study o f John K eats s poem, Ode on a G recian U rn. M oses M ende lssohn s formu la o f beauty w ill be em ployed to calcu late such ter m s as beauty, tru t h, and energy i n the poetics o f w ild ec stasy shared by K eats and m odern Am erican poets. Based on M urray K rieger s m odern ekphras t ic princ i p le of the st ill m ovem en, t this article is intended to articulate how E zra Pound s fourt h d i m ensi on of stillness prov ides readersw ith an applicable parad i gm deali ng w ith the ver bal representat i on o f t he g raph i c art and he l p i ng them g rasp the de-rom antic izing of K eats s Gre cian urn in m odern Am erican poem s. K ey w ord s : ekphrasis adaptation! stillness! verba l/ v isual em b lem ! derom ant icizi ng

I propose  that  Gary  Snyder’s  bioregional  project  can  contribute  to  recent  ecopoetic  thought  with  its  argument  for poetry as embodied practice and with its definition of community as place-based, transnational, and multi-species. I start  by  showing  continuities  between  bioregionalism  and  ecocriticism  with  the  concept  of  place.  I  then  turn  to Snyder’s  conceptualization  of  place  as  a  dialectics  between  the  biotic  and  sociopolitical  dimensions.  For  Snyder poetry  is  a  situated  and  embodied  practice  of  investigation  and  creation  of  place.  It  therefore  relates  with  recent discussions  on  ecopoetics  as  a  critical  and  poetic  practice  extended  to  ecologically  oriented  forms  of  community action and activism (Hume and Osborne 2018,2). As an example of how current ecopoetry practices a poetics of place I briefly discuss Allison Cobb’s Plastic: An Autobiography (2015)

Jason Wirth's Mountains, Rivers, and the Great Earth: Reading Gary Snyder and Dōgen in an Age of Ecological Crisis challenges complacency in two significant ways. First, it performs a commitment to philosophy as creative and capacious practice in contrast to orthodoxies of technical provincialisms. Second, it disrupts unreflective usages of " wealth " and " development " as inherently economic in developing a compelling argument about the way that spiritual poverty informs contemporary ecological pathology. In this review, I present six key claims in Wirth's text and offer unfolding thoughts in response.

Chapter 7 (pp 139-170) in Kulnieks A., Longboat D.R., Young K. (eds) Contemporary Studies in Environmental and Indigenous Pedagogies. (2013). SensePublishers, Rotterdam.

What does it say that we start each day plotting where we are in the week, how many days till Friday, till the weekend, till time off— are we in fact rushing the grave towards us, wishing that our lives passed quicker before our eyes, wishing the whole thing were over?
If the Buddha taught that we should be aware of exactly where we are in this very moment; what does it say that during our regular work week, all we want is for the end to come? For 5:00 PM or Friday to arrive?
How has an arbitrary and temporary economic system managed to so pervert our view of existence that we devote so much mental energy to wishing it were all over sooner?
This is the Priced vs The Priceless.

Tomando como referencia la acepción “indómito” en un contexto urbano, aquello que es difícil de someter, guiar o controlar, el proyecto Localizaciones de lo indómito parte de la base de la búsqueda de referencias e intuiciones de estados indómitos de la naturaleza hacia lo urbano. Se trata de rastros de naturaleza en áreas urbanas como forma de dominación de lo salvaje. Es un proyecto relacionado con las artes plásticas entorno a la investigación y experimentación artística. El objetivo general de este trabajo es indagar en localizaciones exactas, la forma de entender éste concepto, de cómo se enmarca y tiene cabida en el contexto social actual. Asimismo, se enmarca en el Colegio de España en París, en la Cité Internationale Universitaire de París y los alrededores de la ciudad.

The following manuscript consists of a section of "outer-leaping" poetry, a section of "inner-looping" poetry, a third section comprised of one short story and one poem, and a Critical Introduction. The Introduction discusses how and why I began to explore creative writing, and reveals the rudimentary forms that this earlier writing took. The Introduction then seeks to explore and define two poetic modes.  The first of the these forms is the "outer-leaping" mode, sometimes characterized by an assertive, long line. This mode attempts to "leap" out of the self in order to encounter and interrogate oppressive forces in the external world. The second, "inner-looping" mode, characterized by shorter, more tentative lines and a complex, knotted form, seeks to curl inward, in order to evoke an internal landscape charged with desire and estrangement.

