My aim in this paper is to explicate the diversity of Indian Symbolism and to show the changing patterns of symbols. The first part is mostly descriptive and interpretative and tries to bring out the different forms of Indian Symbolism. The second part tries to bring out the different kinds of changes that are possible with regard to symbols.

In the past few years, anthropological research concerned with the ethnographic aspects of ritual practices has renewed its interest in the meaning of ritual symbolism. This research has been possible because of a methodological inversion, namely, starting with a descriptive study of the rites rather than analyzing religious beliefs, contrarily to what was the moraine frontale of traditional history of religion.

An ancient and enduring cross-cultural mythology explores what the texts generally perceive as a paradox: the birth of white offspring to black parents, or black offspring to white parents. This mythology in the Hebrew Bible is limited to animal husbandry, but in Indian literature from the third century B.C.E. and Greek and Hebrew literature from the third or fourth century C.E. it was transferred to stories about human beings. These stories originally express a fascination with the dark skin of (...) “Ethiopians” , and a fantasy of white children born to them. But when ideas about human race arise in Europe after the sixteenth century, the stories reverse their color schemes and shift their emphasis to investigations of the paradox of black children born to white parents. In our day, racism is clearly a strong factor in the media fascination with court cases about in vitro fertilization in which black children are born to white parents. This development suggests that the symbolism of black and white was not originally, nor need be now, racist, but that, once racism is current, it is hard to reclaim the nonjudgmental innocence of the earlier texts. Many of these texts explained the paradox of children who differ from their parents in color by invoking the concept of parental impression , which argues that whatever a woman thinks of or sees at the moment of conception influences the physical form of the child. This doctrine, which was known in ancient Israel, in Greece, in ancient India, and in Europe well into the twentieth century, primarily addresses an entirely different obsession—the problem of paternal insecurity—and generally draws heavily on sexist and misogynist attitudes toward women. Yet, when it was appropriated into the narratives of off-color offspring, it offered, in place of the more obvious explanation , an alternative fantasy that softened the culpability of women. So, too, when applied to stories of color-contrasting offspring in European narratives, even after the sixteenth century,the idea of parental impression functioned as a force against racism ; the Lamarckian or Lysenkan idea of the inheritance of acquired characteristics—the privileging of nurture over nature—argues against the belief that one’s racial stock determines who one is. Thus this doctrine, farfetched as it seems to us , dulled the edge of ancient antagonism toward women and modern European antagonism toward the descendants of the “Ethiopians.” A study of the variations of this myth across cultures has much to tell us about the ways in which myths about women and myths about people of dark skin color are transformed under the pressure of later tropes of sexism and racism. (shrink)

Many influential philosophers have argued that in pgh. 608 of Zettel (hereafter Z608) Wittgenstein appears to say that language and thought might emerge out of physical chaos at the neural “centre”. By contrast, the present paper argues that these scholars are, in a fashion that would be readily understandable by Thomas Kuhn, assuming the very Anglo-American paradigm that Wittgenstein is actually critiquing in Z608 when they interpret his remarks. In opposition to this, the paper argues that Wittgenstein’s notion of emergence, (...) chaos and the center in Z608 (and elsewhere in his works) is better understood in terms of the universal cross-cultural archetypes, emphasized by Carl Jung and Mircea Eliade of emergence, chaos and the center found in numerous religious and cosmological traditions around the world. The paper also points out that Wittgenstein also uses many other cross-cultural symbols also emphasized by Jung and Eliade, including the Shadow (which, in Jung, represents the opposite of the ego), the Trickster (or Devil), the mandala, the labyrinth, the microcosm, the crystal, the abyss, darkness, circular movement and creation (genesis), in order to illustrate his view. Perhaps the most fascinating of these concerns the archetypal cosmological symbolism in Wittgenstein’s self-reported but largely ignored“ alchemical” dream, including the Indian mandala symbolism in that dream. The paper concludes that Wittgenstein that is not restricted by Anglo-American “analytical” philosophy or the associated “scientistic” paradigms but is informed by a way of looking at things implicit in a fundamental archetypal symbolism found in very different cosmologies, religion and cultures all around the globe. (shrink)

The Mahāyāna ideal isaprati $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{t} $$ hā-nirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a — liberation with a basis in neithersa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra nornirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a, that is to say, neither in the conventional world nor in the true nature of all things (Nagao 1981). Through the consecration proceedings ayidam, Buddha, or Bodhisattva is established insa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra. Through the employment of the mirror in the consecration ritual, thatyidam, Buddha, or Bodhisattva participates in the actual nature of all things as (...) they are — unestablished, devoid of own nature, like reflected images in a mirror. If the mirror does not resolve the paradox of consecrating the unconsecratable, it holds up a mirror to the impossible mystery of transcendent immanence. (shrink)

