Made available in DSpace on 2016-04-25T19:20:28Z (GMT). No. of bitstreams: 1 Celia Maki Tomimatsu.pdf: 4178101 bytes, checksum: f9ab4cd9bf8b4d0bd1d305d30fd81f8f (MD5) Previous issue date: 2013-10-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of this research is an investigation about the disposition of good and evil in the Hindu text Bhagavadgītā, which passage is inserted in Book VI of the Indian epic Mahābhārata. The goal is to reflect about the human condition that permeates the passage of Bhagavadgītā, about the ideas of good and evil, especially in the context of the dialogue between the main characters of this chapter: the god Kṛṣṇa and his friend Arjuna, the Pāṇḍava worrier. The hypothesis is that, in this epic, neither the dialogue nor the narrated battle, represent an external action of an individual, but, due to the concept of dharma in Hinduism, an inside; / Este trabalho tem como objeto de pesquisa a investigação sobre as disposições do bem e do mal no texto hindu Bhagavadgītā, cuja passagem está inserida no Livro VI do épico indiano Mahābhārata. O objetivo é refletir sobre a condição humana que permeia na passagem de Bhagavadgītā, principalmente no que diz respeito à ideia acerca do bem e do mal no contexto do diálogo entre os principais personagens deste capítulo: o deus Kṛṣṇa e seu amigo Arjuna, o guerreiro Pāṇḍava. A hipótese é que, neste épico, nem o diálogo nem a batalha narrada representam uma ação externa de um indivíduo, mas um discernimento interno dos valores morais segundo o conceito de dharma do Hinduísmo, tendo, portanto, as ações de Arjuna e tudo que o envolve como uma metáfora da condição humana para distinguir o bem do mal. A metodologia escolhida foi a pesquisa bibliográfica baseada em autores especializados como Sri Aurobindo (AUROBINDO, 1995), Angelika Malinar (MALINAR, 2007), Paramahansa Yogananda (KRIYANANDA, 2007), Surendranath Dasgupta (DASGUPTA, 1952), entre outros. O resultado desta dissertação procura colaborar na discussão de tópicos como traduções e valores interculturais, que de acordo com as leituras do bem e do mal do dharma Hindu, devem ser considerados fora do escopo do pensamento ocidental e de qualquer julgamento de valor

Made available in DSpace on 2016-04-25T19:20:45Z (GMT). No. of bitstreams: 1 Joachim Andrade.pdf: 4023198 bytes, checksum: dc0d71e18966f32fcf73e535661bb773 (MD5) Previous issue date: 2007-04-13 / Hindu Dance one of the most popular artistic forms of India, has received universal acclamation including in Brazil as one of the subtlest expressions of Hinduism. Its intimate connection with the temple, as a ritualistic art, mirroring the imperceptible feelings of devadasis the dancing girls , reflects he inwardness of Hindu culture. This dance is performed according to the most delicate nuances of a musical piece, or a poem, through the vehicle of a body, reflecting the principles laid down by the Natya Shastra treatise. Through some of the pioneer performing artists and a few dedicated visionaries at the beginning of the XX century, the Hindu dance gained unprecedented popularity and initiated its process of detraditionalization. Accompanying the historical processes of modernization and secularization of India the Hindu dance initially did its passage from temple to theater; e then to the other religions in India and consequently to the west and finally to Brazil. In this research the process of detraditionalization as been organized in three parts. In the first part, some questions have been raised with regard to the changes that the dance would face during the process of detraditinalization and also has shown panoramic view of the dance in Brazil. The second part establishes approximation of the Hindu dance with the empirical analyses of the detraditionalization process from the temple until its arrival to the west. In the third part, we treat the modifications suffered by the art as well as the changes occurred in the lives of the dancers. The conclusion deals with the possible contribution this process has given to the society as general and the Sciences of Religion in particular / A dança hindu, uma das formas artísticas mais populares na Índia, tem recebido reconhecimento universal (inclusive no Brasil) como expressão das mais sutis do Hinduísmo. Sua conexão íntima com o templo, como arte ritualística que espelha sentimentos imperceptíveis das devadasis, dançarinas do Senhor , reflete a tendência introspectiva da cultura hindu. Essa dança era realizada conforme os matizes mais delicados de uma peça, ou de um poema, por intermédio do corpo, refletindo os princípios explicitados no tratado mais antigo da dança, o Natya Shastra . Por meio de dançarinos pioneiros e de visionários dedicados no início do século XX, essa dança alcançou uma popularidade sem precedentes e iniciou o processo de destradicionalização. Acompanhando o processo histórico de modernização e secularização da Índia, a dança hindu inicialmente passou do templo ao teatro; depois para as outras religiões na Índia, para o Ocidente e, por fim, para o Brasil. Nesta pesquisa, organizamos o processo da destradicionalização em três blocos. No primeiro, questionamos as possíveis mudanças que a dança deve enfrentar no processo da destradicionalização; também mapeamos a dança no Brasil. O segundo estabelece uma aproximação entre a dança hindu e a análise empírica da destradicionalização, do templo ao Ocidente. No terceiro bloco examinamos as modificações na arte e também as mudanças na vida dos bailarinos. Conclui-se visando a possível contribuição que esse processo faz à sociedade, em particular aos estudos de Ciência da Religião

