Buddhism: Thought and Practice

 

 

 

 

I) Basics

This take home exam is worth 20% of your final grade. It is due in the dropbox labeled “take home exam” before class on Monday, October 12, 2020.

There are ten questions each worth 10 points. Your answer to each question should be between 200 and 250 words. You should double space and use a mindful font.

Please follow the instructions below carefully because you will also lose 1 point (note: this is less than indicated in the Writing Instructions) from each of your answers for the following errors. Please note that if, for instance, you misspell “Buddha” as “Budda” in two different answers, you’ll lose 1 point in both answers.

II) Grading

a) You’ll lose 1 point for going over or under the 200-250 word range for each answer. Your name and such are not part of the word count, nor is the number of each question. You should do a word count for each answer and include it at the end of your answer in parentheses: thus, “…Rogers argues in The Mindful Twenty-something.” (223 words). The word count in parentheses does not count as part of the 200-250 words.

b) You should double space and will lose 1 point if an answer is single spaced.

c) You should also make sure to spell names, terms, and such correctly. This will take some effort. If you misspell key terms—for instance, Buddha as Budda, or Dalai Lama as Dali Lama—you’ll lose 1 point from that answer for each word that is misspelled. Thus, if you had “Budda” and “Dali Lama” in a single answer, you would lose 2 points. So please make sure to reread your work carefully to check for common errors—it’s easy to mistake mediation for meditation, for instance.

d) I will also take 1 point off if you make the following basic errors (Please note I’ll deduct the point only once for an error that is repeated in a single answer). So please make sure to reread your work before submitting it to the dropbox. This is a form of mindfulness practice.

-Correct usage of to, too, and two

-Correct usage of possessives:

a) a man’s coat, women’s rights

b-1) its (possessive): “My watch is not working. Its battery may have died.”

b-2) it’s (contraction of “it is” or “it has”): “It’s 4:00 a.m. and I can’t sleep because I’m so excited about going to Buddhism class this morning!”

c-1) whose (possessive): “Whose car is that?”

c-2) who’s (contraction of “who is” or “who has”): “Who’s got the time to help me with this?”

-Correct usage of their, there, and they’re

 

 

 

III) Formatting

Name: Scott Earl
Date: May 22, 2020
Take home exam

Question #1:

In Chapter 2 of Donald Lopez Jr.’s book, The Story of Buddhism, we learn about the historical Buddha… .

Question #2:

The Four Noble Truths represent a basic statement about the nature of reality according to Buddhist teachings… .

Note: You do not need a sources cited page. Rather, if you choose to quote material, please include a simple but clear reference in parentheses with, if possible, a page number. For instance, you could refer to page 5 of Donald Lopez Jr.’s The Story of Buddhism as follows “…. (Lopez Jr., 5).”

IV) Questions

Please answer each of the following questions.

1) Drawing on the material we have studied—for instance, The Story of Buddhism, “PBS: The Buddha: A History of Buddhism,” Siddhartha, and other materials—describe the historical Buddha, focusing on the significance of his personal story.

2) Drawing on the material we have studied, explain Buddhism’s Four Noble Truths.

3) In class, I’ve explained several times that the fourth Noble Truth is the so-called eightfold path. The eight parts of that path are generally divided into three broad categories: wisdom, ethics, and mental cultivation. Wisdom refers to “seeing the world as it truly is,” while the five precepts—the exercises you completed—is the most basic formulation of Buddhist ethics.

The third category, mental cultivation, includes mindfulness and meditation, which we have been practicing. Drawing on the material we have studied, explain why Buddhists believe mental cultivation through meditation and mindfulness is an important practice to attaining enlightenment.

4) Please explain the distinctions Holly Rogers makes in The Mindful Twenty-something between:
i) responding and reacting;
ii) and the thinking and the observing mind.

5) Please summarize one of the two following podcasts:

i) “Matthieu Ricard: Happiness as Human Flourishing”

ii) “Brother Thay: A Radio Pilgrimage with Thich Nhat Hanh”

6) Shunryu Suzuki’s book Zen Mind, Beginner’s Mind is, naturally, about the “beginner’s mind.” Please describe the beginner’s mind.