The two volumes together may be described as search for the original ideational foundations of Indian Culture. In one way this work recalls the tradition of Coomaraswamy but seeks to join it to the mainstream of critical history. It argues that the living continuity of Indian Culture is rooted in a unique spiritual vision and social experience. Indian Culture is neither the result of merely accidental happenings through the centuries, nor a mere palimpsest of migrations and invasions. (...) It is, in its essence, a development of foundational ideas constituting a creative matrix. Behind its changing historical forms lies a deep and persistent source of creativity which is spiritual in character. The Present volume I deals with the spiritual vision and symbolic forms. Here is has been upheld that the spiritual vision of India had two original aspects, the integral or synoptic vision of the Vedas, and the Sramanic vision of Transcendence. Purnata and Sunyata constituted the two poles round which Indian spirituality revolved. The author not only elucidates this bipolar matrix of Indian spirituality revolved. The author not only elucidates this bipolar matrix of Indian spiritual praxis or sadhana, but also traces its intricate ancient history. He goes on to trace the great symbolic forms-language, myth, science, literature and art-in which this basic vision expressed itself. In all these areas he brings out the basic general principles expressive of inner consciousness rather than present a mere selection of well-known details. (shrink)

The neutrality of the art and architecture of courtrooms and courthouses has dominated the public perception in the Indian context. The courtroom design and the visual artistic elements present within these judicial places have very often been considered to be insignificant to the notions of law and justice that they reflect. As art and architecture present certain historical narratives, reflect political allegories and have significant impact on the perceptions of their viewers, they have critical socio-political ramifications. This makes it (...) pertinent to explore them and investigate the paradox of their deployment and interpretation in today’s increasingly mediatized world. Through an ethnographic study of the Supreme Court of India, this paper interprets its art and architecture, and, the symbolism and semiotics reflected through them. Arguing against their neutrality and insignificance, the paper demonstrates how they reflect nationalism, certain ideologies and power-space dynamics. It further argues that they act as evidence of political metaphors related to justice, power and democracy. With a conversation between law, architecture and semiotics, the paper investigates the historical and spatial dimensions of its architecture and artistic elements. Mapping the Court’s architectural elements, I examine how the visual representation of ‘justice as virtue’ finds translation in its design through transfer of certain images, including the image of the ‘scales of justice’, into it, while absenting the notion of ‘justice as struggle’—to contemplate on how legal architecture gives evidence to the vexed relationship between law and justice and also of the break from the colonial past. (shrink)

The author examines the symbolism of the Indian politician's common dress: white coarse khadi cham pioned by Gandhi. Does its continued survival during the post-independence era signify merely hypocrisy, empty ritual? What does it implicitly communicate about the public and private intents ofpoliticalfigures? What values does the khadi conceal in its texture? Do they serve any purpose? Chakrabarty's analysis concludes by admitting that though khadi no longer conveys any message as to the prevalence of Gandhian convictions, yet it (...) constitutes a deep-seated resistance by Indian democracy and politics to the wholesale loss of their identity in the rising surge of global capitalism. (shrink)

Presents the fundamental ideas of Indian thinkers that have shaped the mind of Indian from 1770 to the post-modern era in the middle of 20th century in India. Lists the most Indian influential figures in the field of philosophy, political theory, activicism such as Rabindranath Tagore, Ram Mohan Roy, Swami Vivekananda, and Mohandas Karamchand Gandhi.

Ananda K. Coomaraswamy (1877-1947) was a pioneer in Indian art history and in the cultural confrontation of East and West. Finding a universal tradition in past cultures ranging from the Hellenic and Christian to the Indian, Islamic and Chinese, Coomaraswamy collated his ideas and symbols of ancient wisdom into essays. THE DOOR IN THE SKY is a collection of his writings on myth drawn from his METAPHYSICS and TRADITIONAL ART AND SYMBOLISM.

