Rasa, Dhvani and Rasa-Dhvani are the major critical terms in Sanskrit poetics that developed during the post-Vedic classical period. Rasa is used by a sage named Bharata to denote the aesthetic experience of a theatrical audience. But Anandavardhana and Abhinavagupta intermedialize this experience by extending it to a reader of poetry. They argue that rasa is also generated by a linguistic potency called dhvani. Some critics like Bhoja also proposed generation of rasa by pictorial art, and further, some modern (...) critics propose to trace dhvani property in non-verbal arts such as dance and music pleading thereby that these non-verbal arts also generate rasa. The present essay examines these arguments and concludes that generation of rasa is confined to only the audio-visual and verbal arts such as the theatre and poetry, and, dhvani as a specific linguistic potency, is strictly confined to the verbal arts. Its intermedialization is a contradiction in terms. (shrink)

This volume critically explores the cultural significance and fate of 'the literary' in the European and Indian traditions as it traces the history of the reception of works that have a deep hold on the lives and sensibilities of people across time and culture. The book grapples with three major concepts in the humanities-the literary, the philosophical/theological, and the historical. It looks at Homer's reception by Plato; Virgil's reception by Christianity; the many responses that The Mahabharata has received over (...) centuries and across cultures in India; and the reception of Kumaravyasa's Kumaravyasabharata, among other works, and analyses the understanding of truth, time, and history that influence the reading of these works in different times and cultural contexts. Part of the Critical Humanities across Cultures series, this book will be useful for scholars and researchers of philosophy, literature, history, comparative literature, cultural studies and post-colonial studies. (shrink)

Abstract:This essay performs an anticolonial and poetic methodology of combining Black and Native feminists' deconstruction of metaphor and metaphysics in order to argue for the centrality of colonial metaphor to colonial metaphysics. I combine their analyses of the separate gendered metaphors of Blackness and Indianness and the centrality of these metaphors to the development of a global metaphysics as well as the transference of the terms of metaphysics to whiteness. I then apply this method of combined terms and readings to (...) white colonial writing that compares Black and Native America, which transforms both communities not only into individually potent, gendered metaphors but into an essential poetic pairing, a poetic couplet. Drawing on the work of Black and Native feminists, I further argue that when we take this paired model to evaluate the political concerns of Black and Native America, we come to a more complete and global understanding and refutation of whiteness. The creation, connection, and comparison of the gendered metaphors and archetypical figures of the "African Slave" and "Indian Savage" are important to each other and to the creation of a Western conception of the globe. Colonialism uses gender to compound metaphor's ability to create, by combining metaphors of gender with metaphors of race and colonialism to develop new symbolic amalgamations. This gestalt of metaphors comes together in order to create a fictive European metaphysics used to ameliorate white fears of the diversity of life on planet Earth and to satisfy white desires to control it. In this coupled metaphoric form, Blackness and Indianness are not connected by analogy but by the open-ended cut, the caesura, of poetry and the violence of slavery and conquest. I offer this anticolonial and poetic pairing as a model for political imagining between Black and Native theory. (shrink)

Bilingual English-German edition of second collection published by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806). The second collection of writings by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806), Poetic Fragments was published in 1805 under the pseudonym “Tian.” Günderrode’s work is an unmined source of insight into German Romanticism and Idealism, as well as into the reception of Indian, Persian, and Islamic thought in Europe. Anna C. Ezekiel’s introductions highlight the philosophical significance of (...) the texts, demonstrating their radical and original consideration of the nature of the universe, death, religion, power, and gender roles. The dramas “Hildgund” and “Muhammad, the Prophet of Mecca” are two of Günderrode’s most important works for her accounts of agency, recognition, and the status of women. The three poems included in the collection, “Piedro,” “The Pilgrims,” and “The Kiss in the Dream,” represent the wide range of forms in which Günderrode wrote. They reflect themes of erotic longing and union with the divine, and point to her radical reimagining of death. This bilingual English-German edition is the first volume of Günderrode’s work to appear in English, and will help unearth this rich, complex, and innovative writer for English readers. Anna C. Ezekiel is an independent scholar living in Singapore. (shrink)

