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Text and Tradition in Early Modern North India最新文献

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Religious Reading and Everyday Lives 宗教读物与日常生活
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0021
Emilia Bachrach
Emilia Bachrach paints a vivid ethnographic picture of vārtā satsaṅgs in present-day Ahmadabad—meetings in which female members of the Vallabha Sampraday read and discuss sections of the Sampraday’s two central hagiographies, the Caurāsī vaiṣṇavan kī vārtā and the Do sau bhāvan vaiṣṇavan kī vārtā. Showing how these women use the stories of the saint’s lives to understand and navigate their own social and religious worlds, Bachrach argues that such religious reading practices are an active and productive process, providing a space for debate, interpretation, and exploration of sectarian identity.
艾米利亚·巴赫拉赫(Emilia Bachrach)描绘了一幅生动的民族志图片,在今天的艾哈迈迪巴德会议上,瓦拉巴Sampraday的女性成员阅读并讨论了Sampraday的两部中心圣徒传记Caurāsī vaiṣṇavan k ā vārtā和Do sau bhāvan vaiṣṇavan k ā vārtā的部分内容。巴赫拉赫展示了这些妇女如何利用圣人的生活故事来理解和驾驭她们自己的社会和宗教世界,他认为这种宗教阅读实践是一个积极而富有成效的过程,为辩论、解释和探索宗派认同提供了空间。
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引用次数: 3
Gopal Bhatt 塔·巴特
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0017
Shrivatsa Goswami
Shrivatsa Goswami examines the ways in which Gopāl Bhaṭṭ, interacting with Chaitanya Mahaprabhu and being a southerner by birth, played a key role in establishing the philosophical perspectives and ritual practices that characterized the new Gaudiya sampradaya being formed at Vrindavan in the first half of the sixteenth century. In doing so, he analyses important features of Gopal Bhatt’s two major works, the Ṣat-Sandarbha (Six Treatises) often mistakenly attributed to Jīva Gosvāmī, and the Haribhaktivilāsa (The Pleasure of Worshiping Hari). It emerges, among other things, that there is an element of mystery as to how Gopāl Bhaṭṭ’s philosophical statements relate to his pronouncements on devotional practice.
Shrivatsa Goswami考察了Gopāl Bhaṭṭ与Chaitanya Mahaprabhu互动的方式,作为南方人,在16世纪上半叶在温达文形成的新Gaudiya sampradaya的哲学观点和仪式实践中发挥了关键作用。在此过程中,他分析了戈帕尔·巴特的两部主要作品的重要特征,一部是经常被错误地认为是jj ā va Gosvāmī的《六篇论文》,另一部是Haribhaktivilāsa(拜哈里的乐趣)。它出现了,在其他事情中,有一个神秘的元素,Gopāl Bhaṭṭ的哲学陈述是如何与他对虔诚实践的声明联系起来的。
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引用次数: 0
‘Why Do We Still Sift the Husk-Like Upaniṣads?’ “为什么我们仍然筛壳样Upaniṣads?””
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0020
Rembert Lutjeharms
Examining the Padyāvalī of the preeminent Gaudiya theologian Rupa Gosvami, Lutjeharms examines how Rupa creatively arranges both religious and non-religious verses by numerous poets into a dissertation that evinces intimate familiarity with Vedanta (particularly Advaita Vedanta), but ultimately establishes bhakti as being superior to Vedanta’s primary object, liberation. Redrawing the lines between Vedanta and Vaishnavism also affords Rupa the opportunity to distinguish Chaitanyaite theology from that of other Vaishnava sects like the Sri Vaishnava Sampraday, which had also wrestled with Vedanta in its own theological literature.