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east (...) and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

A dispute about the symbolism of the lingam, a cylindrical votary object that represents the Hindu god Shiva, has been going on for many centuries: is its meaning inexorably tied to a particular part of the physical body of the god, or is it abstract, purely spiritual? This essay will trace the history of this dispute, considering both icons made of carved stone in India that may or may not represent lingams and images made of words in Indian (...) texts that refer to lingams in contexts that are sometimes ambiguous but often quite clear. Underlying this particular debate is the more general problem of the ambiguity of the symbolism, particularly the religious symbolism, of the body and of forms that represent the divine body. The history of interpretations of the lingam in India reveals the ways that the actions of the state-in this case, the presence of foreign powers, Muslim and British, who viewed the lingam negatively-have deeply influenced native Hindu perceptions of the body of their own god. (shrink)

A dispute about the symbolism of the lingam, a cylindrical votary object that represents the Hindu god Shiva, has been going on for many centuries: is its meaning inexorably tied to a particular part of the physical body of the god, or is it abstract, purely spiritual? This essay will trace the history of this dispute, considering both icons made of carved stone in India that may or may not represent lingams and images made of words in Indian (...) texts that refer to lingams in contexts that are sometimes ambiguous but often quite clear. Underlying this particular debate is the more general problem of the ambiguity of the symbolism, particularly the religious symbolism, of the body and of forms that represent the divine body. The history of interpretations of the lingam in India reveals the ways that the actions of the state-in this case, the presence of foreign powers, Muslim and British, who viewed the lingam negatively-have deeply influenced native Hindu perceptions of the body of their own god. (shrink)

Tamil Siddhas, a loosely associated group of mystics belonging to the pan Indian Tantric tradition, recommend using the body and the mind as tools to surpass limited existence. They prescribe a method of yoga which utilizes the mind’s power to bring together dualities within a practitioner’s body to achieve kāya siddhi or a perfected, deathless body. The esoteric language and symbolism that the Siddhas use to convey their teachings have led to the misunderstanding and misinterpretation of their philosophy (...) and methodology. This study aims to explain Tamil Siddha yoga and dispel some of the misconceptions about Tamil Siddhas using Siddha Agatthiyar’s composition, Antaraṅga dīkṣā viti, as the primary text. (shrink)

