This research looks at contemporary understandings of performance arts in India, specifically Karnatic Music and Bharatnatyam as ‘religious’ arts. Historically, music and dance were performed and patronized in royal courts and temples. In the early 20th century, increased nationalist activities led to various forms of self-scrutiny about what represented ‘true’ Indian culture. By appropriating colonial discourses based on the religious/secular dichotomy, Karnatic Music was carefully constructed to represent a ‘pure’ Indian, specifically ‘Hindu’ culture that was superior to the ‘materialistic’ Western culture. Importantly, the category called divine was re-constructed and distinguished from the erotic: the divine was represented as a category that was sacred whilst the erotic represented ‘sexual impropriety.’ In so doing, performance arts in the public sphere became explicitly gendered. Feminity and masculinity were re-defined: the female body was re-imagined as ‘sexual impropriety’ when in the public sphere, but when disembodied in the private sphere could be deified as a guardian of spirituality. Traditional performing communities were marginalized while the newly defined music and dance was appropriated by the Brahmin community, who assumed the role of guardians of the newly constructed Indian-Hindu identity, resulting in caste-based ‘ownership’ of performance arts. Mechanical reproduction of Karnatic Music has created a disconnect in contemporary Indian society, in which Karnatic Music is disembodied from its contexts in order to be commodified as an individual’s artistic expression of creativity. This move marks a shift from substantive economics (music was performed and experienced within a specific context, be it royal patronage or Indian nationalist movements) to formal economics (music as a performer’s creative property). I question the understanding of Karnatic Music as ‘religious’ music that is distinguished from the ‘secular’ and seek to understand the colonial patriarchal mystification of the female body in the private sphere by deconstructing the definition of the ‘divine.’ In doing so, I also question the contemporary understanding of Karnatic Music as an item of property that disembodies the music from its historical context.

Esta tese tem como objeto de estudo as antologias da literatura sânscrita conhecidas como Puräëa e tem como objetivo observá-las como uma unidade enunciativa, relacionado-as aos elementos históricos e sociais com os quais essas obras conviveram durante seu longo período de compilação, que se estende aproximadamente do século III d.C. até por volta do século XV d.C. Para tal fim, adotaram-se como linhas teóricas a Semiótica greimasiana, as contribuições dos escritos atribuídos a Mikhail Bakhtin e predominantemente a Análise do Discurso de linha francesa, cuja perspectiva permite investigar o universo de relações existentes entre construção lingüística e elementos sócio-culturais. Os relatos míticos detacam-se como tema privilegiado por esta pesquisa, visto que concentram, em suas narrativas, as interações e negociações culturais que participaram do processo de consolidação das práticas sociais hinduístas, das quais a recitação dos Puräëa faz parte. E, uma vez que os Puräëa consistem em antologias, a presença de determinados episódios míticos revela pressupostos culturais que possibilitam identificar o diálogo existente entre os vários estratos sociais que interagiram na formação do hinduísmo. Observa-se, ademais, o papel que essa literatura desempenhou em meio às outras literaturas de seu cenário cultural, examinando-se seu estatuto de escritura sagrada a partir do conceito de discurso constituinte, o que leva ao panorama das relações interdiscursivas dos enunciados purânicos com outras vertentes da cultura sânscrita, a saber, a tradição védica e o movimento cultural do tantrismo. Exemplifica-se, por fim, o conjunto das reflexões expostas na tese com o hino conhecido como Devé-mähätmya, composto antes do século VII d.C. e transmitido junto à antologia chamada Märkaëòeya. A mitologia da Grande Deusa é vista como um expoente das relações históricas vivenciadas durante o período em que ocorreram a compilação das antologias purânicas e a consolidação do hinduísmo. / The object of research of this thesis is the collection of anthologies known as Puräëa in Sanskrit Literature and its purpose is to survey them as an enunciative unity. This is done by relating the individual works to historical and social elements with which they coexisted during the long period of their compilation, which spreads approximately from III B.C.E to XV C.E. With this purpose in mind we assume as theoretical bases Greimasian Semiotics, the works attributed to Mikhail Bakhtin and mainly French Discourse Analysis, whose perspective allows one to investigate the whole of relations existing between verbal constructions and socio-cultural elements. The mythical narratives stand out as a significant subject of this research inasmuch as they condense in speech form the cultural interactions and negotiations that were in act in the process of consolidation of Hindu social practices, among which the recitation of the Puräëa took part. And since the Puräëa works are anthologies, the occurrence of some mythical accounts can disclose cultural presuppositions that allow us to recognize the existing dialogue between several social strata intervening in the shaping of Hinduism. Furthermore, we observe the role performed by Puräëa literature in the midst of other literatures sharing the same cultural environment by the examination of its status of sacred scripture through the concept of Self-Constituting discourse. That approach leads us to an overview of the interdiscoursive relations of Puräëa enunciates with other trends of Sanskrit culture, namely, the Vedic tradition and Tantrism as a cultural movement. At last, our ideas are exemplified by the analysis of the hymn known as Devémähätmya, composed before VII B.C.E and handed down along with the anthology called Märkaëòeya. The mythology of the Great Goddess it presents is seen as an exponent of the historical relations that took place during the time the Puräëa anthologies were compiled and Hinduism was consolidated.