Though Indian courts at present are riddled with issues concerning music on the copyright front, significance of another aspect of music based on its essence is largely lost and unexplored. Though courts refer to popular songs in judgments, they are few and far in between. The understanding is that law today is neither poetic nor musical. Music, however, expresses mankind’s faith, hope and aspiration. The use of popular music by Indian courts to write creatively, though not necessarily improve (...) the judgment is restricted and largely unexplored. This paper proposes to explore the dimensions of labour movement through music and the role of law in the making of India as a nation. The association of political dissent through music and the determination of the nation state to procure a stake in the management of the popular music that is sought to belong to itself will be the key theme for understanding the songs that make a nation. Beginning from the struggle for India’s independence to modern day labour movements using music for critique and promoting the vernacular culture are the essence of the paper. Historically, the role of music is central for workers in any labour movement worldwide and is now explored in the Indian context, beginning from the early years of struggle in the nineteenth century to the year of independence in 1947. Recent movements including the protests against profiteering and displacement of persons will also form part of the discussions in this paper. The roles of music and the law have periodically been addressed in the scholarly legal arena but the topic has seldom been explored in-depth from a labour perspective, as paper ventures to do. (shrink)

American Indian Thought is a contemporary collection of twenty-two essays written by Indigenous persons with Western philosophical training, all attempting to formulate, and/or contribute to a sub-discipline of, a Native American Philosophy. The contributors come from diverse tribal, educational, philosophical, methodological, etc., backgrounds, and there is some tension among aspects of the collection, but what is more striking is the harmony and the singularity of the collection’s intent. Part of this singularity may derive from the solidarity among its authors. (...) In addition to the fact that all belong to Indigenous tribes, there is also a striking sensitivity to the interconnection between distinct Western disciplines—particularly between philosophy and poetry. I take the latter to be a thread which can be strategically woven into the center of the anthology’s weave. In this book discussion, I aim to draw out the poetic aspects of five of the anthology’s essays, which deal with philosophy, metaphysics, epistemology, ethics and aesthetics, respectively. In this way, I hope to illuminate a poetic quality at the heart of the collection, and thus also of the burgeoning field of Native American or Indigenous philosophy in general. In the process, I will also consider ways in which Indigenous philosophy resonates with the Western philosophical traditions of phenomenology and American pragmatism. With the latter tradition in particular this connection has become more fully appreciated, especially through the work of Bruce Wilshire and Scott Pratt. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep (...) metaphysical truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep (...) metaphysical truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant (...) states’ (sthayi Bhava), ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

There is something quite deceptive about Bilhaṇa’s Vikramāṅkadevacarita , one of the most popular and oft-quoted works of the Sanskrit canon. The poem conforms perfectly to the stipulations of the mahākāvya genre: it is replete with descriptions of bravery in battle and amorous plays with beautiful women; its language is intensified by a powerful arsenal of ornaments and images; and it portrays its main hero, King Vikramāṅka VI of the Cāḷukya dynasty (r. 1076–1126), as an equal of Rāma. At the (...) same time, the poem subverts these very aspects of Sanskrit literary culture: the poetic language is thinned down at a series of crucial junctions; the Rāmaness of the hero is repeatedly undermined; and the poet consistently airs his ambivalence toward, if not utter resentment for his immediate cultural milieu, his own patron and subject matter, and the very task of a court poet. The article argues that Bilhaṇa’s ambivalence and alienation are the hallmark of his work, and that the poet constantly and consciously struggles with and comments on what he sees as the utter incompatibility between poetry and political reality. It also demonstrates that Bilhaṇa’s unique, personal voice resonates in his many afterlives and in several collections of poems attributed to him posthumously. I argue that it may well be a sign of recognition of what was truly innovative in his poetry that the tradition has credited Bilhaṇa with such additional lives and corpora. (shrink)

