This study presents the major ideas of Mahatma Gandhi on social stratification and social inequality. The methodology consists of systematically reading and analyzing the literature through which the theoretical components of social stratification in Gandhi's writings become more explicit, and evaluating these theoretical components. A systematic statement of Gandhi's theory of social stratification included the following five components. First, social differentiation is inherent in human nature. Gandhi believed in the universality of social differentiations and was convinced that societies were organized into the divisions on the basis of vocations. Second, relations among strata imply that a division of labor is essential for the stability and organization of society. Gandhi also implied that this division of labor is necessary and functional. Third, normative patterns establish traditions of heredity. To Gandhi, the four divisions in society defined a person's "calling" which is essential for social organization. Fourth, the system of stratification is the universal law that everyone is obliged to follow. Gandhi tried to legitimize social stratification through moral and religious values of the society. Fifth, social stratification system defines duties only and does not confer any privileges. To Gandhi, the divisions of people into strata was the best possible adjustment of social stability and progress. While accepting some form of social stratification for the benefit of total funcioning of the society, Gandhi refused to accept that social inequality necessarily grows out of the process of social stratification. To maintain the hereditary law of social stratification and reduce the inequality, Gandhi suggested the abolition of the present caste system and the revival of four orders of social organization, the removal of the concept of untouchability, the regulation of trusteeship, decentralization of power, the increase of women's status, and vocational education for all.

This dissertation reconstructs a theoretical framework for the Indian Constitution. It does so immanently, by focusing on the making of the Indian Constitution, taking into account both the demands of its specific historical conditions, and the formal constraints of drafting a constitution. The dissertation shows that in its historical context the task of the Indian constitution makers should be understood as creating a constitutional system that can mediate a transformation of the social condition. Performing this task required reinterpreting the established tenets of constitutionalism. The reinterpretation produces a distinct variation of constitutionalism that is termed transformational constitutionalism. Part I of the dissertation focuses on some of the central tenets of constitutional theory by examining the writings in which they first assumed their paradigmatic form. The concepts are situated in the historical context in which they were formulated to highlight the specific challenges they were a response to, and hence distinguishing them from the conceptual terrain in which the Indian Constitution was formulated. Part I also shows the essentially preservative nature of the main tenets of constitutional thought, and that the fully developed versions of its central concepts seek to preclude any possibility for major changes in social conditions. Part II sets out the historical developments that led to the material and ideational terrain on which the Indian Constitution was conceived. It first outlines the institutional and discursive structures of colonial rule to tease out the development of concepts that would serve as the point of reference for the constitution-makers. Part II then turns to the resistance to colonial rule by focusing on the ideas and politics of M.K. Gandhi to delineate the strengths and weaknesses of Congress's claim to represent the Indian nation at the moment of independence, and outline the two different visions of what it meant to free oneself from colonial subjugation, and the different challenges for bringing those visions to fruition. Finally, Part II outlines the way in which the Indian constitutional vision was caught in an interdependent dynamic of break and continuity with its colonial past. After Part I and II have traced the conceptual coordinates of a modern constitution, and the specific historical condition in which the Indian constitution was conceived respectively, Part III focuses on the Indian Constituent Assembly Debates to show how the framers sought to respond to the concrete challenges facing them by creatively reinterpreting the precepts of modern constitutionalism itself. The dissertation shows that the Indian Constitution has to be understood as a totality containing three related strata - that of constitutional imagination, promises, and text - which exist in tension with each other. This tension constitutes the contradiction at the heart of the Indian Constitutional form. The dissertation concludes by following one such contradiction, between the strata of imagination and text as it developed during the most important constitutional conflict of the initial years on the question of compensation for acquisition of property. It also demonstrates how that conflict fundamentally shaped the nature of Indian constitutional practice.

