using the arrow buttons.
by clicking on the page.
the page around when zoomed in by dragging it.
the zoom using the slider when zoomed-in.
by clicking on the zoomed-in page.
by entering text in the search field, and select "This Issue" or "All Issues"
by clicking on thumbnails to select pages, and then press the print button.
displays sections with thumbnails and descriptions.
displays a slider of thumbnails. Click on a page to jump.
allows you to browse the full archive.
about your subscription?
Buddhadharma : Spring 2017
spring 2 0 1 7 buddhadharma: the practitioner’s quarterly 69 on Buddhist principles, as in the case of John Cage. These techniques serve to ground the text in some- thing much larger than the individual. However, Barthes goes much further than writ- ers using such techniques as creative tools. He is speaking of anything anyone has ever written, from memoir to cookbook to, yes, Buddhist sutras. He is saying that you don’t have to try to erase control or erase the self; according to him, nothing an individ- ual writes is in fact written by an individual. There is no author. Everything we write, everything we say, is drawn from innumerable sources. We don’t own any of it. We only arrange it. In many cultures, this is not exactly news. Con- sider traditional haiku, one constraint of which is seasonal words prescribed by tradition, listed in saijiki texts. There are thousands of these words, and they have to be used in particular ways. You’d better not use a spring word in your summer poem. The haiku masters didn’t sit around scratching their heads looking at unfamiliar tables of words as they tried to figure out what to do next; they absorbed