7) In class, we discussed the following passage from Janwillem van de Wetering’s The Empty Mirror. In the passage, the master of the Zen monastery is speaking with van de Wetering just before the latter leaves Japan:

You don’t know it, or you think you don’t know it, but you have been forged in this monastery. The forging of swords isn’t limited to monasteries. This whole planet is a forge. By leaving here nothing is broken. Your training continues. The world is a school where the sleeping are woken up. You are now a little awake, so awake that you can never fall asleep again (p. 146).

What do you think the master means by this?

8) In Hermann Hesse’s Siddhartha, a creative retelling of the Buddha’s story, each of the main characters, except for Vasudeva, represents some form of attachment or craving. We have learned that according to Buddhist thought such craving causes us to experience duhkha, or “suffering.” Please write one or two sentences about the craving each of the following characters represents: Siddhartha, Govinda, Kamala, Kamaswami.

9) In Living Buddha, Living Christ, Thich Nhat Hanh reinterprets the five basic precepts of Buddhism, which we engaged in an earlier exercise this semester. Please summarize that reinterpretation and offer your own thoughts on how it accords with your own experience practicing these precepts (See p. 89, “The Jewels of our Own Tradition”-p. 110).

10) In the film “Doing Time, Doing Vipassana” we learn about the implementation of the Buddhist meditation practice called vipassana in the notorious Tihar Jail in New Delhi, India. The film depicts Superintendent Kiran Bedi’s desire to help reform the prisoners in Tihar through this practice. The film follows four prisoners who have committed serious crimes and describes their transformation through this meditation practice.

Describe that transformation in general terms. You don’t know need to refer to individual prisoners by name although you’re welcome to do so. You might write something like, “One prisoner observes how, after doing several 10-day vipassana retreats, his anger started to subside….”

You can find the film on YouTube at the following url listed:

You might also revisit, “Vipassana Meditation and Body Sensation,” Eilona Ariel at TEDxJaffa 2013, available at: https://youtu.be/ixu4Kd5R1DI

 

 

 

 

Sample Solution

 

 

 

 

African-American Folk Songs

GuidesorSubmit my paper for investigation

Note: This is an open area exposition composed by Dorothy A. Johnson in 1922, with alters.

slave cultureMusic as the high craft of which we believe is a nearly late wonders, yet it is likely that music in some structure has existed as long as discourse itself. At the point when mankind first communicated its thoughts in quite a while, it figured out how to communicate its feelings in music. One of the soonest fathomable types of music of the average folks of any nation was the people melody. As the recorded articulation of the feelings of a people, they are priceless, and they are of much more prominent significance, on the grounds that in them, we see a start of the acknowledgment of melodic structure as we have it today.(1) If society music is of such imperative significance in the melodic history of a nation, without a doubt it is important to discover some type of society music as a melodic foundation for our own nation. America as a socialized country is new to the point that her society music is tragically ailing in examination with different nations, however America has people music in the melodies of the African-American. Indeed, even the music of the Native Americans has not had so significant an impact in the melodic history of our nation.

African-Americans are presumably the most talented musically of any individuals; that is today, their music is the closest like the music of the refined countries in structure and tonality. The melodies as we have them today, a significant number of them have been established on the pentatonic scale, in which the fourth and seventh tones are overlooked, and they almost all hold an intriguing character, attributable to their inception. (2) The songs are shockingly sweet and aesthetic.

