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<p>*missing page 78*</p> / <p>This thesis reflects an attempt to arrive at a full description of the ancient and medieval Indian Spring Festival (Vasantotsava) on the basis of descriptions found in Sanskrit texts and an analysis of the ritual activities of which this festival is composed. The thesis is divided into three chapters. The first contains a discussion of some of the problems encountered in studying the Spring Festival such as the time at which it was celebrated, differences in the manner in which it was celebrated and various sources which describe the festival. Chapter Two contains a description and analysis of the festival on the basis of five primary texts, the Ratnaval1, the Kathasaritsagara, the Vikramacarita, two chapters from the Bhavisya Purana, and the Virupaksavasantotsavacampu. Chapter Three provides a general concluding statement pertaining to the Vasantotsava and examines Vedic precedents often cited for this festival as well as selected descriptions of modern manifestations of this festival.</p> <p>The classic Ratnaval1, written by Ratnavali in the seventh century A. D. in central India, not only contains a detailed and vivid description of the Spring Festival but was written to be performed on this occasion as well. The Ratnaval1, in its description, emphasizes the rowdiness which characterizes this festival. Participants engage in drinking, singing, and dancing as well as the ritual of powder throwing. The Ratnaval1 also gives us information regarding the ritual worship of Kama, the Hindu god of love.</p> / Doctor of Philosophy (PhD)

O trabalho objetiva apresentar uma tradução da primeira seção (Brahma- kan.d. a) do Vakyapadya juntamente com o Vr tti, seu mais antigo comentário, obras que têm sido comumente atribuídas ao gramático e filósofo da linguagem indiano Bhartr -hari (séc. V d.C). Visando, ademais, fornecer subsídios para a leitura do texto, recupera, em Do autor, aquilo que se tem discutido acerca da pessoa deBhartr -hari e do período em que viveu. Em seguida, em Da obra, trata de descrever as obras desse autor e comentar os problemas relativos à autoria de outros textos a ele atribuídos. Segue uma Antologia dos textos e seus comentários, onde se pretende ilustrar perspectivas teóricas centrais do pensamento de Bhartr -hari, bem como revelar o intenso e necessário diálogo que se dá no seio da própria tradição indiana entre as obras e sua forma de exegese primeira, representada na literatura dos comentários. A parte seguinte, A Brahma-kan.d.a-vr tti: notas de estilo aprofunda os problemas de forma e descreve peculiaridades estilísticas do texto da Vr tti, a fim de fornecer ferramentas para os que pretendam estudar a obra no original sânscrito. Trata-se, a seguir, no Excurso, dos diversos sentidos e da sinonímia da palavra sabda, a palavra/linguagem, que é objeto primeiro desse primeiro livro da Vakyapad ya. Enfim, apresenta-se a tradução, com notas, precedida de uma sinopse. / Our thesis presents a translation of the first section (Brahma-kan.d. a) of the Vakyapadya together with the Vr tti, its oldest commentary, both works usually attributed to the Indian grammarian and language philosopher Bhartr -hari (fth century A.D). In order to create tools for reading the text, we discuss, in Do autor (\"On the author\"), what has been said about the person of Bhartr -hari and the period in which he lived. Then, in Da obra (\"On his works\"), we describe Bhartr - hari\'s works and comment on the problems related to the authorship of other works that have been attributed to him. Then follows an Antologia dos textos e seus comentarios (\"Anthology of the works and their commentaries\"), where we intend to illustrate the major theoretical tenets of Bhartr -hari\'s thought, as well as reveal the strong and necessary dialog that occurs inside the Indian tradition itself between the primary works and their rst form of exegesis represented in the commentarial literature. Next, in A Brahma-kan.d. a-vr tti: notas de estilo (\"The Brahma-kan.d. a-vr tti : notes on style\"), we go deeper into the matters of form and describe stylistic minutiae of the Vr tti \'s text in order to furnish tools for the ones wishing to read it in the original Sanskrit. Then, in Excurso (\"Excursus\"), we treat the many meanings and synonyms of the word sabda, the word/language, which is the primary object of this rst book of the Vakyapadya. Lastly, we present the translation with select notes, preceded by a synopsis.