The Bhagavad Gītā occurs at the start of the sixth book of the Mahābhārata—one of South Asia’s two main epics, formulated at the start of the Common Era (C.E.). It is a dialog on moral philosophy. The lead characters are the warrior Arjuna and his royal cousin, Kṛṣṇa, who offered to be his charioteer and who is also an avatar of the god Viṣṇu. The dialog amounts to a lecture by Kṛṣṇa delivered on their chariot, in response to the fratricidal (...) war that Arjuna is facing. The symbolism employed in the dialog—a lecture delivered on a chariot—ties the Gītā to developments in moral theory in the Upaniṣads. The work begins with Arjuna articulating three objections to fighting an impending battle by way of two teleological theories of ethics, namely Virtue Ethics and Consequentialism, but also Deontology. In response, Kṛṣṇa motivates Arjuna to engage in battle by arguments from procedural ethical theories—specifically his own form of Deontology, which he calls karma yoga, and a radically procedural theory unique to the Indian tradition, Yoga, which he calls bhakti yoga. This is supported by a theoretical and metaethical framework called jñāna yoga. While originally part of a work of literature, the Bhagavad Gītā was influential among medieval Vedānta philosophers. Since the formation of a Hindu identity under British colonialism, the Bhagavad Gītā has increasingly been seen as a separate, stand-alone religious book, which some Hindus treat as their analog to the Christian Bible for ritual, oath-swearing, and religious purposes. The focus of this article is historical and pre-colonial. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mikhail Bakhtin, Vyacheslav Ivanov, and the Rhetorical Culture of the Russian Third RenaissanceFilipp SapienzaAlthough Mikhail Bakhtin figures centrally in multiculturalism, community, pedagogy, and rhetoric (Bruffee 1986; Welch 1993; Zebroski 1994; Zappen, Gurak, and Doheney-Farina 1997; Mutnick 1996; Halasek 2001, 182; see also Bialostosky 1986) many of his major ideas remain enigmatic and controversial. The elusive aspects of Bakhtin's theories exist in part because rhetoricians know little about Bakhtin's own (...) rhetorical culture. Theorists recognize this problem and call for a reworking of Bakhtin more on his own terms. This call has been made to resolve concerns about Bakhtin's ambivalence toward rhetoric. Since Bakhtin disliked rhetoric, any use of Bakhtin in rhetorical theory is largely a hybrid synthesis of his distinct ideas on poetics, prose, satire, the epic, the novel, and so forth. John Murphy proposes a reconception of Bakhtin closely built around his ambivalence and guided by the question, "what do we [rhetoricians] mean by the concept of a rhetorical tradition?" (2001, 259). The suggestion encourages rhetoricians to take Bakhtin more on his own terms than has been done in the past. Unfortunately, as the word "we" indicates, Murphy reworks Bakhtin primarily in terms of Western ideas about rhetoric. Slavists and "Bakhtinologists" in Russia argue that when talking about Bakhtin, "we" has often meant Western, obscuring the Russian cultural roots of his theories (Kozhinov 1993; Miller and Platter 1993, 118). The privileging of Western perspectives has also been criticized by scholars of other discourse cultures. Discussing American Indian rhetoric, Malea Powell argues that "we" means a Rhetorical Tradition that begins "with the Greeks, goes Roman, briefly sojourns in Italy, then shows up in England and Scotland, hops the ocean to America and settles in" (2002, 397). Differences in interpreting Bakhtin also proceed from translation difficulties between Russian and English. The Russian reader views Bakhtin in more essentialist ways as opposed to the "post-modern give-and-take" theorist of many Western [End Page 123] interpretations (Emerson 1990, 113). Read in the Russian language and from that cultural context, Bakhtin's vocabulary contains "conspicuous" elements of Orthodox Christianity and Slavic nationalist ideas (Kozhinov 1993; Mihailovic 1997) that reveal a Russian theological subtext to his ideas about community and dialogue.In this essay, I provide a reading of Bakhtin against the background of his own rhetorical culture. More specifically, I offer an analysis of an intertextual dialogue about language and community between Bakhtin and the symbolist writer Vyacheslav Ivanov. Scholars identify Ivanov as a poet, philosopher, and teacher who profoundly impacted Bakhtin (Mal'chukova 1992, 55). The Russian symbolists upheld strong nationalist ideals and a linguistic theory rooted in metaphysics (Mirsky 1972, 188). Many Slavists and Russian readers of Bakhtin suspect that Ivanov strongly influenced Bakhtin's rhetoric even though, for reasons unknown but that are suspected to be political, Bakhtin understates his debt to him (Ivanov 2001, 3). Bakhtin was not unlike his contemporaries in sharing an interest and vocabulary that addressed the major threads of symbolism. Read side by side with Ivanov's essays in Russian, Bakhtin's rhetoric displays a mixture of the European, Slavic, and Christian ideals that were in parlance among many Russian theorists in early twentieth-century Russia. Bakhtin and Ivanov give us a glimpse of this rhetorical culture. More specifically, they help us to better understand our appropriations of Bakhtin based on an elucidation of the meaning of specific terms as they existed among Bakhtin's contemporaries.The method that I use requires translation of specific Russian passages into English. Terms and phrases are interpreted against the usage background of others in early twentieth-century Russia. Bakhtin's Slavic-theological connections become evident through the elucidation of these intertextual references. Through this method, a common and accepted practice in Slavic literary studies, the use of key words and phrases are traced in and among texts to identify a discourse among authors and explicate its meaning.1 As Steven Mailloux points out, a "rhetorical hermeneutics" focuses on "the historical sets of topics, arguments, tropes, ideologies, and so forth" that give meaning to rhetoric (1988, 15-16). The approach is necessary due to the unique political and artistic circumstances during the early... (shrink)

Why is the number seven lucky--even holy--in almost every culture? Why do we speak of the four corners of the earth? Why do cats have nine lives? From literature to folklore to private superstitions, numbers play a conspicuous role in our daily lives. But in this fascinating book, Annemarie Schimmel shows that numbers have been filled with mystery and meaning since the earliest times, and across every society. In The Mystery of Numbers Annemarie Schimmel conducts an illuminating tour of the (...) mysteries attributed to numbers over the centuries. She begins with an informative and often surprising introduction to the origins of number systems: pre-Roman Europeans, for example, may have had one based on twenty, not ten, while the Mayans had a system more sophisticated than our own. Schimmel also reveals how our fascination with numbers has led to a rich cross-fertilization of mathematical knowledge: "Arabic" numerals, for instance, were picked up by Europe from the Arabs, who had earlier adopted them from Indian sources. But the heart of the book is an engrossing guide to the symbolism of numbers. Number symbolism, she shows, has deep roots in Western culture, from the philosophy of the Pythagoreans and Platonists, to the religious mysticism of the Cabala and the Islamic Brethren of Purity, to Kepler's belief that the laws of planetary motion should be mathematically elegant, to the unlucky thirteen. After exploring the sources of number symbolism, Schimmel examines individual numbers ranging from one to ten thousand, discussing the meanings they have had for Judaic, Christian, and Islamic traditions, with examples from Indian, Chinese, and Native American cultures as well. Two, for instance, has widely been seen as a number of contradiction and polarity, a number of discord and antithesis. And six, according to ancient and neo-platonic thinking, is the most perfect number because it is both the sum and the product of its parts. Using examples ranging from the Bible to the Mayans to Shakespeare, she shows how numbers have been considered feminine and masculine, holy and evil, lucky and unlucky. A highly respected scholar of Islamic culture, Annemarie Schimmel draws on her vast knowledge to paint a rich, cross-cultural portrait of the many meanings of numbers. Engaging and accessible, her account uncovers the roots of a phenomenon we all feel every Friday the thirteenth. (shrink)