Cette thèse vise à décrire comment un ordre religieux subit des processus d'évolution et de transformation qui permettent d'interpréter et de satisfaire les besoins religieux de la société. L'hypothèse à la base de ce travail est que les ordres religieux et les gourous sont des éléments centraux qui caractérisent et influencent la société indienne dans le passé et dans le présent.Je focalise mon attention sur le sampradāya des Rāmānandī –groupe religieux datant de Rāmānanda- qui eut un rôle primordial dans la diffusion de la bhakti de Ram (dévotion envers Ram) dans le nord de l’Inde vers la fin du XVème siècle. Mon but est de montrer comment la figure de Rāmānanda et l’organisation de l’ordre religieux ont évolué au cours des siècles, pour être capables ensuite d’interpréter les principaux changements survenus au XXème siècle.A cause de ces différences internes, les Rāmānandīs n’ont jamais eu de représentant dans un centre officiel qui puisse fonctionner comme pôle directeur pour l’ordre. Donc, l’utilisation du titre de Jagadgurū Rāmānandācārya et la construction du Śrī Math au XXème siècle représentent un changement significatif dans l’histoire de l’ordre. C’est pour cela que j’ai formulé mes principales questions, base de ma recherche, sur ce thème :1) pourquoi au XXème siècle, un sampradāya caractérisé par diverses disciplines religieuses (sādhanā-s) et diffusé dans différents centres indépendants a senti la nécessité de créer la fonction de Jagadgurū Rāmānandācārya comme leader principal ?2) le Śrī Math fait-il partie de la reconstruction du charisme du Rāmānanda et est-il un instrument pour aider à la fonction de Jagadgurū Rāmānandācārya ?Pour retracer l’évolution de la tradition des Rāmānandī de leur origine à nos jours j’ai utilisé une approche multidisciplinaire, dans laquelle méthodologies anthropologique et historique coopèrent. / In this dissertation, I focus my attention on the Rāmānandī sampradāya - a religious group supposedly formed by the religious teacher Rāmānanda – that had a primary role in spreading Rām bhakti (devotion toward Rām) throughout northern India, possibly from the end of the 15th century. My purpose here is to reconstruct how the representation of Rāmānanda and the organization of the sampradāya evolved over the centuries in order to interpret the two main changes that have occurred in the 20th century: the establishment of the office of Jagadgurū Rāmānandācārya as the leader of the sampradāya, and the construction of the Śrī Maṭh, a monastery on the place where, according to the Rāmānandī tradition, Rāmānanda used to preach. Because of these internal distinctions, the Rāmānandī-s have never had a single representative leader installed in a particular place that could work as directive pole for the sampradāya. Therefore, the bestowing of the title of Jagadgurū Rāmānandācārya and the construction of the Śrī Maṭh in the 20th century represent a significant change in the history of the order. For this reason, I formulated the main questions at the base of my research as follows: 1 Why has a sampradāya characterized by several religious disciplines (sādhanā-s) and spread across several independent religious centers established the office of a Jagadgurū Rāmānandācārya as central leader in the 20th century? 2 Which role does the Śrī Maṭh play in the reconstruction of Rāmānanda’s charisma and in support of the office of Jagadgurū Rāmānandācārya? To accomplish my analysis I employ a multidisciplinary approach – described in Chapter 1 – in which anthropological and historical methodologies cooperate to reconstruct the evolution of the Rāmānandī tradition from its origin until the present.