O trabalho objetiva apresentar uma tradução da primeira seção (Brahma- kan.d. a) do Vakyapadya juntamente com o Vr tti, seu mais antigo comentário, obras que têm sido comumente atribuídas ao gramático e filósofo da linguagem indiano Bhartr -hari (séc. V d.C). Visando, ademais, fornecer subsídios para a leitura do texto, recupera, em Do autor, aquilo que se tem discutido acerca da pessoa deBhartr -hari e do período em que viveu. Em seguida, em Da obra, trata de descrever as obras desse autor e comentar os problemas relativos à autoria de outros textos a ele atribuídos. Segue uma Antologia dos textos e seus comentários, onde se pretende ilustrar perspectivas teóricas centrais do pensamento de Bhartr -hari, bem como revelar o intenso e necessário diálogo que se dá no seio da própria tradição indiana entre as obras e sua forma de exegese primeira, representada na literatura dos comentários. A parte seguinte, A Brahma-kan.d.a-vr tti: notas de estilo aprofunda os problemas de forma e descreve peculiaridades estilísticas do texto da Vr tti, a fim de fornecer ferramentas para os que pretendam estudar a obra no original sânscrito. Trata-se, a seguir, no Excurso, dos diversos sentidos e da sinonímia da palavra sabda, a palavra/linguagem, que é objeto primeiro desse primeiro livro da Vakyapad ya. Enfim, apresenta-se a tradução, com notas, precedida de uma sinopse. / Our thesis presents a translation of the first section (Brahma-kan.d. a) of the Vakyapadya together with the Vr tti, its oldest commentary, both works usually attributed to the Indian grammarian and language philosopher Bhartr -hari (fth century A.D). In order to create tools for reading the text, we discuss, in Do autor (\"On the author\"), what has been said about the person of Bhartr -hari and the period in which he lived. Then, in Da obra (\"On his works\"), we describe Bhartr - hari\'s works and comment on the problems related to the authorship of other works that have been attributed to him. Then follows an Antologia dos textos e seus comentarios (\"Anthology of the works and their commentaries\"), where we intend to illustrate the major theoretical tenets of Bhartr -hari\'s thought, as well as reveal the strong and necessary dialog that occurs inside the Indian tradition itself between the primary works and their rst form of exegesis represented in the commentarial literature. Next, in A Brahma-kan.d. a-vr tti: notas de estilo (\"The Brahma-kan.d. a-vr tti : notes on style\"), we go deeper into the matters of form and describe stylistic minutiae of the Vr tti \'s text in order to furnish tools for the ones wishing to read it in the original Sanskrit. Then, in Excurso (\"Excursus\"), we treat the many meanings and synonyms of the word sabda, the word/language, which is the primary object of this rst book of the Vakyapadya. Lastly, we present the translation with select notes, preceded by a synopsis.