Lutjeharms考察了杰出的高迪雅神学家Rupa Gosvami的Padyāvalī,研究了Rupa如何创造性地将众多诗人的宗教和非宗教诗句安排到一篇论文中,这表明他对吠檀多(尤其是Advaita吠檀多)非常熟悉,但最终确立了巴克提优于吠檀多的主要目标——解放。重新划定吠檀多和毗湿奴主义之间的界限,也为鲁帕提供了机会,将柴塔尼派神学与其他毗湿奴教派(如Sri Vaishnava Sampraday)区分开来,后者也在自己的神学文献中与吠檀多进行了斗争。
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引用次数: 2
Making Sense of Bhāṣā in Sanskrit 理解Bhāṣā在梵语中的含义
Pub Date : 2018-08-30 DOI: 10.1093/oso/9780199478866.003.0004
Samuel Wright
The movement of material between Sanskrit and the vernacular was by no means unidirectional, as Samuel Wright demonstrates in his analysis of Radhamohan Thakkur’s Mahābhāvānusāriṇī-ṭīkā, a Sanskrit commentary on Bengali devotional poetry. Wright breaks down the techniques employed by Radhamohan in his exegesis of Gaudiya Vaishnava poetry, particularly his use of Sanskrit lexicon in the glossing of Bengali words and his emphasis on the technique of śleṣa (punning). He argues that Radhamohan’s apposition of Sanskrit and the vernacular though such techniques was an attempt not only to show that Sanskrit poetic theory could be used to explain how vernacular poetry ‘works’ (that is, achieves its effects), but also to establish that such vernacular poetry worked as literature, a distinction previously accorded only to Sanskrit.
正如塞缪尔·赖特(Samuel Wright)在分析拉达莫汉·塔库尔(Radhamohan Thakkur)的《Mahābhāvānusāriṇī-ṭīkā》(一部梵语对孟加拉祈祷诗的评论)时所证明的那样,梵语和白话之间的材料流动绝不是单向的。赖特打破了拉达莫汉在对高迪亚·毗什那瓦诗歌的注释中所使用的技巧,特别是他在孟加拉语单词的注释中使用梵语词汇和他对śleṣa(双关语)技术的强调。他认为Radhamohan对梵语和白话的对比,虽然采用了这样的技巧,但不仅是为了表明梵语诗歌理论可以用来解释白话诗歌是如何“工作”的(也就是说,达到它的效果),而且是为了确立白话诗歌作为文学的作用,这一区别以前只适用于梵语。
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引用次数: 0
The Emergence of Hindi Literature: From Transregional Maru-Gurjar to Madhyadeśī Narratives 印度文学的出现:从跨地域的Maru-Gurjar到Madhyadeśī叙事
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0001
I. Bangha
Imre Bangha locates the source of what would later become the literary idioms associated with the Hindi heartland—Brajbhasha, Avadhi, Khari Boli, and so on—in Maru-Gurjar, an idiom originating not in the Gangetic plain but in western India, particularly the lands of modern Gujarat and western Rajasthan. Bangha argues that it was this literary language, originally cultivated by Jains beginning in the late twelfth century, that eventually spread to the lands known as madhyadeś, where in the course of the fourteenth and fifteenth centuries it developed into the forms that we now associate with Brajbhasha and Avadhi. Bangha also reveals that the linguistic and literary evidence for this connection has been apparent for some time, but modern Hindi literary historiography, taking nationalism as its organizing principle and embracing a strict sense of religion as one of the significant boundaries of literary culture, has been largely unable to see it.