African-American people melodies are less articulations of bliss and jollity as they are articulations of a slave’s distress in servitude from which they have no expectation of discharge. Consequently, their tunes are generally of a semi-strict character, communicating their desire for discharge on the planet to come. One exceptional component of these “distress tunes” is the way that a note of triumph is constantly present, even in the most hopeless passages.(3) The notable “spirituals” were tunes or psalms the African-Americans made for themselves when they embraced their lord’s religion, and are focused about such natural strict subjects as Samson, the Ark, Daniel, Moses, Judgment Day, and Jesus Christ and his miracles.(4) Satan additionally was a most loved point, being treated in a lot of a similar entertaining design as he was treated in the old supernatural occurrence plays of medieval Europe.(5) There are numerous delightful songs among the old spirituals, including such notable pretense as “Swing Low, Sweet Chariot” and “Take Away to Jesus.” The last is fascinating, as it initially had a basic essentialness a long way from strict. It was sung by the slaves on the estates close to the day’s end as a sort of sign to different slaves that a mystery strict gathering was to be held that night, and when the slave sang “I hain’t got long to remain here,” they were thinking not about the brevity of life, yet the brief timeframe before they would leave difficult work to go to a charming strict meeting.(6) notwithstanding the spirituals appropriate, which were sung plunking down, there were what were designated “running spirituals” or “yell tunes.” The yells occurred on Sunday or on acclaim evenings. At the point when the profound was struck up, the African-Americans present shaped a circle and rearranged around the live with a jerky development. Once in a while they sang the melody of the otherworldly and at times they rearranged peacefully. The repetitive crash of their feet could be heard a large portion of a mile distant.(7)

There are numerous different classes of African-American people tunes other than those of a strict sort. These incorporate kids’ jingles, love tunes, work melodies, and moves. It is difficult to talk about them all in detail.

All things considered, what is the purpose of portraying and talking about African-American society music at such length? The “Scholarly Digest” of October 20, 1917 says, to some extent: “Our solitary unique commitments to the area of American craftsmanship have come to us through our African-American population[.] In the spirituals or slave tunes the African-American has given America its lone society melodies, however a mass of respectable music. How did the individuals who began them figure out how to do it? The conclusions are effectively represented; they are for the most part taken from the Bible; however the tunes, where did they originate from, some of them so abnormally sweet, and others so brilliantly solid? Take, for example “Go Down, Moses.” I question if there is a more grounded subject in the entire melodic writing of the world. African-Americans have an important and genuinely necessary blessing that will add to the future American democracy.(8) To demonstrate reality of this announcement, we have just to take a gander at the impact that African-American people music has just had on American music, and on the music of different countries. George W. Chadwick is the most popular of the American writers who have utilized African-American subjects. He utilized such topics in his subsequent ensemble. Be that as it may, it was a bohemian, Antonin Dvorak, who positions the most noteworthy among authors who have utilized African-American music. His “New World” Symphony is put together predominantly with respect to African-American people tunes, and any individual who has heard it must admit that it contains probably the most excellent songs at any point composed. Samuel Coleridge-Taylor, an African of English birth, was the primary African to win prestige in the field of craftsmanship music. He has utilized African subjects in many beguiling compositions.(9) If outside arrangers perceive the high worth of our African-American society tunes, without a doubt we ought to do all in our capacity to save and create what is our own American people music.

References:

Spaulding. Music: An Art and a Language. p. 20.

American History and Encyclopedia of Music v. 8 p. 50.

In the same place. pp. 51-54.

Talley. Negro Folk Rhymes. p. 314.

American History and Encyclopedia of Music. p. 54.

Talley. Negro Folk Rhymes. p. 301.

Krekbiel. Afro-American Folk Songs. p. 33.

Artistic Digest of Oct. 20, 1917. The Negro’s Contribution to American Art. pp. 26, 27.

American History and Encyclopedia of Music. p. 59.

Book reference

American History and Encyclopedia of Music. Volume 8. W. L. Hubbard. 1908.

Krekbiel. Afro-American Folk Songs. G. Schirmer. New York 1914.

Spaulding. Music: An Art and a Language. Arthur P. Schmidt Co. 1920.

Talley, Thomas W. Negro Folk Rhymes The MacMillan Company. New York. 1922.

The Literary Digest. Vol. 55. No. 16. The Negro’s Contribution to American Art. pp 26, 27.

 

 

 

 

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