Ce travail a pour objectif de décrire et de classer les emplois du génitif à partir des textes publiés en tokharien A et en tokharien B. La description synchronique des emplois du génitif, qui constitue en quelque sorte une syntaxe normative de ce cas, conduit à des comparaisons avec des faits syntaxiques connus à partir d'autres langues indo-européennes (en particulier les langues dites « classiques », sanskrit, latin et grec), et place également cette étude dans une perspective comparatiste, et typologique. Le génitif tokharien est étudié dans ses trois emplois : adnominal, adverbal et régi par une adposition (pré- ou postposition). Le génitif adnominal présente les mêmes valeurs que le génitif reconstruit classiquement pour l'indo-européen ; on met cependant en lumière sa particularité à ne transposer qu'un élément sujet lorsqu'il est génitif de procès, et ses critères de commutation ou de distribution complémentaire avec l'adjectif dérivé. Le génitif adverbal présente des emplois qui sont exprimés dans d’autres langues indo-européennes par le datif, alors que l’inventaire des cas tokhariens ne comporte pas de datif. On envisage donc l’hypothèse d’un syncrétisme entre génitif et datif. L'étude du génitif régi par une adposition met en lumière le fait que, malgré la refonte du système casuel en tokharien, certaines formes adverbiales ou schémas de formation sont hérités. Dans l'ensemble de cette étude, on tient compte des paramètres qui sont propres au tokharien telle l'influence de la syntaxe sanskrite sur celle du tokharien (la plupart des textes bouddhiques étant traduits ou adaptés d’originaux sanskrits). / The purpose of this study is the description and classification of the uses of the genitives attested in the Tocharian A and B published texts. A second purpose is comparison : the synchronic description of the genitive (a normative syntax of this case) is compared to the syntax of other Indo-European languages (so-called “classical languages”, such a Sanskrit, Latin and Greek). Three uses of the Tocharian genitive are investigated: the adnominal genitive, the adverbal genitive and the genitive after and adposition (pre- or postposition). The adnominal genitive behaves the same as the (traditionally reconstructed) Indo-European génitive. Nonetheless we emphasize two things : firstly, the Tocharian genitive cannot transpose a verbal phrase [vb + direct object] into a noun phrase. Secondly, very precise criteria rule the competency between genitive and derived adjectives. The uses of the Tocharian adverbal genitive are assumed by the dative in other Indo-European languages. The hypothesis of a syncretism is thus proposed. The study of the genitive after and adposition shows that some adverbial terms or some methods of forming are inherited. In the whole study, one always considers specific parameters of the Tocharian languages, which syntax is widely influenced by Sanskrit, as most part of the Tocharian material is translated from Sanskrit.

Cette étude se fonde sur l’analyse et la traduction française de nombreux passages de deux textes appartenant à la même tradition jaina digambara. Le premier, le Gaṇitasārasaṃgraha (9ème siècle), s’inscrit dans la lignée des textes versifiés de mathématiques en sanskrit et y tient une place prépondérante. Comme les ouvrages de la même famille, il donne un grand nombre de prescriptions algorithmiques de calcul utiles à la résolution de problèmes liés aux « affaires du monde », tout en se démarquant par certaines particularités de structure qui n’ont pas encore été expliquées. Le deuxième, la Tiloyapaṇṇattī (6ème – 9ème siècle), est versifié en prakrit śauraseṇī jaina. C’est un texte semi-religieux de nature encyclopédique qui expose des informations détaillées, la plupart de nature mathématique, sur tout ce qui existe dans les trois mondes du cosmos jaina. Le but de cette thèse est de tisser des liens entre les deux textes pour tenter d’apprécier dans quelle mesure les procédures mathématiques de l’un entrent en résonance avec celles de l’autre, et surtout, de déterminer comment les éclairages apportés par le texte de cosmologie peuvent aider à mieux comprendre certains points obscurs de celui de mathématiques. / This study is based on an analysis and translation into French of numerous excerpts from two texts belonging to the same Jaina Digambara tradition. The first text, the Gaṇitasārasaṃgraha (850 A.D.), is a significant work in the group of versified Sanskrit mathematical texts to which it belongs. Like works of the same lineage, it expounds many computational algorithms aimed at solving problems of the “worldly mathematics” category. However, there are some idiosyncrasies in its structure which have not yet been explained. The second text, the Tiloyapaṇṇattī (ca. 500-800 A.D.) is versified in Jaina Śauraseni Prakrit. This semi-religious work provides much mathematical information on everything that exists in the three worlds of the Jaina Cosmos. This thesis seeks to make connections between the mathematical procedures of the two texts and, specifically, to see how the content of the second, the cosmology text, could enhance our understanding of the mathematical text, and help to clarify some of the unanswered questions the latter raises.