Esta tese tem como objeto de estudo as antologias da literatura sânscrita conhecidas como Puräëa e tem como objetivo observá-las como uma unidade enunciativa, relacionado-as aos elementos históricos e sociais com os quais essas obras conviveram durante seu longo período de compilação, que se estende aproximadamente do século III d.C. até por volta do século XV d.C. Para tal fim, adotaram-se como linhas teóricas a Semiótica greimasiana, as contribuições dos escritos atribuídos a Mikhail Bakhtin e predominantemente a Análise do Discurso de linha francesa, cuja perspectiva permite investigar o universo de relações existentes entre construção lingüística e elementos sócio-culturais. Os relatos míticos detacam-se como tema privilegiado por esta pesquisa, visto que concentram, em suas narrativas, as interações e negociações culturais que participaram do processo de consolidação das práticas sociais hinduístas, das quais a recitação dos Puräëa faz parte. E, uma vez que os Puräëa consistem em antologias, a presença de determinados episódios míticos revela pressupostos culturais que possibilitam identificar o diálogo existente entre os vários estratos sociais que interagiram na formação do hinduísmo. Observa-se, ademais, o papel que essa literatura desempenhou em meio às outras literaturas de seu cenário cultural, examinando-se seu estatuto de escritura sagrada a partir do conceito de discurso constituinte, o que leva ao panorama das relações interdiscursivas dos enunciados purânicos com outras vertentes da cultura sânscrita, a saber, a tradição védica e o movimento cultural do tantrismo. Exemplifica-se, por fim, o conjunto das reflexões expostas na tese com o hino conhecido como Devé-mähätmya, composto antes do século VII d.C. e transmitido junto à antologia chamada Märkaëòeya. A mitologia da Grande Deusa é vista como um expoente das relações históricas vivenciadas durante o período em que ocorreram a compilação das antologias purânicas e a consolidação do hinduísmo. / The object of research of this thesis is the collection of anthologies known as Puräëa in Sanskrit Literature and its purpose is to survey them as an enunciative unity. This is done by relating the individual works to historical and social elements with which they coexisted during the long period of their compilation, which spreads approximately from III B.C.E to XV C.E. With this purpose in mind we assume as theoretical bases Greimasian Semiotics, the works attributed to Mikhail Bakhtin and mainly French Discourse Analysis, whose perspective allows one to investigate the whole of relations existing between verbal constructions and socio-cultural elements. The mythical narratives stand out as a significant subject of this research inasmuch as they condense in speech form the cultural interactions and negotiations that were in act in the process of consolidation of Hindu social practices, among which the recitation of the Puräëa took part. And since the Puräëa works are anthologies, the occurrence of some mythical accounts can disclose cultural presuppositions that allow us to recognize the existing dialogue between several social strata intervening in the shaping of Hinduism. Furthermore, we observe the role performed by Puräëa literature in the midst of other literatures sharing the same cultural environment by the examination of its status of sacred scripture through the concept of Self-Constituting discourse. That approach leads us to an overview of the interdiscoursive relations of Puräëa enunciates with other trends of Sanskrit culture, namely, the Vedic tradition and Tantrism as a cultural movement. At last, our ideas are exemplified by the analysis of the hymn known as Devémähätmya, composed before VII B.C.E and handed down along with the anthology called Märkaëòeya. The mythology of the Great Goddess it presents is seen as an exponent of the historical relations that took place during the time the Puräëa anthologies were compiled and Hinduism was consolidated.