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence (...) of music making. Music qua music has been a part of human expression for at least some forty-thousand years and it could well be speculated that the making of music accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts".Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins, we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos. This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological". Jung drew on a much wider cross-cultural experiential and intellectual base than Freud. His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness. Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music. (shrink)

Hypotheses about a mysterious ancient civilization were born in the eighteenth century among European intellectuals, who vied with each other to report on the high culture of India, supposedly having a universal mission. The impetus for this was the national consciousness awakened in European society back in the Renaissance. The European scientific community of the nineteenth century formed the term “Aryans”, which was originally used as a neutral term to define the Indo-European language family, as well as ancient culture, and (...) was synonymous with the term “Indo-Europeans”. The ethnonym “Arius” itself comes from the oldest Indian and Iranian sacred texts and meant “noble” or “luminous”. However, starting at the end of the 19th century, it began to be used to define “racial theories”, and later a specific nation, justifying their “natural right” to rule over the so-called “unelected” peoples. In the first half of the twentieth century, the term “Aryans” was used by the leaders of the Third Reich, which led to its final distortion, and the synonymous meaning “Indo-Europeans” was barely used. Since the second half of the twentieth century, the development of Indo-European/Aryan theories has taken on a new meaning, largely due to archaeological science. After the fall of the Iron Curtain scientists gained access to the civilizations of the Black Sea steppes and the Dnieper region of Ukraine, which was significantly limited during the communist years. At the end of the twentieth century, scientists received archaeological data not previously taken into account in Indo-European studies. Thus, with the development of research, the archaeological culture of Trypillia from the territory of Ukraine acquires the significance of the Indo-European or Proto-Indo-European culture, which, to a large extent, expands the idea of the ancient history of Europe. The paper considers the swastika symbol as a stereotypical marker of the Indo-European/ Aryan logos and its ideological inversion in the first half of the 20th century. Indo-European hypotheses underwent their significant formation and development precisely in the nineteenth and twentieth centuries. This particular period is historiographically well-covered in terms of research and therefore is included in this paper. At the same time, the paper also highlights new and promising methods of Indo-European issues researching that have already begun to be implemented in the twenty-first century. Since the formation and development of various Indo-European hypotheses in historical retrospect and an interconnected form is still an under-researched topic and has not been comprehensively considered in special scientific works, the author aims to carry out the above-mentioned research work. The study of the Indo-European hypotheses development covers the topics of the linguistic origin, worldview, local and racial hypotheses, examines Indo-European searches in the research of Ukrainian scholars, and reveals the subtopic of Trypillian culture and its specific symbolism, which corresponds to the above research topic. (shrink)

Were it not for its stratospheric price, this book should be unconditionally recommended to students of Indian philosophy. It is the most thorough and scholarly study of early Indian logic and epistemology to date, offering much more than its title promises. The author analyzes all the crucial questions in the history of early Indian philosophy, to the utmost detail, including the discussion of all previous significant literature on each specific subject. The author's sound knowledge of Western logic, (...) however, often leads him to overlook the differences between the prelogical qualities and mystic symbolism of early Indian thought, and Western logic. But, this does not detract much from the value of the book as a complete and clear translation of Indian thought into the language and conceptions of the Western philosopher.—L. O. G. (shrink)

