Nectar Gaze And Poison Breath

This book offers a detailed study of the oral narrative of Shri Devnarayan along with the first English translation of this popular Rajasthani folk narrative. The narrative extolling the deeds of Lord Devnarayan is performed by itinerant singers during all night vigils in front of a 9-meter long, elaborately painted cloth scroll that depicts scenes and characters from the story. Aditya Malik uses the narrative to explore and ask a range of innovative questions relevant to the study of Indian folk culture and Hinduism as a whole: How is orality conceptualized and practiced? What is the relationship between spoken and visual signs? How do Devnarayan's devotees create multiple discourses concerning religion, community, and history within and though the medium of the narrative? Malik's analysis suggests that the narrative provides a framework for establishing linkages between different communities, past and present, spoken word and visual image, as well as contending religious ideologies. His interpretation is interspersed with excerpts from interviews with devotees and singers, other tales and texts, and observations from his field research that together invoke the worlds created by the narrative.

The Thar Desert, which is today divided by an international boundary, has historically been a frontier region connecting Punjab, Multan, Sindh, Gujarat and Rajasthan. This book looks at the Desert as an historical region shaped through the mobility of its inhabitants - warriors, pastoralists, traders, ascetics and bards, often in overlapping capacities. It challenges the frames of Mughal-Rajput relationships generally employed to explore the histories of the Thar, arguing that Rajputana remains an inadequate category to explore polities located in this frontier region, where along with Rajputs, a range of groups, such as Charans, Bhils, Meenas, Soomras and Pathans controlled circulation, and with whom the Rajput states had to constantly negotiate. Sifting through a wide range of Rajasthani written and oral narratives, travelogues of British administrators, and vernacular as well as English records, the book explores long-term relationships between mobility, martiality, memory and identity in the desert expanses of the Thar.

The first complete English translation in over a century of the Rigveda, the oldest Sanskrit text. Its thousand hymns, of remarkable poetic complexity and religious sophistication, are crucial to the understanding of the Indo-Iranian oral tradition from which they emerged and the rich flowering of Indian religious and literary expressions that followed it.

Pastoralist traditions have long been extraordinarily important to the social, economic, political, and cultural life of western India. The Marathi-language oral literature of the Dhangar shepherds is not only one of the most important elements of the traditional cultural life of its region, but also a treasure of world literature. This volume presents translations of two lively and well-crafted examples of the ovi, a genre typical of the oral literature of Dhangars. The two ovis in the volume narrate the stories of Biroba and Dhuloba, two of these shepherds' most important gods. Each of the ovis tells an elaborate story of the birth of the god-a miraculous and complicated process in both cases-and of the struggles each one goes through in order to find and win his bride. The extensive introduction provides a literary analysis of the ovis and discusses what they reveal about the cosmology, geography, society, and political arrangements of their performers' world, as well as about the performers' views of pastoralists and women.

In the Shade of the Golden Palace explores the work of the prolific Bengali poet Alaol (fl. 1651-71), who translated five narrative poems and one versified treatise from medieval Hindi and Persian into Bengali. The book maps the genres, structures, and themes of Alaol's works, paying special attention to his discourse on poetics and his literary genealogy, which included Sanskrit, Avadhi, Maithili, Persian, and Bengali authors. D'Hubert focuses on courtly speech in Alaol's poetry, his revisiting of classical categories in a vernacular context, and the prominent role of performing arts in his conceptualization of the poetics of the written word. The foregrounding of this audacious theory of meaning in Alaol's poetry is a crucial contribution of the book, both in terms of general conceptual analysis and for its significance in the history of Bengali poetry. This book shows how multilingual literacy fostered a variety of literary experiments in the remote kingdom of Arakan, which lay between present-day southeastern Bangladesh and Myanmar, in the mid-17th century. D'Hubert also presents a detailed analysis of Middle Bengali narrative poems, as well as translations of Old Maithili, Brajabuli, and Middle Bengali lyric poems that illustrate the major poetic styles in the regional courts of eastern South Asia. In the Shade of the Golden Palace therefore fulfills three functions: it is a unique guide for readers of Middle Bengali poetry, a detailed study of the cultural history of the frontier region of Arakan, and an original contribution to the poetics of South Asian literatures.

Between 300 BCE and 200 CE, concepts and practices of dharma attained literary prominence throughout India. Both Buddhist and Brahmanical authors sought to clarify and classify their central concerns, and dharma proved a means of thinking through and articulating those concerns. Alf Hiltebeitel shows the different ways in which dharma was interpreted during that formative period: from the grand cosmic chronometries of kalpas and yugas to narratives about divine plans, gendered nuances of genealogical time, royal biography (even autobiography, in the case of the emperor Asoka), and guidelines for daily life, including meditation. He reveals the vital role dharma has played across political, religious, legal, literary, ethical, and philosophical domains and discourses about what holds life together. Through dharma, these traditions have articulated their distinct visions of the good and well-rewarded life. This insightful study explores the diverse and changing significance of dharma in classical India in nine major dharma texts, as well some shorter ones. Dharma proves to be a term by which to make a fresh cut through these texts, and to reconsider their own chronology, their import, and their relation to each other.

Based on extensive ethnographic fieldwork conducted in the Central Himalayan region of Kumaon, Tales of Justice and Rituals of Divine Embodiment draws on oral and written narratives, stories, testimonies, and rituals told and performed in relation to the "God of Justice," Goludev, and other regional deities. The book seeks to answer several questions: How is the concept of justice defined in South Asia? Why do devotees seek out Goludev for the resolution of matters of justice instead of using the secular courts? What are the sociological and political consequences of situating divine justice within a secular, democratic, modern context? Moreover, how do human beings locate themselves within the indeterminateness and struggles of their everyday existence? What is the place of language and ritual in creating intimacy and self? How is justice linked to intimacy, truth, and being human? The stories and narratives in this book revolve around Goludev's own story and deeds, as well as hundreds of petitions (manauti) written on paper that devotees hang on his temple walls, and rituals (jagar) that involve spirit possession and the embodiment of the deity through designated mediums. The jagars are powerful, extraordinary experiences, mesmerizing because of their intensity but also because of what they imply in terms of how we conceptualize being human with the seemingly limitless potential to shift, alter, and transform ourselves through language and ritual practice. The petitions, though silent and absent of the singing, drumming, and choreography that accompany jagars, are equally powerful because of their candid and intimate testimony to the aspirations, breakdowns, struggles, and breakthroughs that circumscribe human existence.

Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with the word "text". Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities.