OCCUPY THIS BODY is the story of Sharon Suh's struggle to overcome a childhood of cruelty from her Korean immigrant mother. As she matures and awakens to her own body and past suffering, her embrace of Buddhism helps her heal and lay bare the silence surrounding abuse and mental illness in Asian American families.
Challenging Western notions of Buddhism as a self-effacing path to rebirth and enlightenment, Sharon Suh shows how first-generation Korean Americans at Sa Chal Temple in Los Angeles have applied Buddhist doctrines to the project of finding and knowing the self in everyday life. Buddhism, for these Buddhists, serves as a source of empowerment and as a wellspring of practical and spiritual relief from myriad everyday troubles. Painful life events and circumstances--psychological stresses, marital discord, adjustments to immigrant life, racial and religious minority status--prompt a turning toward religion in an effort to build self-esteem. The process of coming to find and know the self initiates a transformation that, far from taking future rebirths as its focus, enables the self to enact change in the present. Oral histories from twenty-five men and twenty-five women also offer unexpected insights into distinctly male and female forms of Buddhist worship. As a commentary on ethnicity, Being Buddhist in a Christian World challenges much of the existing literature in Asian American studies by placing religion at the center and illustrating its importance for shaping ethnic identity. Not only does Suh ask how Korean American identity might be grounded in religion, she goes on to examine the implications of this grounding when the religious tradition is considered to be socially marginal.
How do contemporary films depict Buddhists and Buddhism? What aspects of the Buddhist tradition are these films keeping from our view? By repeatedly romanticizing the meditating monk, what kinds of Buddhisms and Buddhists are missing in these films and why? Silver Screen Buddha is the first book to explore the intersecting representations of Buddhism, race, and gender in contemporary films. Sharon A. Suh examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century – from images of Shangri-La in Frank Capra's 1937 Lost Horizon to Kim Ki-Duk's 2003 international box office success Spring, Summer, Fall, Winter...and Spring. The book helps readers see that representations of Buddhism in Asia and in the West are fraught with political, gendered, and racist undertones. Silver Screen Buddha draws significant attention to ordinary lay Buddhism, a form of the tradition given little play in popular film. By uncovering the differences between a fictionalized, commodified, and exoticized Buddhism, Silver Screen Buddha brings to light expressions of the tradition that highlight laity and women, on the one hand, and Asian and Asian Americans, on the other. Suh engages in a re-visioning of Buddhism that expands the popular understanding of the tradition, moving from the dominance of meditating monks to the everyday world of raced, gendered, and embodied lay Buddhists.
Challenging Western notions of Buddhism as a self-effacing path to rebirth and enlightenment, Sharon Suh shows how first-generation Korean Americans at Sa Chal Temple in Los Angeles have applied Buddhist doctrines to the project of finding and knowing the self in everyday life. Buddhism, for these Buddhists, serves as a source of empowerment and as a wellspring of practical and spiritual relief from myriad everyday troubles. Painful life events and circumstances--psychological stresses, marital discord, adjustments to immigrant life, racial and religious minority status--prompt a turning toward religion in an effort to build self-esteem. The process of coming to find and know the self initiates a transformation that, far from taking future rebirths as its focus, enables the self to enact change in the present. Oral histories from twenty-five men and twenty-five women also offer unexpected insights into distinctly male and female forms of Buddhist worship. As a commentary on ethnicity, Being Buddhist in a Christian World challenges much of the existing literature in Asian American studies by placing religion at the center and illustrating its importance for shaping ethnic identity. Not only does Suh ask how Korean American identity might be grounded in religion, she goes on to examine the implications of this grounding when the religious tradition is considered to be socially marginal.
How do contemporary films depict Buddhists and Buddhism? What aspects of the Buddhist tradition are these films keeping from our view? By repeatedly romanticizing the meditating monk, what kinds of Buddhisms and Buddhists are missing in these films and why? Silver Screen Buddha is the first book to explore the intersecting representations of Buddhism, race, and gender in contemporary films. Sharon A. Suh examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century – from images of Shangri-La in Frank Capra's 1937 Lost Horizon to Kim Ki-Duk's 2003 international box office success Spring, Summer, Fall, Winter...and Spring. The book helps readers see that representations of Buddhism in Asia and in the West are fraught with political, gendered, and racist undertones. Silver Screen Buddha draws significant attention to ordinary lay Buddhism, a form of the tradition given little play in popular film. By uncovering the differences between a fictionalized, commodified, and exoticized Buddhism, Silver Screen Buddha brings to light expressions of the tradition that highlight laity and women, on the one hand, and Asian and Asian Americans, on the other. Suh engages in a re-visioning of Buddhism that expands the popular understanding of the tradition, moving from the dominance of meditating monks to the everyday world of raced, gendered, and embodied lay Buddhists.
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