Arthur Schopenhauer did not believe in soul. However, he explained that every living thing is possessed by a will. Will is universal. Suffering is universal. Even so, he thought it ethically wrong to cause undue suffering to any person or animal. As a student of Buddhism, Schopenhauer was intrigued by the Buddhist belief in rebirth. I will explore how both Schopenhauer’s idea of the ever-present will and Buddhist rebirth are similar in their concern with and for continuity. For Schopenhauer, continuity (...) is will and for Buddhism, as Frank Hoffman (1987) explains, “continuity is without identity of selfsame substance” (p. 53). If all living things are attached by continuity whether by will or “without identity of self-same substance” then what is foundational to the beginning of an ethics of existence is the valuing of that which is attached by continuity, and this includes both human and animal life. (shrink)

Beyond vague references to his ‘Eastern’ or ‘Oriental’ influences, there exists almost no work on the impact made by Buddhist traditions on the work of Georges Bataille. This study takes a first step towards understanding this impact. It embarks upon a reading of 'La Pratique de la joie devant la mort' as a record of Bataille’s meditation practice infused with Tibetan and Japanese Zen Buddhist concepts and practices as he understood them, through the prism of European interactions therewith. The study (...) traces the evolution of what are here termed the ‘imagined Buddhisms’ emerging from such interactions, from early Euro-Buddhist encounters during the Christian missions, through the 19th-century birth of ‘Buddhist Studies’ and the related influence of Schopenhauer and Nietzsche, to an interwar avant-garde preoccupied with the rejection of the European values held to have caused WWI. Foremost of the avant-garde factions considered here is the secret society Acéphale, founded by Bataille with the stated aims of creating a new religion and waging war on ‘tout ce qui est reconnu aujourd’hui’. In the course of this investigation, a pattern of Buddhist traditions weaponised in support of European projects is established; one in which they are imagined and re-imagined alternately as equivalent and antagonist to the work of Bataille, his peers and their antecedents. 'La Pratique de la joie devant la mort' emerges in the light of Bataille’s ‘imagined Buddhism’ as a practical version of an inverted Nietzschean sovereignty, incorporating elements of the concepts and practices of Tibetan and Japanese Zen Buddhism as he understood them. In the former case, these include his method of dramatisation and the idea of Tibetan meditation as what he terms a means of ‘put[ting one] to sleep’. Such an ‘put[ting] to sleep’ is argued to be akin to the what Bataille elsewhere calls the ‘narcotic’ of the profane world and to which he offers his own practice as a solution. In the case of Japanese Zen, the process Bataille would come to call the 'opération souveraine' is shown to be present in 'La Pratique de la joie devant la mort' and to bear resemblance to the process of achieving the form of Zen enlightenment called satori. A momentary flash of insight, satori is also shown to be comparable to the breakthrough of sacred from profane. (shrink)

Durkheim’s claim in Suicide that humanity’s ‘inextinguishable thirst’ (soif inextinguible) causes suffering was adopted from Arthur Schopenhauer’s argument that the will-to-live’s ‘unquenchable thirst’ (unlöschbaren Durst) causes suffering, which was previously adopted from the Buddha’s argument that ‘ceaselessly recurring thirst’ (tṛṣṇā) causes suffering. This article retraces this demonstrable though seemingly unlikely history of ideas and reveals that the philosophical underpinnings of Durkheim’s theory of anomie are rooted, through Schopenhauer, whose thought influenced many thinkers during the Neo-Romantic fin de siècle period, including (...) Durkheim, in the Buddha’s Second Noble Truth – a doctrine made available to Schopenhauer in European translations of Buddhist texts during the previous turn of the century’s ‘Oriental Renaissance’. By achieving a more thorough understanding of the ambiguous concept of anomie through its Eastern intellectual origins, this project shows that the common conceptualization of anomie as ‘normlessness’ is inconsequential without presupposing that humans thirst and unconstrained thirst causes pain. (shrink)