The Hindu Kush region stretches from Afghanistan over Pakistan to North India and is home to what is commonly known as the Dardic languages. The Dardic langagues are a group of Indo-Aryan languages that have in isolation and under contact developed or retained features that can not be found in Indo-Aryan languages outside the region. In the ongoing project ”Language contact and relatedness in the Hindu Kush region” data on over 50 languages has been collected including nine varieties of northwest Indo-Aryan Pashai spoken in west Afghanistan. A cognate analysis and an analysis of phonological, morphological, syntactical and lexical features were conducted. The cognate analysis shows that the Pashai varieties build two clusters, a western group consisting of the three western Pashai varieties and an eastern group consisting of six eastern varieties. The structural analysis shows a more diverse picture with three potential clusters, a group of the two most western varieties, a northeastern group and a central group consisting of one western variety and two southeastern varieties. Some features found to be shared by languages in the region are also found in all Pashai varieties like a subject-object-verb order and postpositions. / Hindukushregionen sträcker sig från Afghanistan över Pakistan till norra Indien och hyser de vanligtvis så kallade dardiska språken. De dardiska språken tillhör de indo-ariska språken vilka i isolation och genom kontakt utvecklade eller bevarade drag som inte längre finns i indo-ariska språk utanför regionen. I det pågående projekt “Språkkontakt och språksläktskap i Hindukushregionen” samlades data från mer än 50 språk inklusive nio varietéer av det nordvästra indo-ariska språket Pashai som talas i västra Afghanistan. En kognatanalys och en analys av fonologiska, morfologiska, syntaktiska och lexikala drag genomfördes. Kognatanalysen visar att Pashai varieteterna formar kluster, en västragrupp av de tre västra varieteterna och en östra grupp av de sex östra varieteterna. Struktruanalysen visar en mer skiftande bild av tre potentiella kluster, en grupp av de två mest västra varieteterna, en nordöstra grupp och en centergrupp bestående av en västra varietet och två sydöstra varieteter. Några drag som anses vara delad av språken i regionen kan också konstateras i alla Pashaivarieteter som ensubjekt-objekt-verb följd och postpositioner.

Although menstruation is a biological process that occurs for women of a sexually mature age, many cultures associate it with symbols that shape and affect women's lives within these societies. This thesis examines orthodox Hindu beliefs about the origin and meaning of menstruation, which is fundamentally viewed negatively (i.e., adharmically). Drawing upon sources from the earliest to more recent Dharmasastra literature, the thesis demonstrates that orthodox Hindu menstrual taboos derive from menstruation's adharmic associations, which in turn affect attitudes towards women. The Dharmasastras also attempt to realign women with dharma by prescribing appropriate roles for them and act in tandem with the Hindu goddess tradition. Orthodox interpretations of Hindu goddesses configure these deities to serve as dharmic models "for" and " o f women, thereby transmitting dharma to women in ways that are perhaps more meaningful, accessible, and effective than the sastric literature alone. iv / viii, 102 leaves , 3 leaves of plates : ill. ; 29 cm

Made available in DSpace on 2014-12-17T14:00:15Z (GMT). No. of bitstreams: 1 SandroSS_DISSERT.pdf: 1757287 bytes, checksum: 669a9ffceafd1badcce31570d70525a8 (MD5) Previous issue date: 2011-06-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process / O termo corpo sem ?rg?os est? presente em um poema do escritor, ator e encenador franc?s Antonin Artaud, escrito em 1947 e intitulado: Para Acabar com o Julgamento de Deus. Busco, nesta disserta??o, a partir do que chamamos escrita c?nico- investigativa, problematizar este termo e suas rela??es poss?veis com o teatro e tamb?m com alguns aspectos da m?tica hindu. Uno ? id?ia do corpo sem ?rg?os o corpo em transe presente nas hist?rias de um mestre indiano chamado Caitanya Mahaprabhu. Estas id?ias, juntamente com o desenvolvimento de pr?ticas que partem de alguns princ?pios da Antropologia Teatral, s?o est?mulos para um processo de cria??o que destaca o trabalho de prepara??o e cria??o corporal do ator. As articula??es entre os conceitos e a pr?tica suscitam discuss?es onde me coloco como ator-pesquisador em processo

Our “terministic screens,” learned attitudes and assumptions that screen what we see, render much data invisible and thus hinder the study of South Asian rhetorics. I hypothesized that by using two terms central to the Vedic worldview—Ṛta and levels of speech theory—as a terministic key, a touchstone, I could better identify and study Vedic rhetoric on its own terms and understand its modes and methods. This study finds that together these terms give insight into the Vedic paradigm as a whole. Chapter two explores these terms, noting that beyond audible speech and silent speech-in-thought theorized in Western rhetoric, Vedic empirical study finds two deeper levels: Paṣyantī, sensing an idea as a gestalt, and Parā, the transcendental source of speech, and includes methods for using the full range and power of speech, an embodied literacy. String theory of quantum physics echoes the Vedic cosmology of speech and its power, and illustrates the principle that drives the Vedic rhetorical modes and methods, which the next chapters explore: chapter three, the nondiscursive rhetorics of mantra, chapter four, the didactic rhetorics of dance and of the guru-disciple dynamic, and chapter five, collaborative debate toward truth, and cosmic citizenship in the governing assembly. All are driven not by persuasion but attunement with Ṛta—Truth/all the laws of nature/Brahman—an eloquence that embodies cosmic harmony. Being vs. seeming, truth vs. truthiness: Could an alternate approach to current practice advance our understanding and teaching of rhetoric and raise the level of our civic discourse?

