This study concerns itself with the characterization of Ananda, the Buddha's personal attendant, in the Pali Canon of the Theravada. Its purpose is to describe and analyze Ananda's characterization in this literature from an hagiographical perspective. Our study undertakes for the first time a thorough analysis of every instance in which Ananda's name appears in the sources we have utilized. This approach enables us to see how even seemingly insignificant events have often contributed to Ananda's characterization. While the study is centered in the Pali sources, we have also utilized Buddhist sources from the Sanskrit, Chinese and Tibetan where these have contributed to our understanding of Ananda's place in the Theravada. The result of our study is to cast important light on such problems as Ananda's late arahanthood, his characterization as bahussuta, his attendance on the Buddha, his relationship to Sariputta and his place at the Council of Rajagaha. / Thesis / Doctor of Philosophy (PhD)

Thesis--Uppsala. / Includes bibliographical references (p. 172-177).

Les romans d’ Anada Devi et ceux de Léonora Miano sont peuplés de « sans-voix », une autre façon d'évoquer les nombreux invisibles de nos sociétés contemporaines. Handicapés physiques ou mentales, immigrés, ex colonisés, exilés, personnes en précarité sociale et économique, migrants, enfants de la rue, enfants de la guerre, tels sont les visages muets du XXI siècle. Mis au bas, ils sont souvent perçus comme des menaces à l'ordre établi et sont souvent contraints au silence. Par les arts dont la littérature, les deux écrivaines leur inventent un langage producteur d’un contre discours. Peu à peu, par les mots et les silences, les invisibles se fraient un chemin pour dire une identité autre, ouverte et non protectionniste. Si chez Devi, la tradition et le pouvoir masculin annihilent et soumettent des individus dits "Shehtan", "anormaux" parce que différents des canons officiels (beauté, apparence, logique, caste, genre) , chez Miano c'est le choc culturel entre l'Occident et l'Afrique qui a laissé des traces indélébiles sur la psyché et l'identité africaine. Sans les figer dans la douleur de l'oppression, les deux écrivaines francophone, leur rendent leur histoire et leur mémoire. Ainsi, qu'il s'agisse de dé-ponctuation, de diglossie, d'hybridité genrologique ou linguistique, de duplicité narratives, d'effets de styles, de la pensée ou de la communication, les formes littéraires travaillent à inventer d’autres identités. . L'Afropéanisme et l'humanimalité sont ainsi frère et soeur d'une même vision du monde apte à construire un inter espace de dialogue apaisé. . Les identités que décrivent et réenchantent les deux auteures sont celles de l’entre deux qui permet d'accueillir toutes les singularité La posture littéraire devient politique pour lutter contre les discriminations et les inégalités afin d’ "habiter poétiquement le monde" / The novels of Anada Devi and the Leonora Miano are full of "voiceless", another way of talking about the many invisible in contemporary societies. physical or mental disabilities, immigrants, ex colonized exiles, people in social and economic insecurity, migrants, street children, children of war, are the silent faces of the XXI century. Placed at the bottom, they are often perceived as threats to the established order and are often silenced. The arts including literature, both writers invent their language a producer against a speech. Gradually, with the words and the silente, invisible make their way to tell an another identity Open and not protectionist. If at Devi, tradition and masculine power and annihilate submit individuals called "Shehtan", "abnormal" because different official canons (beauty, appearance, logic, caste, gender), in Miano is the cultural clash and West Africa that has left an indelible mark on the psyche and the African identity. No freeze in the pain of oppression, both francophone writers, make their history and memory. So be it de-punctuation, diglossia of genrologique or linguistic hybridity, narrative duplicity, effects of styles, thinking or communication, literary forms working to invent other identities. . The Afropéanisme and humanimalité are brother and sister and the same worldview able to construct an inter space of peaceful dialogue. . Identities that describe and re-enchant the two authors are those between the two that can accommodate all literary singularity posture becomes policy to fight against discrimination and inequality in order to "dwell poetically the world"

Ananda Devi [1957 - ], a French-language author and poet from Mauritius, adds depth to the lyricism already inherent in her writing by drawing upon that country's multicultural heritage, which includes African, Hindu, and French, and its Creole language. Le Long Désir (2003) defies genre, being neither strictly poetry nor prose, and presents more a collection of prose poems than a structured story with a tangible plot. The poetic aspect of her text, accomplished through this Creole as well as experimentation with grammatical structures and the display of the text on the page, inclines me as a translator to prioritize the lyricism of her text over its content, though cer-tainly I have endeavored to bring both into my English translation of selected sections of the book. Its unifying theme of the struggle of women with violence, anguish and self-definition is brought to the fore by running motifs of animalistic behavior, putrefaction, and darkness, which are accompanied by equally vivid instances of fragility and beauty, signaling the plurality of the situation of women. The challenges of translating the Creole, of preserving her imagery's fresh-ness as well as the content's poignancy, and other myriad deliberations make the labor of produc-ing The Long Desire, the English translation, that much more rewarding; for it is well worth bringing a glimpse of life as a Mauritienne to an English-speaking audience, if not for the noble purpose of increasing our awareness of the world, then at least to taste the enchanting complexity of the text itself.

