Corpus of treatises of Gelukpa doctrines, philosophies, rituals etc.

Corpus of Nyingmapa doctrines, commentaries on Buddhist canonical texts, and philosophy etc.

Study on general observation on Tibetan Buddhist philosophical concept comparing with western philosophy.

Buddhist canonical treatise on moral ethics.

Collection of texts on philosophical positions (sidhānta) of Vaibhāṣika, Sautrāntika, Yogācārya, and Mādhyamika schools of Buddhism with Hindusim.

Explanatory notes on the philosophical position (sidhānta) of Vaibhāṣika, Sautrāntika, Yogācārya, and Mādhyamika schools of Buddhist with Hinduism according to Sa-skya-pa scholar.

Exegetical notes on the explanation of philosophical positions (siddhānta) of the Vaibhāsika, Sautrāntika, Yogācārya, and Mādhyamika schools of Buddhism with Hinduism based on the Dkon-mchog ʾJigs-med-dbaṅ-po's text.

It is well known in contemporary Madhyamaka studies that the seventh century Indian philosopher Candrakīrti rejects the foundationalist Abhidharma epistemology. The question that is still open to debate is: Does Candrakīrti offer any alternative Madhyamaka epistemology? One possible way of addressing this question is to find out what Candrakīrti says about the nature of buddha’s epistemic processes. We know that Candrakīrti has made some puzzling remarks on that score. On the one hand, he claims buddha is the pramāṇabhūta-puruṣa (person of (...) epistemic and moral authority), sarvākārajñatājñānaṃ (omniscient, wise), pratyakṣalakṣaṇam (exclusively perceptual in characteristic) [Candrakīrti (MABh VI.214)], and claims that there are clearly four pramāṇas—epistemic warrants—direct perception (pratyakṣa), inference (anumāna), testimony (āgama) and analogy (upamāna) [Candrakīrti (Pp I.3), cf. MacDonald 2015, pp. 287–288]. On the other hand, somewhat paradoxically, Candrakīrti claims that buddhahood is an embodiment of a complete cessation of “mind and mental processes” [Candrakīrti (MABh XI.1, 155a; MAB XI.17d)] Now how are we to make sense of these two seemingly contradictory statements? Do these statements reflect any deeper conflicts within Candrakīrti’s system or is there a coherent way to interpret these statements? The Tibetan Prāsaṅgika interpreters of Candrakīrti’s Madhyamaka largely agree that there is no internal contradiction in Candrakīrti’s system, and agree there is a way to make coherent sense of these statements. Nevertheless, the Tibetans exegetes bring to the table two radically conflicting proposals to approach Candrakīrti’s Mādhyamaka; both claiming to successfully address the apparent tension arising from Candrakīrti’s statements. One proposal is made by Tsongkhapa Losang Dakpa (Tsong kha pa bLo bzang grags pa, 1357–1419), who maintains the tension can be plausibly resolved by demonstrating that Candrakīrti’s unique non-foundationalist epistemological program renders him an epistemological coherentist. In contrast Taktsang Lotsawa Sherap Rinchen (sTag tshang Lo tsā ba Shes rab rin chen, 1405–1477) argues that according to Candrakīrti buddha is a global agnostic, on the ground of the nonexistence of mind and mental processes for those who have attained fully awakening. Taktsang instead proposes the no-mind thesis as a more plausible way to resolve the tension in Candrakīrti’s philosophy, categorically refusing to attribute to buddha any cognitive processes and epistemic warrants. This paper is an analysis of Taktsang’s no-mind thesis—the claim that buddhas utterly lack any knowledge of the world because they do not have epistemic processes and warrants to perceive the world—in what follows a rational reconstruction of his arguments is developed in order to evaluate his thesis. We shall then assess the implications of accepting Taktsang’s no-mind thesis. (shrink)

Collection of author's fragmented works; includes philosophical aspects of Vaibhāṣika, Sautrāntika doctrines, Mādhyamika and followng Tibetan schools.

Collected works of Shes-rab-rgya-mtsho, 1884-1968 on Gelukpa doctrines etc.

Les études rassemblées dans cet ouvrage sont le fait de philosophes, de théoriciens des arts, d'écrivains et de plasticiens. Les auteurs ont voulu rencontrer Michel Guérin sur les chemins où il conduit sa pensée, et souhaité dialoguer avec lui à partir de leurs propres préoccupations ou présupposés. Michel Guérin s'intéresse au pouvoir des gestes de faire sens de manière intelligible et sensible d'un même tour; c'est ce qui explique sans doute pourquoi l'histoire des idées comme le regard porté sur les (...) ouvres d'art, et la conceptualisation des outils propres à l'aiguiser, ont sous sa plume un air de famille dont on rencontrera les effets dans ce recueil. Les contributions y reflètent l'étendue des domaines vers lesquels la Figurologie de Michel Guérin porte bénéfice, ainsi que la multiplicité des implications théoriques et pratiques de sa pensée transversale. Le chapitre initial regroupe des commentaires et des réponses au projet global du philosophe de générer des espaces par les Figures qu'il construit. Le second réunit différents gestes et coupes de sensibilité effectués par des amis artistes aussi bien que théoriciens, dont les intentions sont avant tout plastiques (différencier, donner rythme, donner forme). Dans la dernière partie, les auteurs tentent diversement de penser l'époque au sens où Michel Guérin l'entend, sur le plan éthique autant que sur les plans historique, esthétique et sociopolitique."--Page 4 of cover. (shrink)

Collected works of Sman-ri-ba Mnyam-med Shes-rabs-rgyal-mtshan, Bonpo scholar on Bon doctrines, reverential prayers, sadhanas and tantric texts.