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The Sounds of Satyagraha: Gandhi's Use of Sung-Prayers and Ritual M.K. Gandhi's work towards Indian independence was influenced significantly by sung-prayers found in a collection entitled Ashram Bhajanavali, a collection which, in turn, gives fresh insight into the satyagraha movement. Gandhi's employment of sung-prayers, chant, and ritual has, however, gone unrecognized until this time. The Sounds of Satyagraha presents detailed information concerning how formative and how important these sung-prayers were to Gandhi and to the national independence movement. Chapter One sets forth this thesis, along with methodology, historical context, and certain terms defined. Chapter Two consists of a preliminary historical overview of the Ashram Bhajanavali, along with a descriptive summary of the sung-prayer materials found within it. (An analysis of ritual practices presented in Chapters 3 through 5 also provides additional information regarding historical context and development.) This collection of chanted prayers used by the Indian sayagraha community, has sometimes been referred to as a hymnal. However, the collection is much more than what the word "hymnal" might imply, both in the scope of its contents, and in its significance as a tool with which to understand the developments of Gandhi's satyagraha community. Chapters Three, Four, and Five examine in detail how the Ashram Bhajanavali was used in ritual contexts, and how these sung-prayers supported Gandhi and the nation in its work for social change. The ritual theory of Roy Rappaport is utilized to discover the Bhajanavali's sitz im leben. Chapter 3 discusses the use of these sung-prayers in ritual prayer meetings that occurred twice daily. Chapter 4 looks at additional ways in which these songs were used by Gandhi and the satyagraha community to achieve their purposes, as the movement grew into a national initiative. Chapter 5 considers how it is that this sung-prayer repertoire, being specifically sung and chanted (rather than spoken or read), had a significant power for India and appeal for the satyagraha communities. By placing this collection in its historical, social, and ritual contexts, the extent to which these sung-prayers influenced and shaped Gandhi's sayagraha in India becomes clear. Chapter 6 considers the life and work of one spiritual musician, Shri Karunamayee Abrol, who teaches the Ashram Bhajanavali, its melodies and its history. Shri Karunamayee's family were freedom fighters, and, as a child, she sang for Mahatma Gandhi, receiving his blessing. Shri Karunamayee represents a living tradition. Inspired by childhood experiences and her respect for Gandhi, she has a special devotion to this repertoire. As a spiritual musician, she is a "tradition-bearer" of the Ashram Bhajanavali. The chanting of these sung-prayers has been her daily devotional ritual for decades. Her teaching, which stems from both musical knowledge and Æ⁄¿‰ò™ experience, provides additional insight into satyagraha. Chapter Seven concludes with a review of the evidence, illustrating the large extent to which Gandhi was guided by the sung-prayers and principles found in the Ashram Bhajanavali collection. It also consists of reflections in an analysis of the success or failure of satyagraha. Ashram Bhajanavali offers insight into the Indian independence movement, which has not been acknowledged or identified previously. Final reflections place this collection within the on-going East-West dialogue, indicating its continuing importance in the current discussion.

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BEZERRA, Emília Passos de Oliveira. A liberdade nomeada: leituras de Cecília Meireles para Cânticos. 2007. 136 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T11:59:05Z No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-27T15:06:16Z (GMT) No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5) / Made available in DSpace on 2012-06-27T15:06:16Z (GMT). No. of bitstreams: 1 2007_DIS_EPOBEZERRA.pdf: 1222968 bytes, checksum: e2bd1e14a06127ffddc8459750084249 (MD5) Previous issue date: 2007 / The dissertation examines the work Songs, Cecilia Meireles, highlighting the historical context-cultural, ideological and artistic of the twentieth century, from the close relationship of literature produced by the poet with the mysticism of the philosophies of the East, in particular, Buddhism, with the mystical poetry of the Indian poet Rabindranath Tagore and the speeches of peace Mahatma Gandhi and Vinoba Bhave. The work of the poetic corpus, still uses to support the writer Complete Poetry, the critical study conducted by Amy Zagury, "Cecília Meireles: news biographical, critical study, anthology, literature, discography, the score," and in the testimony of letters, interviews, books and chronic prefaciados as princiapal refuge. Using the methods descriptive, analytical, interpretive-comparison, the search is divided into five stages, where: "Initial considerations", "The twentieth century", "Songs - named Freedom," "The Bilbioteca way" and, finally, as a conclusion, "The uniqueness of mystical corner." / A dissertação analisa a obra Cânticos, de Cecilia Meireles, destacando o contexto histórico-cultural, ideológico e artístico do século XX, a partir do estreito relacionamento da literatura produzida pelo poeta com o misticismo das filosofias do Oriente, em específico, o Budismo, com a poesia mística do poeta indiano Rabindranath Tagore e os discursos pacifistas de Mahatma Gandhi e Vinoba Bhave. O trabalho parte do corpus poético, utiliza ainda como apoio a Poesia Completa da escritora, o estudo crítico realizado por Eliane Zagury, em "Cecília Meireles: notícia biográfica, estudo crítico, antologia, bibliografia, discografia, partitura", e os depoimentos constantes de cartas, entrevistas, livros prefaciados e crônicas como amparo princiapal. Utilizando os métodos descritivo, analítico, interpretativo-comparativo, a pesquisa divide-se em cinco momentos, sendo: "Considerações iniciais", "O século XX", "Cânticos - A Liberdade nomeada", " A Bilbioteca via" e, finalmente, como conclusão, "A singularidade do canto místico".