<p>The thesis examines the speech of Yudhiṣṭhira and questions his status as King Dhanna and a speaker of truth. I argue that Yudhiṣṭhira has the same ability with speech as an inspired brahmin. Through an exploration of inspired brahminical speech in the Mahābhārata, I argue that brahmins have a special relationship to truth. I also present evidence that the sign of a truthful and inspired speaker is his or her eloquence: an eloquent speaker is considered to be a truthful speaker in the Mahābhārata. Yudhiṣṭhira has eloquent speech and this leads characters in the Epic to assume that he is truthful. There is, however, evidence that questions his apparent allegiance to the truth, especially if Yudhiṣṭhira's use of speech is examined.</p> <p>The thesis, with its focus on speech, presents a unique way to read the Epic and evaluate kingship. An examination of speech and kingship in the Epic is one that is largely overlooked by scholars. The thesis demonstrates that a reading of Yudhiṣṭhira which examines his ability and use of speech uncovers a more complex characterization of the king and points towards his use of deceit well before the beginning of the Mahabharata war. The thesis also demonstrates that a portion of the Epic encourages a close examination of the speech of kings, especially Yudhiṣṭhira's speech. The thesis argues that through the Mahabharata' s presentation of speech the Epic subtly encourages the use of deceit and guises by kings to attain their worldly ends.</p> / Master of Arts (MA)

This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第21476号 / 文博第781号 / 新制||文||667(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 横地 優子, 准教授 VASUDEVA Somdev, 教授 宮崎 泉, 教授 藤井 正人, 教授 ACHARYA Diwakar Nath / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

The thesis introduces the Mahābhārata as a complex literary text - a multi-genre text and a polyphonic interpretation of a factual discourse with several competing narratives - and uses the findings and techniques of narratology, especially of rhetorical narratology, to interpret it. In the thesis, I argue that when analysing the seeming inconsistencies of this text, it is not necessary to look for the explanation on the "outside" (various unconnected authors) but that it is possible to explain them also from the "inside" of the text, using the differences in genres, as well as the knowledge, goals and subjectivity of the individual characters and narrators. These resources are often used in the communication with the audience (readers/listeners). The concrete material for this argument is the story of Ambā, Śikhaṇḍinī a Śikhaṇḍin and the way in which are the facts concerning this triune character presented, especially by Bhīṣma who claims their narrative most importantly by narrating Ambopākhyāna, an analeptic episode explaining Śikhaṇḍin's life story and his involvement in the Kurukṣetra battle: narration with a distinctive authoritativeness and subjectivity, but a doubtable narratorial reliability. I show how Bhīṣma defines Śikhaṇḍin as a woman using this episode, and thus makes him into one of...