<p>Indien har överlag varit ett patriarkalt samhälle där männen har stått över kvinnorna. I gudavärlden inom hinduismen nämns många gudinnor. Råder ett lika patriarkalt förhållande i gudavärlden? Den här frågan har varit grunden för den här studien. Syftet med studien var att jämföra kvinnliga med manliga gudar genom att läsa om hur andra författare framställt dem. Utifrån detta syfte söker jag besvara tre specifika frågor: Vad har de olika gudarna för bakgrunder/myter? Om man ser lika mycket av kvinnliga gudar som manliga gudar i dagens Indien? Vad det finns för skillnader respektive likheter mellan de kvinnliga och de manliga gudarna? En jämförande studie gjordes och en intervju med indienspecialisten David Ståhl.</p>

<p>Syftet med undersökningen är att genom fyra läroböcker i religionskunskap som används i årskurs 9 ta reda på vilket budskap bilderna i avsnitten om hinduism förmedlar till eleverna. Detta har gjorts med utgångspunkt i genus, där stor vikt lagts på könsfördelningen inom det religiösa livet.</p><p>Huvudfrågorna som undersökningen grundas på är hur män respektive kvinnor skildras i bilderna. Vad säger de oss om könsfördelningen inom hinduismens religiösa liv? Hur förhåller sig bildmaterialet till den omgivande texten och till bildtexten?</p><p>Tidigare forskning har framförallt inriktat sig på islam och området kring hinduism är relativt outforskat. Undersökningen baserades på cirka 50 bilder från de valda läroböckerna och resultatet visar att det finns en majoritet av män på bilderna, dels när religiösa handlingar framställs, dels ur allmän utgångspunkt. Förslag på möjliga anledningar till detta har framförts.</p>

Indien har överlag varit ett patriarkalt samhälle där männen har stått över kvinnorna. I gudavärlden inom hinduismen nämns många gudinnor. Råder ett lika patriarkalt förhållande i gudavärlden? Den här frågan har varit grunden för den här studien. Syftet med studien var att jämföra kvinnliga med manliga gudar genom att läsa om hur andra författare framställt dem. Utifrån detta syfte söker jag besvara tre specifika frågor: Vad har de olika gudarna för bakgrunder/myter? Om man ser lika mycket av kvinnliga gudar som manliga gudar i dagens Indien? Vad det finns för skillnader respektive likheter mellan de kvinnliga och de manliga gudarna? En jämförande studie gjordes och en intervju med indienspecialisten David Ståhl.

Syftet med undersökningen är att genom fyra läroböcker i religionskunskap som används i årskurs 9 ta reda på vilket budskap bilderna i avsnitten om hinduism förmedlar till eleverna. Detta har gjorts med utgångspunkt i genus, där stor vikt lagts på könsfördelningen inom det religiösa livet. Huvudfrågorna som undersökningen grundas på är hur män respektive kvinnor skildras i bilderna. Vad säger de oss om könsfördelningen inom hinduismens religiösa liv? Hur förhåller sig bildmaterialet till den omgivande texten och till bildtexten? Tidigare forskning har framförallt inriktat sig på islam och området kring hinduism är relativt outforskat. Undersökningen baserades på cirka 50 bilder från de valda läroböckerna och resultatet visar att det finns en majoritet av män på bilderna, dels när religiösa handlingar framställs, dels ur allmän utgångspunkt. Förslag på möjliga anledningar till detta har framförts.

AbstractFilm är något som använts i skolan under en lång tid. Film är dock något som används relativtokritiskt. Den källa som lärare normalt använder för att visa film är AV-Media. I dennaundersökning har fyra av AV-Media Kronobergs filmer om hinduismen undersökts: Världensreligioner: Hinduismen och tre delar ur serien Kort om Indien.Teorin bygger i huvudsak på tre böcker, Umberto Ecos Den frånvarande Strukturen, Bill NicholsRepresenting Reality, Mattew Bernstein och Gaylyn Studlars Visions of the East, Orientalism inFilm. Samt Edward Saids Orientalism. Eco används för att spåra en struktur i filmerna, strukturenframträder genom att motsatspar identifieras. Bill Nichols används för att se vilken påverkanfilmernas stil har.I undersökningens analys framträder en struktur med motsatspar. I hela filmerna finns ettöverliggande motsatspar som är Indien – västvärlden. Detta motsatspar förstärks av en mängd andramotsatspar som tillskriver Indien och västvärlden olika egenskaper. I analysen blir det tydligt attfilmernas stil leder till att de sänder ut orientalistiska budskap. Det framkommer också att det finnsen latent orientalism hos såväl tittare som filmskapare.