Imre Bangha在Maru-Gurjar找到了后来与印地语中心地带有关的文学习语的来源——brajbhasha, Avadhi, Khari Boli等等,这个习语不是起源于恒河平原,而是起源于印度西部,特别是现代古吉拉特邦和拉贾斯坦邦西部的土地。邦加认为,正是这种文学语言,最初是由耆那教徒在12世纪末开始培养的,最终传播到被称为中央邦的土地上,在14世纪和15世纪的过程中,它发展成我们现在与布拉杰巴沙和阿瓦第联系在一起的形式。Bangha还揭示了这种联系的语言和文学证据已经明显存在了一段时间,但现代印度文学史学,以民族主义为组织原则,并将严格的宗教意识作为文学文化的重要界限之一,在很大程度上无法看到它。
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引用次数: 6
‘This Is How We Play Holī’ “这就是我们玩霍尔的方式”
Pub Date : 2018-08-30 DOI: 10.1093/oso/9780199478866.003.0010
J. Cort
John Cort examines phaguā, a type of song associated with the festival of Holi, stressing the role of allegory in north Indian Digambar Jain songs composed in this form. Phaguā was shared by various traditions of Jainism and Hinduism alike, but each tradition put it to quite a distinct use. For Digambar Jains the antinomian transgressions of the Holi festival presented an ethical problem, so their poets adapted the sensual and sexualized phaguā into a metaphorical description of various aspects of the Self and its struggle for spiritual realization. Digambar poets such as Banarasidas and Dhyanatray ‘tamed’ Holi by turning its poetic and musical tradition into a didactic dissertation on discipline, even while retaining the narrative elements (separated lovers, seasonal fecundity, and so on) that were put to more erotic use in other traditions.
John Cort研究了phaguā,一种与胡里节相关的歌曲类型,强调了以这种形式创作的北印度Digambar耆那教歌曲中寓言的作用。耆那教和印度教的各种传统都有Phaguā,但每个传统都有不同的用途。对于Digambar耆那教徒来说,胡里节的反律法主义的越界行为提出了一个伦理问题,因此他们的诗人将感性和性化的phaguā改编为对自我的各个方面及其为精神实现而奋斗的隐喻性描述。像Banarasidas和Dhyanatray这样的Digambar诗人“驯服”了洒红节,他们把洒红节的诗歌和音乐传统变成了一篇关于纪律的说教论文,甚至保留了在其他传统中被更多地用于色情的叙事元素(分别的情人,季节性的繁殖力等等)。
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引用次数: 1
The Poetics of History in Padmakar’s Himmatbahādurvirudāvalī 帕德玛卡的历史诗学Himmatbahādurvirudāvalī
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0013
Allison Busch
Allison Busch places Padmakar Bhatt and his Himmatbahādurvirudāvalī in the context of the literary and political imaginary of the eighteenth century. She shows how Padmakar inherits the genre of the virudāvalī (itself a multi-faceted tradition) from Sanskrit, but also a rich lexicon from the vernacular, Arabic, and Persian. The form and language of his work thus reflect the changed political and cultural realities of his time. The seamless movement between modes of versified poetic description in the Himmatbahādurvirudāvalī reflects Padmakar’s simultaneous function as both historian and poet.
Allison Busch把Padmakar Bhatt和他的Himmatbahādurvirudāvalī放在18世纪文学和政治想象的背景下。她展示了Padmakar如何从梵语继承virudāvalī(本身是一个多方面的传统)的流派,也从白话,阿拉伯语和波斯语中继承了丰富的词汇。因此,他作品的形式和语言反映了他那个时代的政治和文化现实的变化。《Himmatbahādurvirudāvalī》中诗体描述模式的无缝转换反映了帕德玛卡既是历史学家又是诗人的双重身份。
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引用次数: 4
Poetry in Ragas or Ragas in Poetry? 拉格中的诗歌还是拉格中的诗歌?
Pub Date : 2018-08-30 DOI: 10.1093/oso/9780199478866.003.0006
R. Sinha
In this chapter Raman P. Sinha makes a bold effort to uncover broad correlations between the verbal content of poetry that is typically set to music and the ragas in which these poems are performed—not at the level of specific compositions but in regard to a poet’s entire oeuvre. Using standard editions as his base, he deals with padas attributed to four leading Hindi poets of the early modern period: Kabir, Surdas, Mirabai, and Tulsidas. Correlating the life stories of these poets with the musical dimensions of their poetic output, Sinha comes to a number of thought-provoking conclusions. Chief among them is his observation of a reverse relationship between the variety of ragas used and the variety of life situations out of which they arise. In music as in life, finds Sinha, Mirabai and Kabir stand at opposite ends of the spectrum.
