在我的课程中, I work with students to generate a critical dialogue between certain naturalized, normalized aspects of contemporary life and the lifeways and cosmologies of other times and places. We pay particular attention to the production of knowledge—now and in the past—as a practice both embodied and productive of (racialized and gendered) bodies. 作为导师, I am especially motivated to help students expand and enhance their own capacities and resources as makers of knowledge—not only through academic practices, but also through the exploration of decolonial and related options for creating and sharing knowledge with transformative potential. 

My research examines textual practices in premodern Mahāyāna Buddhist literary cultures, 尤其是文本的仪式使用, 口头的性能, 和翻译. I also explore how Mahāyāna literature might offer us critical purchase on a range of contemporary ethical and and philosophical debates, 比如那些对我的教学有益的东西. 我完成了博士学位.D. in the Committee on the Study of Religion at Harvard University.

我目前的图书项目，名为 表演佛身: Mahāyāna Sūtras as Ritual Speech Acts, offers a fresh interpretation of Sanskrit Mahāyāna sūtras like the 佛法莲花 (Saddharmapuṇḍarīka)及 极致金光 (Suvarṇ(pra)黑洞āsottama) as textual embodiments of the performative speech of the Buddha. 每当人们布道时, 听到, 记住, 研究, 或者与sūtras联系, 佛陀的身体不仅会说话, 而是通过他人的身体并在他人体内活动, 谁因此成为未来的佛. By historicizing the question of what it means to “read” these texts, 这本书揭示了更广泛的解释学困境. In what ways do the methods of reading employed by scholars of religion obscure and distort the performative, transformative purposes for which these texts were composed and disseminated? How do theories of language as referential and of religious discourse as doctrinal and propositional work to divorce texts labeled “religious” from material reality and sanctioned sources of power? And how might rethinking the relationship between bodies and texts through the lens of these sūtras generate new critical perspectives on performative language in the 研究 of religion? 表演佛身 不仅说明了Mahāyāna sūtras的表演, 还有他们现在说话和行动的潜力.

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