This thesis presents the work of the poet Gary Snyder (1930) to the Portuguese academia in order to clearly state its original and unique place among North-American poetry. It is divided in three chapters that determine the three different grounds of the author’s syncretism.
The first chapter contextualizes Snyder’s work in the history of literary representations of nature. In rupture with the Pastoral literary mode it crystallizes a moment of passing between nature writing and environmental writing.
The second chapter discusses the Buddhist elements present in Snyder’s work and stresses the importance of the interrelation between mind and nature. By stating the equivalence between the Buddhist concept of interdependence and ecosystems processes, the poems assume certain formal characteristics that are presented.
Finally, the third chapter defines the relation between geographical places and Snyder’s poems. The formal aspects of the author’s poetry reflect Snyder’s notion of the poet as a shaman and its clarification allows for the discussion of the author’s statement of language as a wild ecosystem.
Snyder’s syncretism is his most profound, original and long lasting influence in north-American poetry. It extends its influence to environmental ethics, the presence of Buddhism in North-America and the recovery of Native American Myths and lore. It does so in the context of a social, political, poetic, religious and environmental revolution that intends to create a new (and old) place for Man with Nature.

This book was published by Makyo*Press, Bragg Creek AB in 1992 and again in 1994. It is a bit of a naive mess, but a worthwhile venture, I think.

An online version was published in the Philosophy of Mathematics Education journal in 2004: http://socialsciences.exeter.ac.uk/education/research/centres/stem/publications/pmej/pome16/boneless_tongue.htm

In May, 1980, Mt. St. Helens erupted, releasing volcanic ash that reached from the Washington coast to Minnesota. Forty years later, in May, 2020, Duck Lake Books released Crater & Tower by Cheryl J. Fish. This is a poetic response to the deadliest volcano in US History and the 911 attack on the Twin Towers, the deadliest terrorist attack in US history. These historic tragedies forever haunt the collective American consciousness, and this book will forever grace the collective American soul.

In his lengthy Afterword to Mountains and Rivers Without End, Gary Snyder describes the fundamental role Ezra Pound and Ernest Fenollosa played in guiding him to the aesthetic traditions of China and Japan. He then goes on to say this is his point of departure with literary modernism, which he felt did not have much else to provide him. This paper will argue that Snyder’s ‘Japanese’ poems thus demonstrate a complex double history, marking a repudiation of modernist poetics whilst deploying its turn eastwards in his own reappraisal of East Asian aesthetics. I will evaluate two kinds of poems – ‘Toji,’ a Kyoto temple poem of the 1960s, and ‘Endless Rivers and Mountains’ a scroll poem composed in the United States at a later date – to show how Snyder performs a kind of alluvial history, his poems critically evaluating the sediment or ‘riprap’ of earlier poetical histories, as well as being constituted by them. In each poem Snyder is able to move beyond the orientalism of Pound and Fenollosa, however well-intentioned and well-informed it may have been for it time, and to generate a poetics that is linguistically and culturally sensitive to its sources whilst also stripping away a sedimented Western sentimentality. ‘Toji’ takes an ironic view of ‘Zen tourism’ in contemporary Kyoto, mixing its iconographic observations with the demotic activities of that city’s residents, and by this, it marks a break with the sentiments of ‘Old Japan’ Snyder saw in Pound and Fenollosa. ‘Endless Rivers and Mountains’ dramatises the act of viewing a landscape scroll and its centuries of commentaries and assertions of ownership, and situates the ekphrastic object within its context of preservation (and reification) in a North American museum. Snyder’s poetics are thus alluvial, recording the processes of philology and history (both Japanese and Western) washing through the fabric of poems and paintings, and performing the granularity that such an inheritance exhibits on its surface.

This text is a collection of essays by noted curriculum scholar and philosopher of education, David W. Jardine. It ranges over twenty-five years of work with teachers and students in schools. The main purpose of these essays is to provide teachers with new ways of thinking about their circumstances that side step some of the panic and exhaustion that is all too typical of many school settings. Using ideas and images from Buddhism, ecological thinking, and hermeneutics, the author shows how these lineages help with the practical work of thinking and acting differently regarding the knowledge entrusted to teachers and students in schools. It offers the image of living fields of relations as an alternative to the fragmented, industrial-assembly machinations that drive much curriculum thinking and practice. It roots this alternative in solid scholarly work, both inside and outside of the orbit of educational literature. This book can provide encouragement and example to those working in schools who have sensed the shifting of human consciousness and conscience over the past decades towards issues of sustainability, interrelatedness, diversity, ancestry, ecological well-being, and dependent co-arising. It provides solid classroom-based examples coupled with substantial scholarly delving into the roots of such work in long-standing streams of thinking that are born outside of the usual orbits of educational theory and practice, but that provide that practice with a refuge and a relief and an alternative. This book can also provide examples to those doing graduate work in education of how interpretive research into classrooms can be conducted, and how this work is must be solid, well-rooted, scholarly and meticulously thought out. It is useful as a handbook and sourcebook for interpretive research or hermeneutic research, and provides a wide array of sources and themes for the conduct of such work.