This dissertation focuses on a seventeenth-century (so-called) Malwa manuscript that illustrates the story of Krishna, and the copy manuscripts that were produced after it. It explores how the story is transformed in its incarnations as the vernacular text inscribed on the manuscript, the cycle of illustrations depicting that text, and then the copies made from what appear to be the initial illustrations. The claim is that narrative variations which find their way into these different embodiments should almost never be considered "mistakes," even when an act of misunderstanding seems to be clearly implied. Rather they are moments when the artist's or author's engagement with contemporary sectarian concerns, literary trends, artistic strategies and popular culture is manifest. The first three chapters of the dissertation are devoted to an analysis of text, illustration and copy illustration respectively, while the fourth presents the broader context in which such Krishna manuscripts were circulating.The underlying objective is to re-evaluate the conventional narrative of North Indian illustrated manuscripts. This is cast as the teleology of court styles where political history is used to decide important and influential ateliers. Visually compelling and historically important illustrated manuscripts such as the ones I study, but whose patronizing court is undecided, are largely ignored. This dissertation showcases an alternative, interdisciplinary approach that undertakes thorough visual and textual analyses alongside an examination of the broader socio-religious trends that impacted artistic production. It advocates that every illustrated manuscript should be studied individually, rather than as just a member of a predetermined stylistic group.

Raja Krishnacandra Ray (1710-1782) was a relatively high-ranking aristocrat in eastern India who emerged as a local culture hero during the nineteenth century. He became renowned as Bengal's preeminent patron of Sanskrit and as an ardent champion of goddess worship who established the region's famous puja festivals, patronized major innovations in vernacular literature, and revived archaic Vedic sacrifices while pursuing an archconservative agenda as leader of Hindu society in the area. He is even alleged in certain circles to have orchestrated a conspiracy that birthed British colonialism in South Asia, and humorous tales starring his court jester are ubiquitous wherever Bengali is spoken. This dissertation explores the process of myth-making as it coalesced around Krishncandra in the early modern period, emphasizing the roles played by classical ideals of Hindu kingship and print culture as well as both colonial and nationalist historiography.

“Ordering Subjects” argues that the merchants of Marwar led efforts to demarcate a new, exclusive community of elites, one that they conceptualized of as self-consciously ‘Hindu’ and forged through the application of state power. This early modern Hindu community defined itself in opposition not to the figure of the Muslim but to that of the ‘Untouchable,’ a category that included but was not limited to the Muslim. The early modern Hindu identity was thus deeply imagined in caste terms. This elite community organized around Krishna devotion, especially the Vallabh Sampraday, and demarcated itself through cultural markers such as the practice of vegetarianism, teetotalism, and austerity. Merchants, often joined by brāhmaṇs, waged their battles for the demarcation of this new community by petitioning the crown and by successfully deploying the control that they had gained in prior centuries over the state apparatus as bureaucrats. State power, consisting of its judicial, fiscal, recordkeeping, and surveillance mechanisms, played a central role in the implementation of laws and regulations, including spatial, economic, social, and ritual segregation, enforced vegetarianism, and the moral policing of elite subjects’ lives. Most of these petitions and state responses were legitimized with reference to ethics, marking a departure from the until-then prevalent emphasis on custom as the basis for legislating society. “Ordering Subjects” suggests that this marked a shift towards a more universal law and that the turn to ethical principles made possible the disregard for the force of custom that these departures marked. Further, the dissertation demonstrates that these processes enabled the ascendance of a mercantile ethos as the preeminent cultural code of the region, displacing that of the warrior and modifying that of the brāhmaṇ. Lastly, it shows the extent to which the state in eighteenth century Marwar had penetrated society and was capable of intervening in it using surveillance and judicial methods. The dissertation challenges the current scholarly framing of the debate over the existence of religious identities in pre-colonial South Asia, suggesting that it casts modern, binary (‘Hindu-Muslim’) conceptions of religion, as distinct from politics, upon pre-modern history. Instead, “Ordering Subjects” points to the role of caste, as a field of politics, in determining the contours and imagination of early modern Hindu identity. It offers a political and social history of Krishna devotion, extending scholarship on this field beyond the focus on its literary, theological, and cultural aspects that currently dominate the field. In tracing the local effects of the global processes of economic circulation and integration that characterized early modernity upon social and political life of a landlocked kingdom, the dissertation offers a perspective upon the history of early modern South Asia as it unfolded away from, but in connection with, the ports and court cities of the region.