According to the Hindu tradition, the origin of the various philosophical ideas that were developed in the philosophical systems lies in the Vedas, a body of texts that seem to have been composed around two thousand years Before the Common Era (BCE). While the Vedas contain a myriad of different themes, ranging from hymns for deities and rules of fire sacrifices to music and magic, there is no doubt that one finds in them an exemplary spirit of inquiry into “the (...) one being” (ekam sat) that underlies the diversity of empirical phenomena, and into the origin of all things. (“Was there being or non‐being at the beginning?”) One finds also predelineations of such concepts of ṛta (truth or moral order), karma and the afterlife, and the three qualities (or guṇas: sattva, rajas, and tamas) constituting nature (prakṛti). It is in the Upaniṣads (a group of texts composed after the Vedas and ranging from 1000 bce to the time of Gautama, the Buddha), that the thinking, while still retaining its poetic flavor, develops a more strictly philosophical character. While still concerned with many different themes belonging to cosmology (“How did the one being become many?”) and psychology (“What does the empirical person consist of?”), the Upaniṣads contain attempts to reinterpret, in symbolic terms, the elaborate Vedic sacrifices, and to defend, in many different ways, one central philosophical thesis – that is, the identity of Brahman (the highest and the greatest, the source of all things) and ātman (the self within each person). With this last identification, a giant step was taken by the authors of the Upaniṣads, a step that was decisive for the development of Indian philosophy. The Vedas had already decided, famously in the Nāsadiya Sukata, that at the beginning of things there must have been being and not non‐being (for something cannot come out of nothing); now this primeval being was said to be the same as the spirit within. The highest wisdom was intuitively realizing this identity of subject and object (tat tvarn asi). How to know it was the issue. Suggestions ranged from contemplative meditation to austere self‐mortification. The idea of yoga and a picture of the yogin make their appearance – possibly having a different origin – and blend with the central thesis of the Upaniṣads. If the reality underlying outer appearance is the universal spirit within, is then the world merely phenomenal appearance (like the magician's creation, māyā), or is the brahman‐ātman to be construed as the indwelling spirit of all things? These become the leading disputational questions amongst the commentators on the Upaniṣads, and amongst the various schools of the Vedānta philosophy. (shrink)

Bashabi Fraser is known the world over as a Scottish-Bengali aka diasporic writer. Further she has also been slotted as a feminist scholar with a huge corpus on Tagore. This essay proves the fallacy of such pigeon-holeing of Fraser and shows that she is as mainstream as Yeats and even before that, like unto Blake. The essay also makes a point for rejecting every other mode of poetry except the Romantic mode. It established the Vedantic nature of the poetic genius. (...) The endnotes are copious and comment on how/why/(what of) Fraser should compulsory reading at which age. The essay speaks at length on the nature of poetry. It stresses the value of Vedanta in assessing true poetry written even in English. This essay is also valuable since it has within it acute observations on Fraser as a Tagore scholar. (shrink)

This article approaches the recent work of pre-eminent Indian conceptual artist Vivan Sundaram, Trash, as a supplement to dominant representational practices of, and within, the Indian megacity. Re-purposing tropes that motivate both popular and specialist discourses, Sundaram’s recent ensemble rehearses the discursive construction of the megacity-as-waste, by representing an urban totality through elaborate, ordered arrangements of garbage. Working collaboratively with waste-pickers who are members of the non-governmental organization Chintan: Environmental and Research Action Group in New Delhi, the artist (...) sorts, re-assembles and scales the found-objects of Trash into detailed models of a monumental urban landscape. Through a close reading of its formal aspects, the entry examines Trash’s reflection on logics of planned obsolescence which govern both the work as well as fantasies of economic nationalism premised on dualistic images of the global/mega-city. (shrink)

