Heroic Wives Rituals Stories And The Virtues Of Jain Wifehood

Although in Hinduism it is mainly used to refer to widow immolation, the term 'sati' means 'true woman' - a female hero. Whitney Kelting has learned that in Jainism satis appear as subjects of devotional hymns. This seems paradoxical, given that Jain spirituality is to disengage oneself from worldly existence and Jain devotionalism is usually directed toward those souls who have reached perfect detachment. In fact, however, there is a vast corpus of popular texts, many of them written by prominent scholar-monks between the 16th and 18th centuries, illustrating the distinctly worldly virtues of devoted Jain wives. In this fieldwork-based study, Kelting explores the ways in which Jain women use sati narratives and rituals to understand wifehood as a choice, which these women's ongoing ritual practices continually shape. She focuses on eight well-known Jain sati narratives, recorded in both formal ritual contexts and in informal retellings, and also as read aloud from printed versions. She finds that one of the principal functions of Jain sati narratives is to contribute to a discourse of wifehood, which addresses the concerns of Jain laywomen within the Jain value system and provides a fertile context in which Jain women can explore their questions of virtue and piety.

Although in Hinduism it is mainly used to refer to widow immolation, the term 'sati' means 'true woman' - a female hero. Whitney Kelting has learned that in Jainism satis appear as subjects of devotional hymns. This seems paradoxical, given that Jain spirituality is to disengage oneself from worldly existence and Jain devotionalism is usually directed toward those souls who have reached perfect detachment. In fact, however, there is a vast corpus of popular texts, many of them written by prominent scholar-monks between the 16th and 18th centuries, illustrating the distinctly worldly virtues of devoted Jain wives. In this fieldwork-based study, Kelting explores the ways in which Jain women use sati narratives and rituals to understand wifehood as a choice, which these women's ongoing ritual practices continually shape. She focuses on eight well-known Jain sati narratives, recorded in both formal ritual contexts and in informal retellings, and also as read aloud from printed versions. She finds that one of the principal functions of Jain sati narratives is to contribute to a discourse of wifehood, which addresses the concerns of Jain laywomen within the Jain value system and provides a fertile context in which Jain women can explore their questions of virtue and piety.

Challenges prevailing conceptions of what religious ritual does and how it achieves its ends. Religious rituals are often seen as unchanging and ahistorical bearers of long-standing traditions. But as this book demonstrates, ritual is a lively platform for social change and innovation in the religions of South Asia. Drawing from Hindu and Jain examples in India, Nepal, and North America, the essays in this volume, written by renowned scholars of religion, explore how the intentional, conscious, and public invention or alteration of ritual can effect dramatic social transformation, whether in dethroning a Nepali king or sanctioning same-sex marriage. Ritual Innovation shows how the very idea of ritual as a conservative force misreads the history of religion by overlooking ritual’s inherent creative potential and its adaptability to new contexts and circumstances. Brian K. Pennington is Professor of Religious Studies at Elon University and the author of Was Hinduism Invented? Britons, Indians, and the Colonial Construction of Religion. Amy L. Allocco is Associate Professor of Religious Studies at Elon University.

Jainism is arguably the most non-violent and austere religion in the world. While lay Jains attempt to never harm humans or animals, the strict non-violence followed by the highly revered monks and nuns also proscribes harm to any living being, even a microscopic organism. And while laywomen (and a few laymen) undergo long and difficult fasts, the longest being for one month, renouncers' austerities also include pulling their hair out by the roots two to five times a year, walking bare-foot throughout India most of the year, and, in the case of some monks, not wearing any clothing at all. Jainism: A Guide for the Perplexed is a clear and thorough account of this fascinating tradition, explaining many basic Jain values, beliefs and practices in the same way they are taught to Jains themselves, through the medium of sacred narratives. Drawing from Jainism's copious and influential narrative tradition, the author explores the inner-logic of how renouncers' and laypeople's values and practices depend on an intricate Jain worldview.

This valuable resource explores the important role which the minority traditions play in the religious life of the subcontinent.

Jain Rāmāyaṇa Narratives: Moral Vision and Literary Innovation traces how and why Jain authors at different points in history rewrote the story of Rāma and situates these texts within larger frameworks of South Asian religious history and literature. The book argues that the plot, characters, and the very history of Jain Rāma composition itself served as a continual font of inspiration for authors to create and express novel visions of moral personhood. In making this argument, the book examines three versions of the Rāma story composed by two authors, separated in time and space by over 800 years and thousands of miles. The first is Raviṣeṇa, who composed the Sanskrit Padmapurāṇa (“The Deeds of Padma”), and the second is Brahma Jinadāsa, author of both a Sanskrit Padmapurāṇa and a vernacular (bhāṣā) version of the story titled Rām Rās (“The Story of Rām”). While the three compositions narrate the same basic story and work to shape ethical subjects, they do so in different ways and with different visions of what a moral person actually is. A close comparative reading focused on the differences between these three texts reveals the diverse visions of moral personhood held by Jains in premodernity and demonstrates the innovative narrative strategies authors utilized in order to actualize those visions. The book is thus a valuable contribution to the fields of Jain studies and religion and literature in premodern South Asia.

Reciting the Goddess presents the first critical study of the Svasthanivratakatha (SVK), a sixteenth-century Hindu narrative textual tradition. The extensive SVK manuscript tradition offers a rare opportunity to observe the making of a specific, distinct Hindu religious tradition. Jessica Vantine Birkenholtz argues that the SVK serves as a lens through which we can observe the creation of modern 'Hinduism' in the Himalayas, as the text both mirrored and informed key moments in the self-conscious creation of Nepal as the 'world's only Hindu kingdom' in the late medieval and early modern period. Birkenholtz mines the literary historiography that is contained within the SVK text itself, chronicling the text's literary and narrative development as well as the development of the Svasthani goddess tradition. She outlines the process whereby the SVK gradually transformed into a Purana text, and became a critical source for Nepali Hindu belief and identity. She also examines the elusive character of the goddess Svasthani whose identity is tied to the pan-Hindu goddess tradition, and the representation of women in the SVK and the ways in which the text influenced local and regional debates on the ideal of Hindu womanhood. Reciting the Goddess presents Nepal's celebrated SVK as a micro-level illustration of the powerful ways in which people, place, and literature intersect to produce new ideas and concepts of identity and place, even in a historically non-literate culture.

Objects of worship are an aspect of the material dimension of lived religion in South Asia. The omnipresence of these objects and their use is a theme which cuts across the religious traditions in the pluralistic religious culture of the region. Divine power becomes manifest in the objects and for the devotees they may represent power regardless of religious identity. This book looks at how objects of worship dominate the religious landscape of South Asia, and in what ways they are of significance not just from religious perspectives but also for the social life of the region. The contributions to the book show how these objects are shaped by traditions of religious aesthetics and have become conceptual devices woven into webs of religious and social meaning. They demonstrate how the objects have a social relationship with those who use them, sometimes even treated as being alive. The book discusses how devotees relate to such objects in a number of ways, and even if the objects belong to various traditions they may attract people from different communities and can also be contested in various ways. By analysing the specific qualities that make objects eligible for a status and identity as living objects of worship, the book contributes to an understanding of the central significance of these objects in the religious and social life of South Asia. It will be of interest to students and scholars of Religious Studies and South Asian Religion, Culture and Society.