Complete works of Zhu-chen Tshul-khrims-rin-chen, 1697-1774 on Buddhist philosophy, liturgical and rituals texts of Sakyapa sect.

Works of a scholar of the Sakyapa sect of Tibetan Lamaism from Kham.

A semantics for quantified modal logic is presented that is based on Kleene's notion of realizability. This semantics generalizes Flagg's 1985 construction of a model of a modal version of Church's Thesis and first-order arithmetic. While the bulk of the paper is devoted to developing the details of the semantics, to illustrate the scope of this approach, we show that the construction produces (i) a model of a modal version of Church's Thesis and a variant of a modal set theory (...) due to Goodman and Scedrov, (ii) a model of a modal version of Troelstra's generalized continuity principle together with a fragment of second-order arithmetic, and (iii) a model based on Scott's graph model (for the untyped lambda calculus) which witnesses the failure of the stability of non-identity. (shrink)

The introduction to the current quarterly issue.

Study on general philosophical concept of Tibetan Buddhism comparing with other faiths.

Analytical study on the fundamentals of philosophy.

Critical analysis on essential points of the seven texts of Buddhist logic (Sapta Pramāṇaśāstra).

Study on Budhist Pramāṇa-vāda (doctrine of proof: an epistemological study of the nature of knowledge) and Hetu-vidya (science of causes: a system of logic).

In [7], open questions are raised regarding the computational strengths of so-called ∞-α -Turing machines, a family of models of computation resembling the infinite-time Turing machine model of [2], except with α -length tape . Let TαTα denote the machine model of tape length α . Define that TαTα is computationally stronger than TβTβ precisely when TαTα can compute all TβTβ-computable functions ƒ: min2→min2 plus more. The following results are found: Tω1≻TωTω1≻Tω. There are countable ordinals α such that Tα≻TωTα≻Tω, the (...) smallest of which is precisely γ , the supremum of ordinals clockable by TωTω. In fact, there is a hierarchy of countable TαTαs of increasing strength corresponding to the transfinite Turing-jump operator ▼. There is a countable ordinal μ such that neither Tμ⪰Tω1Tμ⪰Tω1 nor Tμ⪯Tω1Tμ⪯Tω1—that is, the models TμTμ and Tω1Tω1 are computation-strength incommensurable . A similar fact holds for any larger uncountable device replacing Tω1Tω1. Further observations are made about countable TαTα. (shrink)

Root text accompanied with autocommentary on Bon logic.

Les traditions philosophiques et rhetoriques de l'epoque antique ont alternativement aborde l'usage technique du langage comme un moyen d'acces au progres moral ou comme un instrument dangereux de manipulation. A l'epoque classique, certains philosophes des Lumieres ont preconise une therapie du langage visant a nous rendre conscients de notre usage des mots. Plus recemment, le renouveau de la rhetorique, qu'on observe depuis plusieurs decennies, semble inseparable d'une reflexion ethique. Fruit d'un colloque international et interdisciplinaire (Montpellier, avril 2011), cet ouvrage collectif (...) s'attache a mettre en relation le questionnement ethique et les usages publics du langage dans une perspective historique et prolonge ces analyses par des investigations contemporaines. Il rassemble les reflexions theoriques et les analyses pratiques d'eminents specialistes autour de trois periodes majeures (rhetorique antique, age classique, epoque contemporaine), en croisant les regards methodologiques francais et anglo-saxon.<BR> Ce livre contient des contributions en francais et en anglais.". (shrink)

On the general philosophical concept of Tibetan Buddhism.

II y a eu des artistes avant que l'art se détache et, pour la pensée, se rende digne d'un examen tout spécial, avant, donc, que l'art s'affirme comme activité sui generis, et il y en a encore, peut-on croire, après ce qu'il est convenu d'appeler " la mort de l'art " et qui n'est peut-être que la fin de son mythe ou le commencement d'une existence strictement profane. L'impossibilité où nous sommes en tout cas de superposer parfaitement, fût-ce pour une (...) période donnée, l'art et l'artiste, est un des aspects du caractère transhistoriquement problématique de cette activité spéciale, ne produisant ses règles que pour les interpréter librement, voire pour les incarner singulièrement. Ce livre se présente comme une synthèse didactique des questions qui occupent les philosophes et les spécialistes d'esthétique. Le personnage de l'artiste est porteur, sinon de masques, du moins de visages qui nous aident à appréhender les différentes facettes de la création artistique. (shrink)