This article announces the discovery of a Sinhalese version of the traditional meditation ( borān yogāvacara kammaṭṭhāna ) text in which the Consciousness or Mind, personified as a Princess living in a five-branched tree (the body), must understand the nature of death and seek the four gems that are the four noble truths. To do this she must overcome the cravings of the five senses, represented as five birds in the tree. Only in this way will she permanently avoid the (...) attentions of Death, Māra, and his three female servants, Birth, Sickness and Old Age. In this version of the text, when the Princess manages not to succumb to these three, Māra comes and snatches her from her tree and rapes her. The Buddha then appears to her to explain the path to liberation. The text provides a commentary, padārtha , which explains the details of the symbolism of the fruit in terms of rebirth and being born, the tree in terms of the body, etc. The text also offers interpretations of signs of impending death and prognostications regarding the next rebirth. Previously the existence of Khmer and Lānnā versions of this text have been recorded by Francois Bizot and Francois Lagirarde, the former publishing the text as Le Figuier a cinq branches (Le figuier à cinq branches, 1976). The Sinhalese version was redacted for one of the wives of King Kīrti Śrī Rājasiṅha of Kandy by the monk Varañāṇa Mahāthera of Ayutthayā. This confirms earlier speculation that this form of borān/dhammakāya meditation was brought to Sri Lanka with the introduction of the Siyam Nikāya in the mid-eighteenth century. It also shows that in Sri Lanka, as in Ayutthayā, this form of meditation—which in the modern period was to be rejected as ‘unorthodox’—was promoted at the highest levels of court and Saṅgha. (shrink)

In this essay, I argue that though symbolism performs many roles in different cultures, it has a uniquely moral one in Igbo land. That unique role which symbolism performs in the pristine communalistic Igbo society concerns the regulation of human freedoms and actions in order to maintain social order. But is this something that can be sustained in a modern Igbo society that is more individualistic than communalistic? This paper is of the view that through the proper maintenance (...) of such symbolism: social control between individuals and groups shall be more coordinated in the contemporary Igbo world; regulate and checkmate the Igbo moral consciousness of oneness; control some cultural maladjustment and bring more about social unity in Igbo land. Keywords: Symbol, Symbolism, Social Order, Igbo, Oji. (shrink)

In this article, I examine the discourse around evil from the perspective of philosophical anthropology. Through an analysis of the religious symbolism of evil and an associated quest for a complete study of being, I intend in this article to explore fresh ways of establishing the relation between our rhetorical practices of evil and moral responsibility. I draw on Ricoeur’s work on the primary symbols of evil, which can be seen as a means for clarifying and extending our understanding (...) of evil and moral responsibility. I employ the concept of “the double intentionality of symbol” to advance an expressive-performative model of speaking about the full shape of moral responsibility. At stake in my paper is the possibility of recognizing the need to valorise subordinate resources of knowledge that might prevent us from studying and responding to the elusive reality of evil in intellectual abstraction. (shrink)

Contents: Mandalas. I. A Study in the Process of Individuation. II. Concerning Mandala Symbolism Index Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found (...) in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, (...) and is currently at the forefront of critical enquiry. This is the first book to examine Symbolism and abstraction in this way, and the first to treat these poets and painters together. It is an original contribution to interdisciplinary scholarship in art history, literary history, and comparative aesthetics. (shrink)

B a c k g r o u n d. Genre-wise the article is a form of publication of analytical conclusions resulting from researching religious symbolism within the movie. The material for interpretation was derived from mass media, in particular cinematography. The article describes religious symbolism within the movie "Barbie" (2023). It is made apparent that the wide array of religious symbols in modern cinema requires a new approach. M e t h o d s. Issues with defining (...) religious symbolism in cinema have inspired a search of appropriate methods and research methodology. The article utilizes analytical approach based on religious symbolism found in the artistic source material – in this case a movie. R e s u l t s. With that considered the goal of the scientific research was to track down instances of religious symbolism in "Barbie" movie; such was confirmed to be abundant within otherwise mundane work. Barbieland symbolises paradise withiin the movie's fictional universe: it's a perfect place with no diseases or suffering, populated by perfect people ignorant of sorrow, problems, and worries. Naturally, the exile from paradise is a theme that is also predent. C o n c l u s i o n s. Brief research concludes that the "Barbie" movie features disguised religious symbolism – a common trope for many works within modern cinema. (shrink)

We have considered two strategies for using native utterances as evidence for assigning native beliefs. We have shown that each of these two strategies (literalism and symbolism) can avoid the logical difficulties mentioned in section 1 — so long, at least, as we employ an account of the logical form of belief sentences developed by Burdick. We have also considered the methodological principles which provide the basis for translational practice. Based on our consideration of these principles, we then argued (...) that we must prefer the literalist strategy for attributing beliefs. Only the literalist strategy enables us to provide a recursive account of the significance of native utterances, and only the literalist strategy enables us to maximize the truth of our claims about native beliefs. (shrink)

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the (...) contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications, and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture. (shrink)

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of testing (...) whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)