Roman Catholicism and Srivaiṣṇavism are two religious traditions in which mediation, primarily through the use of images, plays a central role in soteriology. A comparison of various modes of mediation between these two traditions will highlight a dialectic of presence and absence, inherent in mediation, and will examine the various ways of interpreting and dealing with this dialectic in their respective theologies. Three general categories of mediation are identified through which this comparison will take place: God, saint, and priest. / Images of the full presence of God, namely the eucharistic host in Roman Catholicism and the arcavatara in Srivaiṣṇavism, mediate this full presence either through the transformation of substance (as in Roman Catholicism) or through the appearance of materiality and limited form (in Srivaiṣṇavism). Saints and alvars can also be regarded as images or mediatory modes; the saint embodies and mediates Christ's presence, becoming "as if" Christ. This presence is manifested not only in the saint's life but in his or her relics as well. The alvar is regarded as an aṁsa or partial incarnation, thus manifesting a part of God, most notably His ornaments, weapons and companions. / A specific comparison of Mary and Aṇṭaḷ/Sri will further highlight the dialectic of presence and absence in addition to pointing out their unique status within their respective traditions. A comparison of priests and acaryas will show mediation in living images. Priests become "as if" Christ through their ordination, and are seen to embody him particularly in specific ritual acts. The acarya functions in much the same way as Aṇṭaḷ/Sri, mediating between God and the believer as an aṁsa or partial incarnation. / Different theological conceptions of God and incarnation result in the different understandings of mediation and the different ways that the two traditions deal with the dialectic of presence and absence. Images in both traditions also bring to light an "as if" conception in the mind of the believer; saints and priests function "as if" Christ and the various images in Srivaiṣṇaavism appear "as if" material or "as if" human, thus allowing them to mediate the divine presence to the community.

India has complex and sophisticated oral tradition which ha s developed over millennia. The Sanskrit language has had an enormous influence over the whole of India, especially its oral tradition. The advent of the literate tradition in India which began approximately five thousand years ago preserved (in writing) much of the oral style elements. In chapter I of this dissertation the influence of the Sanskrit language and its oral transmission to various parts of the globe are briefly traced. Marcel Jousse, in the early part of this century, developed theories involving the anthropological basis governing human expression. These are rooted in mimism, bilateralism and formulism. Chapter 2 of this dissertation briefly outlines the principles of Jousse's theories and provides a brief overview of orality - literacy studies. The views of other experts in the field like Parry, Lord, Finnegan and Ong are also discussed. The Bhagavadgita (the chosen text) is a popular religious text among Indians. Its style encapsulates the oral style elements of Sanskrit literature. A brief summary of the first six discourses which cover the philosophy of Karma Yoga are provided in Chapter 3. Selected slokas (couplets) of these discourses are used as a basis to discuss certain formulaic techniques like a dialogue within a dialogue, application of the Parry-Lord theory, use of imagery (including simile, comparison and metaphor), use of honorific names and the significance of numbers as mnemotechnical devices. All these are elements of oral style. The discussion of the philosophy of Bhakti Yoga (Yoga of Devotion) takes up the next six discourses (discourses 7-12) of the Bhagavadg1ta. Chapter 4 provides a brief summary of these discourses. The elements of oral style which are i dentified and discussed among slokas (couplets) in these discourses are the propositional geste, parallelism, key words in a recitation and contextual meaning. The final chapter (chapter 5) deals with the philosophy of Jnana Yoga (Yoga of Knowledge). The slokas (couplets) of the next six discourses (13 - 18) which cover this philosophy are used as a basis to identify and discuss the nine characteristics of oral style as described by Ong, borrowing from other sources, alliteration and assonance which are further elements of the oral style. This dissertation concludes that the oral formulaic style has played a significant role in preserving the uniqueness, freshness and originality of the Bhagavadgita. / Thesis (M.A.)-University of Natal, Durban, 1995.