This introduction brings to life the main themes in Indian philosophy of language by using an accessible translation of an Indian classical text to provide an entry into the world of Indian linguistic theories. -/- Malcolm Keating draws on Mukula's Fundamentals of the Communicative Function to show the ability of language to convey a wide range of meanings and introduce ideas about testimony, pragmatics, and religious implications. Along with a complete translation of this foundational text, Keating also (...) provides: - Clear explanations of themes such as reference, figuration and sentence meaning - Commentary illuminating connections between Mukula and contemporary philosophy - Romanized text of the Sanskrit - A glossary of terms and annotated bibliography - A chronology of important figures and dates -/- By complementing a historically-informed introduction with a focused study of an influential primary text, Keating responds to the need for a reliable guide to better understand theories of language and related issues in Indian philosophy. (shrink)

To approach the Hindu poetic art -- On Indian music -- Concerning Uday Shankar -- The origin of the theatre of Bharata -- Oriental book reviews -- The hymn of man -- To the liquid -- Knowledge of the self -- Some Sanskrit texts on poetry.

Contributed articles on semantics philosophy of vedic literature and poetics presented earlier at a seminar honoring Kapil Kapoor, Indian Indologist.

The author has made a detailed study, more detailed, he rightly claims, than hitherto attempted, of the concept of mimesis in aesthetic thought and has devoted equal space to Greek and Sanskrit writers... Wilamowitz, the doyen of modern classical scholars, describes mimesis as a 'fatal word' 'rapped out' by Plato. But the present author has demonstrated with great cogency that the word was not 'rapped out' by Plato at all, and that the concept and the word are both as old (...) as Greek thought. He shows too, once again with considerable scholarship and perceptiveness, how Greek art was bound to be sensuous, unmystical and also 'formal' in the best sense of the term. In the four long chapters of the first part of his thesis the author gives at every step evidence of deep study and illuminating insight, and can claim originality both in approach and argument... The chapter on Aristotle contains one of the best discussions of mimesis I have read... the most striking portion of his thesis is his elucidation of poetic truth according to Aristotle. -/- -- Prof. S. C. Sengupta, Jadavpur University -/- The author provides a faithful rendering of both Greek and Indian ideas. The work is valuable for its expositions especially of the Indian theories of art. -/- -- V. K. Chari, Journal of Aesthetics and Art Criticism (JAAC), USA, Spring 1979 -/- ... A fairly exhaustive comparative study of the concept of mimesis in Greek and Indian aesthetics... wide ranging and at the same time well controlled acquaintance with this proliferating literature is revealed throughout... the co-relation of the Aristotelian linking-up of 'imitation' and 'completion' with Abhinavagupta's integration of imitation with completion is very suggestive and is a help towards the formulation of a universal aesthetic comprising body and soul, the immediate impact of Appearance and the slow revelation of Reality... (the author) has mastered the material and achieved a steady progression in argument so as to sustain the central thesis. -/- -- K. R. S. Iyengar, Professor of English and Vice-Chancellor, Andhra University -/- The book is a significant contribution towards understanding the essentials of Indian aesthetics apropos the Greek (and, through the Greek, the Western)... The author has surveyed the entire field in a masterly manner. His erudition and judgement are both commendable. -/- -- S. K. Ramachandra Rao, Deccan Herald (03.09.1978) -/- ...The author's views hold good even among modern critics including the ones known as 'the Chicago school' and experimental psychologists. -/- -- Indian and Foreign Review (August 1978) -/- The work is a valuable addition to the literature on aesthetics. -/- -- The Indian Express (12.03.1978) -/- The comparison is too smooth and sharply compartmentalized... The book is of great value to those who are interested in the comparative and historical evolution of a very important concept in aesthetics. -/- -- The Hindustan Times (31.12.1978) -/- The work is in two parts. The first part in four chapters examines the concept of imitation in Greek thought, and the second in three chapters explores the meaning of the term in Indian thought... the author offers a brilliant interpretation of Aristotle's theory in the fourth chapter (Pt. 1) which is the best one in the book... The work is a pioneering one and it repays a careful examination. It is probably the first of its kind and every student of aesthetics must read it. -/- -- Prof. P. S. Sastri, Nagpur Times . (shrink)

