I want to know whether Chan masters and students depicted in classical Chan transmission literature can be interpreted as asking open (or what I will call “genuine”) questions. My task is significant because asking genuine questions appears to be a decisive factor in ascertaining whether these figures represent models for dialogue—the kind of dialogue championed in democratic society and valued by promoters of interreligious exchange. My study also contributes to a more comprehensive understanding of early Chan not only by detailing (...) contrasts between contemporary interests and classical Chan, but more importantly by paying greater attention to the role language and rhetoric play in classical Chan. What roles do questions play in Chan encounter dialogues, and are any of the questions genuine? Is there anything about the conventions of the genre that keeps readers from interpreting some questions in this way? To address these topics, I will proceed as follows. First, on a global level and for critical-historical context, I survey Chan transmission literature of the Song dynasty in which encounter dialogues appear, and their role in developments of Chan/Zen traditions. Second, I zoom in on structural elements of encounter dialogues in particular as a genre. Third, aligning with the trajectory of performative analyses of Chan literature called for by Sharf and Faure, I turn to develop and criticize a performative model of questions from resources in recent analytic and continental philosophy of language and I apply that model to some questions in encounter dialogue literature. (shrink)

This essay provides a close reading of Kierkegaard’s later signed text, For Self-Examination. While many of Kierkegaard’s pseudonymous texts often are selected for their philosophically explicit engagements with Hegelian philosophy, I use Hegel’s dialectic of lordship and bondage to draw out how Kierkegaard circumvents it in this one. I first provide historical context, noting how Kierkegaard turned to earnest works after his public humiliation in the Copenhagen newspaper, undermining his ability to deploy irony effectively. Second, I briefly develop Hegel’s lordship (...) and bondage dialectic as a model for how selfhood is constituted through work and labor. Third, I dwell with a close reading of Kierkegaard’s book both in its composition and in its interpretation, bringing out how it donates grace rather than work (à la Hegel) to the reader’s attempt at self-realization. I conclude by noting one challenge to Kierkegaard’s ideal of addressing the “single individual” from the perspective of intersectional analysis. (shrink)

We examine dialectical tensions between “dialogue” and “narrative” as these discourses supplant one another as the fundamental discourse of intelligibility, through juxtaposing two interpretations of Genesis 38 rooted in changing interpretative paradigms. Is dialogue properly understood as a narrative genre, or is narrative the content about which people are in dialogue? Is the divine–human relationship a narrative drama or is it a dialogue between a god and human beings? We work within parameters laid out by the philosophical hermeneutics of Gadamer (...) (primarily representing dialogue) and Ricoeur (primarily representing narrative). On the one hand, a feminist approach can develop Tamar as a courageous hero in impossible circumstances, strategizing to overturn Judah’s patriarchal naïveté. On the other hand, Judah seems to be able to be read as a tragic hero, seeking to save Tamar. These readings challenge one another, where either Tamar’s or Judah’s autonomy is undermined. By putting these interpretations into dialogue, our aim is to show that neither dialogue nor narrative succeeds the other with finality, and that we can achieve a fragile integration of the two (dialogue and narrative) despite their propensity toward polarization. (shrink)