在本章中,拉曼·p·辛哈大胆地揭示了诗歌的语言内容与这些诗歌所演奏的拉格舞曲之间的广泛联系——不是在特定作品的层面上,而是在诗人的整个作品中。他以标准版本为基础,研究了现代早期四位主要印度诗人的诗作:卡比尔、苏尔达斯、米拉拜和图尔西达斯。辛哈将这些诗人的生活故事与他们诗歌产出的音乐维度联系起来,得出了一些发人深省的结论。其中最主要的是他观察到各种各样的ragas和各种各样的生活环境之间的反向关系。在音乐和生活中,发现Sinha, Mirabai和Kabir站在光谱的两端。
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引用次数: 0
Commentary as Translation 评论翻译
Pub Date : 2018-08-30 DOI: 10.1093/oso/9780199478866.003.0005
Tyler R Williams
Tyler Williams examines how the monk-poet Bhagvandas, although ostensibly writing a vernacular commentary (ṭīkā) on the Sanskrit Vairāgya Śataka (Hundred Verses on Non-Attachment) of Bhartrihari, in fact adapts the genre of the commentary so as to transform Bhartrihari’s poetic anthology into a religious treatise. In doing so, Bhagvandas gives his audience—the monastic and householder members of the Niranjani Sampraday, as well as members of other devotional sects and even courtly elites—not only access to the Sanskrit original, but also radically transforms that source text in the process.
泰勒·威廉姆斯(Tyler Williams)研究了僧侣诗人巴格万达斯(Bhagvandas)虽然表面上写了一篇白话评论(ṭīkā),评论梵语Vairāgya Śataka(百诗不附),但实际上改编了评论的体裁,从而将巴特里哈里的诗集变成了一部宗教论文。在这样做的过程中,巴格万达斯让他的听众——尼兰贾尼Sampraday的僧侣和家庭成员,以及其他虔诚教派的成员,甚至是宫廷精英——不仅可以接触到梵文原文,而且在这个过程中从根本上改变了源文本。
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引用次数: 0
Bhaṭṭs in Braj 蒸汽
Pub Date : 2018-08-30 DOI: 10.1093/OSO/9780199478866.003.0019
J. Hawley
A typical way of referring to the influx of southerners into Braj in the late fifteenth and early sixteenth centuries is to speak of these immigrants as gosvamis, which stresses their liturgical and perhaps institutional roles, but in this chapter John Hawley proposes another lens: the fact that crucial figures among them were Bhatts. Powerful new work by James Benson, Christopher Minkowski, and Rosalind O’Hanlon has focused on reconfigurations that occurred among Bhatt Brahmins in Banaras in the seventeenth century. Hawley attempts to discover similar connections among Bhatts who settled in Braj a century earlier. Their number and individual profiles are impressive: Narayan Bhatt, Sri Bhatt, Kesav Kasmiri Bhatt, Gopal Bhatt, and Vallabh Bhatt—that is, Vallabhacharya.
15世纪晚期和16世纪早期涌入巴西的南方人通常被称为gosvamis,这强调了他们的礼仪和制度角色,但在这一章中,John Hawley提出了另一种视角:他们中的关键人物是巴特人。詹姆斯·本森、克里斯托弗·闵可夫斯基和罗莎琳德·奥汉隆的新作非常有影响力,它关注的是17世纪巴纳拉斯巴特婆罗门之间发生的重组。霍利试图在一个世纪前定居在巴西的巴特人中发现类似的联系。他们的数量和个人概况令人印象深刻:Narayan Bhatt, Sri Bhatt, Kesav Kasmiri Bhatt, Gopal Bhatt和Vallabh Bhatt -即Vallabhacharya。
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引用次数: 1
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Text and Tradition in Early Modern North India
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