This thesis examines the revival of the sphoṭa doctrine in early modern Benares and Śeṣakṛṣṇa's Sphoṭattvanirūpaṇa as an influential work in that revival. The sphoṭa doctrine is the richest contribution of the grammarians to the philosophy of language, but its semantic significance was not highlighted until late, because its theological implication was stronger. Śeṣakṛṣṇa was a renowned Sanskrit grammarian who flourished in sixteenth-century Benares. He also wrote poetry and Dharmasastric works, and played an important role as a juridical authority. Despite his illustrious career, Śeṣakṛṣṇa encountered criticism for his works from contemporary critics. The only work he wrote solely on the philosophy of language was the Sphoṭattvanirūpaṇa. As the first discrete work on sphoṭa by a grammarian, the Sphoṭattvanirūpaṇa represented an important landmark in the later expositions of the doctrine of sphoṭa particularly because it renewed the later grammarians' interest in sphoṭa, which then resulted in a series of individual works of a similar sort. The revival of the sphoṭa doctrine in early modern Benares coincided with that of the philosophy of language, which was caused by a number of social and intellectual factors in different proportions and phases. Śeṣakṛṣṇa's Sphoṭattvanirūpaṇa emerged on the eve of that revival, and can be recognized as a pioneer work in terms of its revitalization of the grammarians' interpretation of sphoṭa after a period of dormancy, and its influence on later works on sphoṭa.

This thesis examines why the cult of the sovereign goddess was considered important for the expression of royal power in mediaeval India. In literature and ritual, the goddess was conceptualized as the sovereign of heaven and earth. Her cult was heroic because it was primarily a cult of warriors: a good hero was one who worshipped the goddess for great powers, foremost among them being sovereignty. Certain ritual practices of the cult such as self-mutilation formed the criteria for a warrior- worshipper’s heroism. By assessing the available epigraphical, literary, scriptural and anthropological material, I will attempt to show that the association between Indic kingship and the cult’s belief-systems, also referred to as heroic Śāktism, was indeed an ancient one. Tracing its roots to non-Aryan religion, the cult of the sovereign goddess became a vital part of the Sanskritic kingdom, particularly from the latter half of the 6th c., when tribal kingdoms began to elevate themselves on the political map. One of the hallmarks of the cult, responsible for its pan-Indic popularity, was its syncretic nature: besides outcastes, its followers were from a number of sects. The goddess at its centre had no fixed identity but was formed of various personalities. The more public and well-attested of these was the martial goddess Durgā/Caṇḍī/Caṇḍikā, although other goddesses were also worshipped as her other aspects. In all these aspects the sovereign goddess was believed to grant the power of the king and the community. This idea was evoked in the mediaeval Indic world in an array of symbols: sacred statues, ritually empowered swords and insignia put on display for all to see, legends circulated throughout the kingdom, festivals where the sacred might of the realm was ritually reinforced. By assessing these symbols, I will attempt to show the vibrant forms whereby the connection of the cult with power was manifested in the mediaeval period.