This thesis examines William Blake’s conceptions of time and space in the light of the philosophies of Hinduism and Islam. In order to perform this analysis, source material, often from rare and neglected texts, is utilized to examine Blake’s possible unorthodox influences. The analysis of influences takes a three-pronged track: literary, symbolic, and linguistic; Blake’s possible knowledge of Orientalist translations; the symbols in his poetry, prose, and paintings are analyzed; and his potential knowledge of major Orientalist languages is also examined. Once this has been examined in sufficient depth, an excavation of Blake’s views on time and space is then undertaken. This analysis of Blake’s philosophical perspectives utilizes a comparative phenomenological approach in order to show their similarity to the perspectives of the Hindu Vedanta and Ismaili Islam. Throughout this analysis, I aim to demonstrate both that Blake’s views on space are inherently mystical (space as limitless and unbound by the physical universe), and that his view on time, having a similarity to that of the Platonists, views Eternity as the one true reality.

This thesis examines William Blake’s conceptions of time and space in the light of the philosophies of Hinduism and Islam. In order to perform this analysis, source material, often from rare and neglected texts, is utilized to examine Blake’s possible unorthodox influences. The analysis of influences takes a three-pronged track: literary, symbolic, and linguistic; Blake’s possible knowledge of Orientalist translations; the symbols in his poetry, prose, and paintings are analyzed; and his potential knowledge of major Orientalist languages is also examined. Once this has been examined in sufficient depth, an excavation of Blake’s views on time and space is then undertaken. This analysis of Blake’s philosophical perspectives utilizes a comparative phenomenological approach in order to show their similarity to the perspectives of the Hindu Vedanta and Ismaili Islam. Throughout this analysis, I aim to demonstrate both that Blake’s views on space are inherently mystical (space as limitless and unbound by the physical universe), and that his view on time, having a similarity to that of the Platonists, views Eternity as the one true reality.

Cette thèse étudie la condition féminine indienne et les prémices des différentes mutations opérées par la présence française en Inde, à la lumière du journal d’Ananda Ranga Pillai, Dubâsh pour le compte de la Compagnie française des Indes Orientales entre 1736 et 1761. Grâce à ses chroniques quotidiennes en cette époque décisive de la colonisation, observateur et acteur à la fois, le diariste témoigne d’un intérêt constant pour la gent féminine, loin des considérations romanesques. Il rend possible l’étude de la place et du rôle des femmes indiennes en politique sous le prisme de la guerre, la mise en évidence de leur implication dans la sphère socio-économique et les répercussions dans leur vie privée, apportant un éclairage interne plus global sur la société coloniale dans cette première moitié du XVIIIe siècle. / This thesis reviews the status of Indian women and the start of various changes under French rule in India, in light of the diary of Ananda Ranga Pillai, Dubâsh for the French East India Company, between 1736 and 1761. Through his daily chronicles in this decisive period of colonization, being both an observer and an actor, the diarist displays his constant concern for women, far from the romantic considerations. The study of the place and the role of the Indian women is made possible in the fields of politics through the lens of war, highlighting their involvement in the socio-economic sphere and its impact in their private life, by shedding a more internal light on global colonial society during this first half of the 18th century.

No description available.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Le récit Moi, l’interdite, se présente comme une exception parmi les œuvres d’Ananda Devi en ce qu’il n’aborde pas de front ni implicitement le thème de la dissidence féminine, comme nous pouvons l’observer dans la plus grande majorité des œuvres de l’auteure mauricienne. Au contraire, le récit s’évertue à mettre en place un processus singulier : celui d’une disparition, perpétré contre la narratrice et protagoniste principale, condamnée à être l’éternel Autre à cause de son physique monstrueux. La présente étude se donne pour objectif d’exposer les rouages à la fois narratifs, thématiques, corporels et relationnels de cet anéantissement de l’Autre à travers une approche essentiellement narratologique. Dans un premier temps, l’entreprise de disparition est observée à travers plusieurs procédés narratifs : complexité chronologique, enchâssement de plusieurs niveaux de récit, abondance de narrataires. Dans un second temps, le thème de la disparition est questionné dans les relations aliénantes nouées par la narratrice, dont le corps difforme est le principal enjeu. De cette volonté de destruction (re)nait et (re)meurt une narratrice, malade de folie, dont les séquelles incurables l’empêcheront de réaliser son désir d’appartenance à un Même fantasmé. / The novel Moi, l’interdite, stands as an exception in Ananda Devi’s works due to the fact that it does not, directly or inherently, address the topic of feminine dissidence usually displayed in the majority of the works from the Mauritian author. The story, on the contrary, tries to set up a singular process: a disappearance affecting the narrator and main protagonist, forever condemned to be the Other because of her monstrous physical appearance. This study aims at exposing the inner machinery of the narrative, thematic, corporal and relational aspects of the destruction of this Other mainly through a narratological approach. Firstly the initiative of the disappearance can be observed through several narrative methods: chronological complexity, interlocking of several levels of discourses, abundance of narratees. Secondly the theme of disappearance is questioned in the alienating relationships developed by the main narrator, for whom her deformed body is mainly what is at stake. This will of destruction leads to the crazily sick narrator’s (re)birth and death, as the incurable after-effects will prevent her from fulfilling her dream to belong to a fantasised Same.