The Oxford Handbook of Contemporary Buddhism offers a comprehensive collection of work by leading scholars in the field. They examine the historical development of Buddhist traditions throughout the world, from traditional settings like India, Japan, and Tibet, to the less well known regions of Latin America, Africa, and Oceania.

The Oxford Handbook of American Buddhism offers the most comprehensive and up-to-date scholarship available on Buddhism in America. It charts the history and diversity of Buddhist communities, including traditions and communities that have been previously neglected, and looks at the ways in which Buddhist practices such as mindfulness meditation have been adopted in non-Buddhist settings.

"This Handbook provides a state-of-the-art exploration of several key dynamics in current studies of the Buddhist tradition with a focus on practice. Embodiment, materiality, emotion, and gender shape the way most Buddhists engage with their traditions, in contrast to popular representations of Buddhism as spiritual, disembodied, and largely devoid of ritual. This volume highlights how practice often represents a fluid, dynamic, and strategic means of defining identity and negotiating the challenges of everyday life. Essays explore the transformational aims of practices that require practitioners to move, gesture, and emote in prescribed ways, including the ways that scholars' own embodied practices are integral to their research methodology. The chapters are written by acknowledged experts in their respective subject areas and taken together offer an overview of current thinking in the field. The volume is of particular value to scholars who seek an orientation to current perspectives on important conceptual, theoretical, and methodological concerns that are shaping the field in areas outside their primary expertise. The inclusion of substantial, up-to-date bibliographies also makes the volume an important guide to current scholarship"--

Many forms of Buddhism, divergent in philosophy and style, emerged as Buddhism filtered out of India into other parts of Asia. Nonetheless, all of them embodied an ethical core that is remarkably consistent. Articulated by the historical Buddha in his first sermon, this moral core is founded on the concept of karma—that intentions and actions have future consequences for an individual—and is summarized as Right Speech, Right Action, and Right Livelihood, three of the elements of the Eightfold Path. Although they were later elaborated and interpreted in a multitude of ways, none of these core principles were ever abandoned. The Oxford Handbook of Buddhist Ethics provides a comprehensive overview of the field of Buddhist ethics in the twenty-first century. The Handbook discusses the foundations of Buddhist ethics focusing on karma and the precepts looking at abstinence from harming others, stealing, and intoxication. It considers ethics in the different Buddhist traditions and the similarities they share, and compares Buddhist ethics to Western ethics and the psychology of moral judgments. The volume also investigates Buddhism and society analysing economics, environmental ethics, and Just War ethics. The final section focuses on contemporary issues surrounding Buddhist ethics, including gender, sexuality, animal rights, and euthanasia. This groundbreaking collection offers an indispensable reference work for students and scholars of Buddhist ethics and comparative moral philosophy.

A guide to today's most exciting research in academic philosophy with more than 30 distinguished scholars to contribute incisive and up-to-date critical surveys of the principal areas of research.

This volume offers 37 original essays from leading scholars on the crucial topics, issues, methods, and resources for studying and teaching religion and the arts.

"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--