The thesis explores elements of Sanskrit drama studies, its philosophy of aesthetics, Hindu theology and Indian cinema studies. It seeks to identify and appreciate the continual influence of a pioneering and influential idea from the Indian subcontinent’s cultural memory and history – the ‘theory of aesthetics’, also known as the ‘Rasa Theory’. The rasa theory is a seminal contribution of the ancient Indian Sanskrit drama textbook, the Natyashastra, whose postulates have provided a definitive template for appreciating and analysing all major fine arts in the Indian sub-continent for over two millennia. No criticism of an art form in India is more devastating than the allegation that it is devoid of rasa. Though ‘rasa’ has many literal meanings like taste, essence and ultimately bliss, in Natyashastra it is used to signify the “essence of emotion” or the final emotional state of ‘relish/reaction/aesthetic experience’ achieved by a spectator while watching a performing art. The thesis uses this fundamental aesthetic influence from India’s cultural memory and heritage to understand its working in the shaping of emotive performances, and the structuring of multiple genre mixing narrative styles in Indian cinema. It identifies and explains how the story telling attributes in Indian cinema, still preserve, transmit and represent, drama and performance aesthetics established 2000 years ago. The chapters are divided into two sections – evidence-led correlation confirming the direct influence of Natyashastra guidelines on Indian filmmaking practices, and arguments-driven proposals on how to use the rasa theory for appreciating cinematic aesthetics. Section One, comprising of the first three chapters, engages with direct evidence of the influence and use of Natyashastra prescriptions and rasa theory expectations in the early years of Indian cinema, when the movie industry was intimately tied to theatre for creative guidance. Section Two, comprising of chapters four to six, goes beyond these conscious engagements to explore the continuing relevance of the concepts of bhava and rasa for studies and methods in film appreciation, and their potential usage in discussing alternate modes of cinematic expression, like melodrama. In this section, recommendations are made on how to re-read and review influential and representative cinematic achievements from different eras, regions and genres of Indian on-screen entertainment, using the rasa theory for better understanding of foundational cinematic attributes like plot construction, performances and directorial achievement in non-realism prioritising on-screen narrations. The thesis shows how to appreciate expressive acting, song and dance performances and melodramatic narratives/ movies using the rasa theory’s prescriptions on good acting in a navarasa exploring drama. It calls for a greater engagement with the theory’s aesthetic appreciation ideas, beyond its current peripheral acknowledgement in academic scholarship as an exotic and ancient review model with doubtful contemporary relevance. My conclusions offer a valuable guide for a fair and better appreciation of dramatic, stylistic and stereotypical acting in cinema that Western models of film criticism privileging the realistic form have been inadequate in comprehending. These findings propose a mode of inclusive aesthetic criticism that enjoys broad application across a wide range of cinematic art genres and national cinema styles using non-Euro/American modes of storytelling, towards the establishment of a humanist film education.

This dissertation is the first ever which provides an annotated translation and analysis of the Gaṇitatilaka by Śrīpati and its Sanskrit commentary by the Jaina monk Siṃhatilakasūri (14th century CE). The Gaṇitatilaka is a Sanskrit mathematical text written by Śrīpati, an astronomer-mathematician who hailed from 11th century CE Maharashtra. It has come down to us together with Siṃhatilakasūri’s commentary in a uniquely extant yet incomplete manuscript. The only edition available of both Sanskrit texts is by Kāpadīā (1937). Siṃhatilakasūri’s commentary upon the Gaṇitatilaka GT is a precious source of information on medieval mathematical practices. To my knowledge, this is, in fact, the first Sanskrit commentary on mathematics –whose author is known– that has survived to the present day and the first written by a Jaina that has come down to us. This work has never before been studied or translated into English. It is my intention to show that the literary practices adopted by Siṃhatilakasūri, in expounding step-by-step Śrīpati’s work, enrich the commentary in such a way that it consequently becomes “his own mathematical text.” Together with the English translation of both the root-text by Śrīpati and the commentary by Siṃhatilakasūri, I present the reconstruction of all the mathematical procedures explained by the commentator so as to understand the way medieval Indian mathematics was carried out. I also investigate Siṃhatilakasūri’s interpretative arguments and the interaction between numbers and textual norms which characterises his work. The present research aims to: i) edit the Sanskrit edition by Kāpadīā ii) revise the English translation of Śrīpati’s text by Sinha (1982) iii) provide the first annotated English translation of selected passages from the commentary by Siṃhatilakasūri iv) highlight the contribution to our understanding of the history of Indian mathematics brought by this commentary and v) investigate Siṃhatilakasūri’s literary style.