Recognizing newness is a difficult task in any intellectual history, and different cultures have gauged and evaluated novelty in different ways. In this paper we ponder the status of innovation in the context of the somewhat unusual history of one Sanskrit knowledge system, that of poetics, and try to define what in the methodology, views, style, and self-awareness of Sanskrit literary theorists in the early modern period was new. The paper focuses primarily on one thinker, Jagannātha Paṇḍitarāja, the most (...) famous and influential author on poetics in the seventeenth century, and his relationship with his important sixteenth-century predecessor, Appayya Dīkṣita. We discuss Jagannātha’s complex system of labeling of ideas as “new” and “old,” the new essay style that he used to chart the evolution of ideas in his tradition, his notion of himself as an independent thinker capable of improving the system created by his predecessors in order to protect its essential assets, and the reasons his critique of Appayya was so harsh. For both scholars what emerges as new is not so much their opinions on particular topics as the new ways in which they position themselves in relation to their system. (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric (...) poetry of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

The East has seen totality in a far more consistent and systematic way than the West; and India more so than any other civilisation in the East. When the Swami Siddheswarananda came to France to lecture on Vedic philosophy, he entitled his address, Outline of a Philosophy of Totality’. The expression could have been applied to the philosophies of India as a whole. But the world of thought, coextensive with culture, is far broader than philosophy. It is no exaggeration to (...) assert that India is the land of totality par excellence. Is it not even, according to one dictum, bigger than the world …? The notion of totality, implicit or conscious, poetic or theoretical, original or final, is present throughout Indian culture, both in its religion and in its arts, both in its customs as in its language. The Mahabharata, the largest epic poem ever conceived, proclaims: everything in the Mahabharata can be found elsewhere, but what is not in the Mahabharata cannot be found anywhere. Whilst the absolute beginning of a piece of Western music is in keeping with a dramatic time analogous to that of the Creation, Indian music seems to come from the eternity of a universe without transcendence. The body takes on a cosmic meaning through dance. By performing the tandava, the cosmic dance, Shiva Nataraja (‘Lord of the dance’) endlessly creates and destroys worlds. Indian art is an art of proliferation: both the reiteration of motifs sculpted in architecture and the litanies and metaphors spun out in epic poetry are symbolic attempts to capture the totality of the world. Every single element, being, movement or thing within this continuous space and time points towards all the others. The texts describe the sky of Indra with its web of pearls arranged in such a way that when one looks into one, one sees all the others reflecting in it; in the same way, each object of this world is not merely itself but comprises every one of the others and actually is all the others. The culture of India is one of plenitude, presence and continuity. At the opposite extreme, Japan developed a culture based upon the values of emptiness, absence and the interval. When a guru speaks, Valmiki and Vyasa know that it will take them many scores of verses. A Zen master's reply to his disciple takes up a single-line anecdote, or a word, or even a silence. At the other extreme, hundreds of statues line the gopuram of the temple at Madurai: not all of the thirty-three million gods ‘recognized’ in the writings are there, of course, but at least their unbelievable abundance gives us a plausible image of them. (shrink)

In this essay, I trace the enabling conditions for the major statement of the subversive subtext in Bilhaṇa’s Vikramāṅkadevacarita (VDC) by unpacking the operation of the work’s patent, eulogistic text. In particular, I will explore the place given to the depiction of male intimacy as a poetic substitute or simulacrum for the political alliances central to Vikramāditya’s coming to the throne, as described in the mahākāvya’s fourth through sixth sargas . My intention in focusing on the intense friendships between men (...) is to highlight a significant rhetorical strategy of Bilhaṇa’s, which allowed the poet both to introduce and to buffer the poem’s most explicit statement of his skepticism towards royal power. It is this charged affective theme—one that occupied only a tenuous position within the regnant critical discourse of literary emotion at the time—that sets up Bilhaṇa’s most powerful and explicit denunciation of kingship. The explicit theme of royal praise and the subtext of its denunciation can thus be seen as contrapuntally related, which goes some way towards explaining how the court poet was able to successfully carry off his potentially incendiary literary project. (shrink)